Tag Archives: Clarion West

Always Walking Away

RIP Ursula K Le Guin.

I read her story, “The Ones who Walk Away from Omelas,” as a teenager, and I never forgot it. The name Omelas comes from her reading of a street sign to Salem, O(regon) backwards. “[… People ask me] ‘Where do you get your ideas from, Ms. Le Guin?’ From forgetting Dostoyevsky and reading road signs backwards, naturally. Where else?” The story is about a beautiful, vibrant town, Omelas, whose very existence rests on the hidden suffering of a neglected and abused child. Most residents of Omelas learn to ignore the child’s suffering when they become aware of it. A few do not; they are the ones who walk away.

More recently Le Guin’s social commentary has been on display in the Oregonian, as she protested the coverage of the “Flock of Right-Wing Loonybirds” who had taken over the Malheur wildlife refuge, or gave her opinion of “alternative facts.” To pretend the sun can rise in the west is a fiction, to claim that it does so as fact (or “alternative fact”) is a lie. 

I’m grateful I got to meet Le Guin for a week one summer at the Clarion West SF writers’ workshop in Seattle. There she sometimes referred to herself self-deprecatingly and humorously as “the little she-slug.” I wrote a fantasy story that she critiqued, called “Sunrise on West Lake.” Inspired by my time living in West Berlin before the wall fell, it was about a musician who escaped, who walked away from a repressive society. The protagonist was named Ravena after the corner bus stop where I caught the bus to the workshop. That corner was actually at Ravenna and Woodlawn, in the Green Lake neighborhood. But I dropped one of the n’s, just for fun. Ursula’s first comment on the story was, “why do female fantasy protagonists’ names always have to end with -a? Yours doesn’t!”

“Sunrise,” like every short story I’ve ever written, wanted to be a novel. Recently I wrote another short story that wants to be a novel, called “Life and the Maiden.” The title is meant as a play on “Death and the Maiden,” which is the title of a song, poem, movie, and string quartet by Franz Schubert. Music still plays a role in this more recent story, but the protagonist this time, a “maiden” named Viola (after the instrument), rebels against her musician parents and doesn’t play. And she too walks away, literally, from her childhood home. While writing the walking away scene, I pictured Gwyneth Paltrow’s character from Shakespeare in Love, sole survivor of a shipwreck, walking away from shore towards adventures unknown; propelled towards a new life from the ruins of the old.

John Scalzi wrote this wonderful tribute to Le Guin in this morning’s LA Times: http://www.latimes.com/books/jacketcopy/la-et-jc-leguin-scalzi-20180123-story.html

In it, he writes about a different book of Le Guin’s, Always Coming Home, and the effect that it had on him:

“This was a subtle gift that Le Guin gave to a young person wanting to be a writer — the idea that there was more to writing fiction than ticking off plot points, that a rewarding story can be told without overt conflict, and that a world wide and deep can be its own reward, for those building the world and those who then walk through it. “Always Coming Home” is not generally considered one of Le Guin’s great books, but for me as a writer and a reader, it was the right book at the right time. The book turned me on to the possibility of science fiction beyond mere adventure stories for boys — that the genre could contain, did contain, so much more. The book opened me to read the sort of science fiction I didn’t try before.”

I hadn’t thought of this interpretation until now. I understand walking away, but I had had trouble getting through Always Coming Home. At the time I considered that a bug, but maybe it was a feature. Maybe Scalzi’s words are a worthy counterpoint to some of the straitjacketed genre plotting advice that is out there.

I’ve been to Salem O, and my daughter goes to school there. The Pacific Northwest, where Le Guin lived, is a beautiful place. One can imagine where she got the inspiration for the joys and delights of the Omelas summer festival. “The Ones who Walk Away” was written in 1973; it was chilling back then. Read through the lens of modern politics and formulaic action-packed dystopian fiction, at first it seems smaller in scope and even a little quaint. But it still hits me, a privileged, white, (no-longer-so) young person, someone who would theoretically love to participate in such a summer festival, right in the gut.

I wonder again, where are the walkers going? Maybe this is a story about a failure of imagination, or a failure of faith. Maybe instead of walking away, they should have stayed and tried to change things. Can you really walk away from Omelas? Are you walking away, like Viola, to a brave new world? Or, in the walking away, are you finally coming home?

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“Life and the Maiden” was officially rejected yesterday from the short story contest I sent it to, so I am free to disregard the word limit and turn it into the novel it wants to be. (Yay?!)