Plus “career also confirms the enduring power of the black southern femme queen in the foundational history of American culture…like to think of Richard’s entire existence as the black sissy’s revenge on the normative mainstream…penetrated the entire world”
The form of the book is a mosaic of primary sources, an interstellar ethnographer’s notebook, ranging from matter-of-fact journal entries to fragments of alien myth. Writers as diverse as Zadie Smith and Algis Budrys have cited The Left Hand of Darkness as an influence, and Harold Bloom included it in The Western Canon.
Back in 2015 Motherboard published “one of Le Guin’s political essays.” An excerpt/version of her Foreword for a new (at the time) collection of Murray Bookchin essays, The Next Revolution: Popular Assemblies and the Promise of Direct Democracy which provide “the theoretical underpinning for an egalitarian and directly democratic ecological society, with a practical approach for how to build it.”
For the New Yorker, biographer Julie Phillips explains
“Le Guin never stopped insisting on the beauty and subversive power of the imagination. Fantasy and speculation weren’t only about invention; they were about challenging the established order. “
Wire: Your music seems to be about the after effects of Rave, about never actually experiencing it.
Burial: I’ve never been to a festival. Never been to a rave in a field. Never been to a big warehouse, never been to an illegal party, just clubs and playing tunes indoors or whatever. I heard about it, dreamed about it. My brother might bring back these records that seemed really adult to me and I couldn’t believe I had ‘em. It was like when you first saw Terminator or Alien when you’re only little. I’d get a rush from it, I was hearing this other world, and my brother would drop by late and I’d fall asleep listening to tunes he put on.
Wire: I suppose your contact with Rave through your brother is what makes your records so mournful: you know what is missing now, whereas others might not even know what they are missing.
Also, some interesting tidbits about his sound sampling, of matches, lighters, video games sounds (ammo dropping, level ups) et al.
R.I.P Mark Fisher. From an old interview with Burial published back in 2007 in The Wire.