A Quote by Ursula K. Le Guin

I'll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination. — © Ursula K. Le Guin
I'll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination.
Just because something is told as a story and that story is part legend or myth, or feat of imagination, does not mean there is no truth in it.
Old stories have a habit of being told and retold and changed. Each subsequent storyteller puts his or her mark upon it. Whatever truth the story once had is buried in bias and embellishment. The reasons do not matter as much as the story itself.
A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.
[Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager's position: why can't things be like they should be? Why can't I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one's ever told, never seen, and I've lived it. It's my own story and my friends' story.
The lead story on MSNBC was the news that there was nothing new to report in the Gary Condit story. So remember when there is nothing new to report, MSNBC will be the station not to report it first.
If we can reach in wih the art and touch the imagination of the child, no matter who, we have affected that child.
In Western society, and particularly in American society, imagination is stulified from infancy. The imaginative child is discouraged and upbraided. He is told that the process is mere dreaming, that it wastes time and leads nowhere. It is said to be "impractical." As the child grows and its imagination inevitably leads it to express unconventional ideas and to try new behavior, it is chided and even viciously punished for such signs of unorthodoxy.
My maternal grandmother had what might be described in a school report as a 'lively imagination.' She told us that she was a direct descendant of Sir Christopher Wren.
My dad used to open up photo albums and stuff and you'd have to tell a story about the picture but you couldn't tell the truth so you had to make up a story about whatever you were looking at. He really taught us how to lie.
Child,' said the Lion, 'I am telling you your story, not hers. No one is told any story but their own.
In this tradition a story is 'holy,' and it is used as medicine," she told Radiance magazine. "The story is not told to lift you up, to make you feel better, or to entertain you, although all those things can be true. The story is meant to take the spirit into a descent to find something that is lost or missing and to bring it back to consciousness again.
If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs had taught me that.
I never told a victim story about my imprisonment. Instead, I told a transformation story - about how prison changed my outlook, about how I saw that communication, truth, and trust are at the heart of power.
I think one of the problems [with raising intelligent children] is compulsory schooling...and that children are sitting there and they are taught and told what to believe. They are passive from the very beginning, and one must be very, very aggressive intellectually to have a high IQ [...] the child is taught. Right from the beginning, it's a passive process. He or she sits there, and they simply try to believe everything they're told.
Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.
For 'Frost/Nixon,' everyone I spoke to told the story their way. Even people in the room tell different versions. There's no one truth about what happened in those interviews, so I feel very relaxed about bringing my imagination to the piece. God knows everyone else has.
This site uses cookies to ensure you get the best experience. More info...
Got it!