Covers by Swedish artist Inger Edelfeldt for various books by Ursula K. Le Guin

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Covers by Swedish artist Inger Edelfeldt for various books by Ursula K. Le Guin
Piera stood still, her bare hands thrust deep into the sleeves of her coat, shivering now and then from head to foot, and in that hour she came into her inheritance. She knew the great hour as it passed. She accepted without reservation what it brought her: the passion of her generation; the end of her childhood. If this was her world, she was strong enough to live in it. She was a woman, not trained for any public act, not trained to defiance, brought up to the woman's part: waiting. So she would wait. For any act done consciously may be defiant, may be independent, may change life utterly. But one can act thus only if one knows there is no safety. So she thought, that Epiphany night, looking up at Orion and the other stars. One must wait outside. There is no hiding away from storm, waste, injustice, death. There is no shelter, no stopping, only a pretense, a mean, stupid pretense of being safe and letting time and evil pass by outside. But we are all outside, Piera thought, and all defenseless. There is no safe house but death. Nothing of our own building will protect us, not the jails, nor the palaces, nor the comfortable houses. But the grandeur of knowing that, the pride and grandeur of being on one's own at last, alone, under the enormous and indifferent sky, unhoused and unprotected! To be nothing, a girl, confused, grieved, frightened, foolish, shivering in the January frost, all that, yes, but also to learn at last the stature of her spirit: to come into her inheritance.
Ursula K. Le Guin, Malafrena
a propos of not writing 'I love you' in fiction, especially at the end, I reread the ending of “Malafrena” by Ursula Le Guin and it's the sappiest shit I've ever read and these two characters aren't even together (yet) bye
“There was something I wanted to say to you, too,” she said; her voice, over-controlled, sounded thin. He nodded, acceptant; she paused for a long time.
“There are so many reasons. Habit. And the land adjoining at so many places. And so on. And I suppose they talked about it when we were children, people always do. I’m sorry I was unpleasant to you, that night, last winter. That was stupid. I was just trying to say what I want to say now. That people will think we will—we are likely to get married, but they’re mistaken; and that keeps us from being friends.” The small, strained voice trembled continually, like the trembling of water, but remained clear. “I should like to be your friend.”
“You are,” he said almost inaudibly; but his heart said, you are my house, my home; the journey and the journey’s end; my care, and sleep after care.
“All right,” she said, this time with a great sigh; and they were silent for a while, there on the grass in the great heat and light of noon.
“You will go back, down there, some day, won’t you?”
“When I can.”
“Good,” she said, and smiled suddenly. “I wasn’t sure. . . .”
“Then will you keep the Vita Nova?”
“I said I was sorry,” she said angrily.
“Up this way, Count Orlant!” called Laura’s voice down among the pines.
“You have to keep it,” he said with intensity. “I didn’t know why I left till I came back—I have to come back to find that I have to go again. I haven’t even begun the new life yet. I am always beginning it. I will die beginning it. Will you keep it for me, Piera?”
“There they are!” Sangiusto proclaimed from the top of the path.
Piera looked at Itale directly for one instant, then scrambled to her feet and went to greet the others. “Well, well, well,” said Count Orlant surmounting the last steps of the way heavily, “what a pull. Hello, daughter.”
They passed on the road, she at sixteen and he at fifty-six, and she left him a blue cornflower twined in his horse's mane. It was queer, he thought, how you met and passed souls thus, and a few of them left sweetness with you. You passed one another and parted, it might as well be forever, and yet there remained the touch of sweetness, and of pain.
Ursula K. Le Guin, Malafrena
“I was a fool before I -before that. Now I’m wise, now I know what a fool I was, right? But what use is wisdom, what good is it, when the price of it is hope?”
Ursula K. Le Guin. Malafrena
“He was old, and like all the old did not care for the future, did not believe in it”.
Ursula K. Le Guin. Malafrena
Live free, or die
Live free, or die
Engraving of ‘Liberty Leading the People’, by Eugène Delacroix (1830) Malafrena, by Ursula K Le Guin. Panther Books, 1981 (1979) He would look unseeing out over Malafrena, with a heaviness in him. It was as if a spell was laid upon him here, which he could not break, though he might escape from it; a charm that grew strongest in certain hours, certain conversations. The spell that binds young…
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A shoreless kingdom
Cover illustration of a generic Middle European walled city for Le Guin’s Malafrena by an uncredited artist for Panther Books 1981 Having recently completed and been impressed by Ursula K le Guin’s Malafrena (1979), a novel set in her imagined country of Orsinia in the early 19th century, I thought I would compose a few thoughts about its history and geography before posting a review. I’ve…
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