The Dispossessed by Ursula K. Le Guin

 

Marcella Giulia Pace, Italian astrophotographer who took ten years to capture 48 colours of the moon 

Some things to remember from Dispossessed:

About his world

on schooling

Ini and Aevi were entranced by his description of a curriculum that included farming, carpentry, sewage reclamation, printing, plumbing, roadmending, playwriting, and all the other occupations of the adult community...

Learning centers taught all the skills that prepare for the practice of art: training in singing, metrics, dance, the use of brush, chisel, knife, lathe, and so on. It was all pragmatic: the children learned to see, speak, hear, move, handle. No distinction was drawn between the arts and the crafts; art was not considered as having a place in life, but as being a basic technique of life, like speech. Thus architecture had developed, early and freely, a consistent style, pure and plain, subtle in proportion. Painting and sculpture served largely as elements of architecture and town planning. As for the arts of words, poetry and storytelling tended to be ephemeral, to be linked with song and dancing; only the theater stood wholly alone, and only the theater was ever called “the Art”—a thing complete in itself.

on the division of labor

“All right, but how do you get people to do the dirty work?” “What dirty work?” asked Oiie’s wife, not following. “Garbage collecting, grave digging,” Oiie said; Shevek added, “Mercury mining,” and nearly said, “Shit processing,” but recollected the Ioti taboo on scatological words. He had reflected, quite early in his stay on Urras, that the Urrasti lived among mountains of excrement, but never mentioned shit. “Well, we all do them. But nobody has to do them for very long, unless he likes the work. One day in each decad the community management committee or the block committee or whoever needs you can ask you to join in such work, they make rotating lists. 

on property and dependence on others

We are not prosperous. None of us is rich. None of us is powerful. If it is Anarres you want, if it is the future you seek, then I tell you that you must come to it with empty hands. You must come to it alone, and naked, as the child comes into the world, into his future, without any past, without any property, wholly dependent on other people for his life. 

on sex

An Odonian undertook monogamy just as he might undertake a joint enterprise in production, a ballet or a soap works. Partnership was a voluntarily constituted federation like any other. So long as it worked, it worked, and if it didn’t work it stopped being. It was not an institution but a function. It had no sanction but that of private conscience. This was fully in accord with Odonian social theory. The validity of the promise, even promise of indefinite term, was deep in the grain of Odo’s thinking; though it might seem that her insistence on freedom to change would invalidate the idea of promise or vow, in fact the freedom made the promise meaningful. A promise is a direction taken, a self-limitation of choice. As Odo pointed out, if no direction is taken, if one goes nowhere, no change will occur. One’s freedom to choose and to change will be unused, exactly as if one were in jail, a jail of one’s own building, a maze in which no one way is better than any other. So Odo came to see the promise, the pledge, the idea of fidelity, as essential in the complexity of freedom.

Talking on Annares

They talked about the spatial representation of time as rhythm, and the connection of the ancient theories of the Numerical Harmonies with modern temporal physics. They talked about the best stroke for long-distance swimming. They talked about whether their childhoods had been happy. They talked about what happiness was.

With immense pleasure, and with that same sense of profound recognition, of finding something the way it was meant to be, Shevek discovered for the first time in his life the conversation of his equals.

Difference Between the two worlds

He had not been free from anything [on his own world]: only free to do anything. Here, it was the other way around.

world he visits is one of ownership, property.  The city is beautiful, but: 

things: things to buy, things for sale. Coats, dresses, gowns, robes, trousers, breeches, shirts, blouses, hats, shoes, stockings, scarves, shawls, vests, capes, umbrellas, clothes to wear while sleeping, while swimming, while playing games, while at an afternoon party, while at an evening party, while at a party in the country, while traveling, while at the theater, while riding horses, gardening, receiving guests, boating, dining, hunting—all different, all in hundreds of different cuts, styles, colors, textures, materials. Perfumes, clocks, lamps, statues, cosmetics, candles, pictures, cameras, games, vases, sofas, kettles, puzzles, pillows, dolls, colanders, hassocks, jewels, carpets, toothpicks, calendars, a baby’s teething rattle of platinum with a handle of rock crystal, an electrical machine to sharpen pencils, a wristwatch with diamond numerals; figurines and souvenirs and kickshaws and mementos and gewgaws and bric-a-brac, everything either useless to begin with or ornamented so as to disguise its use; acres of luxuries, acres of excrement.

And the strangest thing about the nightmare street was that none of the millions of things for sale were made there. They were only sold there. Where were the workshops, the factories, where were the farmers, the craftsmen, the miners, the weavers, the chemists, the carvers, the dyers, the designers, the machinists, where were the hands, the people who made? Out of sight, somewhere else. Behind walls. All the people in all the shops were either buyers or sellers. They had no relation to the things but that of possession.

“No. It is not wonderful. It is an ugly world. Not like this one. Anarres is all dusty and dry hills. All meager, all dry. And the people aren’t beautiful. They have big hands and feet, like me and the waiter there. But not big bellies. They get very dirty, and take baths together, nobody here does that. The towns are very small and dull, they are dreary. No palaces. Life is dull, and hard work. You can’t always have what you want, or even what you need, because there isn’t enough. You Urrasti have enough. Enough air, enough rain, grass, oceans, food, music, buildings, factories, machines, books, clothes, history. You are rich, you own. We are poor, we lack. You have, we do not have. Everything is beautiful here. Only not the faces. On Anarres nothing is beautiful, nothing but the faces. The other faces, the men and women. We have nothing but that, nothing but each other. Here you see the jewels, there you see the eyes. And in the eyes you see the splendor, the splendor of the human spirit. Because our men and women are free—possessing nothing, they are free. And you the possessors are possessed. You are all in jail. Each alone, solitary, with a heap of what he owns. You live in prison, die in prison. It is all I can see in your eyes—the wall, the wall!”

“Because there is nothing, nothing on Urras that we Anarresti need! We left with empty hands, a hundred and seventy years ago, and we were right. We took nothing. Because there is nothing here but States and their weapons, the rich and their lies, and the poor and their misery. There is no way to act rightly, with a clear heart, on Urras. There is nothing you can do that profit does not enter into, and fear of loss, and the wish for power. You cannot say good morning without knowing which of you is ‘superior’ to the other, or trying to prove it. You cannot act like a brother to other people, you must manipulate them, or command them, or obey them, or trick them. You cannot touch another person, yet they will not leave you alone. There is no freedom. It is a box—Urras is a box, a package, with all the beautiful wrapping of blue sky and meadows and forests and great cities. And you open the box, and what is inside it? A black cellar full of dust, and a dead man. A man whose hand was shot off because he held it out to others.

Effect of Money on People

They all looked, to him, anxious. He had often seen that anxiety before in the faces of Urrasti, and wondered about it. Was it because, no matter how much money they had, they always had to worry about making more, lest they die poor? Was it guilt, because no matter how little money they had, there was always somebody who had less? Whatever the cause, it gave all the faces a certain sameness, and he felt very much alone among them.

He had vaguely imagined wandering about the city and getting into conversation with people, members of the unpropertied class, if there still was such a thing, or the working classes, as they called them. But all these people hurried along, on business, wanting no idle talk, no waste of their valuable time. Their hurry infected him.

Concept of Cyclic Time

It was now clear to Shevek, and he would have thought it folly to think otherwise, that his wretched years in this city had all been part of his present great happiness, because they had led up to it, prepared him for it. Everything that had happened to him was part of what was happening to him now. Takver saw no such obscure concatenations of effect/ cause/ effect, but then she was not a temporal physicist. She saw time naïvely as a road laid out. You walked ahead, and you got somewhere. If you were lucky, you got somewhere worth getting to.

The false starts and futilities of the past years proved themselves to be groundwork, foundations, laid in the dark but well laid.

You shall not go down twice to the same river, nor can you go home again. That he knew; indeed it was the basis of his view of the world. Yet from that acceptance of transience he evolved his vast theory, wherein what is most changeable is shown to be fullest of eternity, and your relationship to the river, and the river’s relationship to you and to itself, turns out to be at once more complex and more reassuring than a mere lack of identity.

But Anares is not a perfect Utopia

every emergency, every labor draft even, tends to leave behind it an increment of bureaucratic machinery within PDC, and a kind of rigidity: this is the way

Page 329 ·

You realize then what Tirin is, and why he’s a wreck, a lost soul. He is a criminal! We have created crime, just as the propertarians did. We force a man outside the sphere of our approval, and then condemn him for it. We’ve made laws, laws of conventional behavior, built walls all around ourselves, and we can’t see them, because they’re part of our thinking.

Page 331 ·

“No. The fact is, neither of us made up our mind. Neither of us chose. We let Sabul choose for us. Our own, internalized Sabul—convention, moralism, fear of social ostracism, fear of being different, fear of being free! Well, never again. I learn slowly, but I learn.” “What are you going to do?” asked Takver, a thrill of agreeable excitement in her voice. “Go to Abbenay with you and start a syndicate, a printing syndicate. Print the Principles, uncut. And whatever else we like. Bedap’s Sketch of Open Education in Science, that the PDC wouldn’t circulate. And Tirin’s play. I owe him that. He taught me what prisons are, and who builds them. Those who build walls are their own prisoners. I’m going to go fulfill my proper function in the social organism. I’m going to go unbuild walls.”

In the end the story is a coming home for Shevek.

“I’m ready. I have nothing to pack.” Shevek laughed, a laugh of clear, unmixed happiness. The other man looked at him gravely, as if he was not sure what happiness was, and yet recognized or perhaps remembered it from afar.