P.

“The conversation went on. It was difficult for Shevek to follow, both in language and in substance. He was being told about things he had no experience of at all. He had never seen a rat, or an army barracks, or an insane asylum, or a poorhouse, or a pawnshop, or an execution, or a thief, or a tenement, or a rent collector, or a man who wanted to work and could not find work to do, or a dead baby in a ditch. All these things occurred in Efor's reminiscences as commonplaces or as commonplace horrors. Shevek had to exercise his imagination and summon every scrap of knowledge he had about Urras to understand them at all. And yet they were familiar to him in a way that nothing he had yet seen there was, and he did understand.

This was the Urras he had learned about in school on Anarres. This was the world from which his ancestors had fled, preferring hunger and the desert and endless exile. This was the world that had formed Odo's mind and had jailed her eight times for speaking it. This was the human suffering in which the ideals of his society were rooted, the ground from which they sprang.

It was not 'the real Urras.' The dignity and beauty of the room he and Efor were in was as real as the squalor to which Efor was native. To him a thinking man's job was not to deny one reality at the expense of the other, but to include and connect. It was not an easy job.”
― Ursula K. Le Guin, The Dispossessed: An Ambiguous Utopia

“Everything should take place slowly and incorrectly so that man doesn't get a chance to start feeling proud, so that man is sad and perplexed.”
― Venedikt Erofeev, Moscow to the End of the Line

“By solitude the soul escapes from doing or suffering magic; it escapes from dullness, from boredom, by being aware. Nothing is boring if you are aware of it. It may be irritating, but it is not boring. If it is pleasant the pleasure will not fail so long as you are aware of it. Being aware is the hardest work the soul can do, I think.”
― Ursula K. Le Guin

“Lovely and unremarkable, the clutter
of mugs and books, the almost-empty Fig
Newtons box, thick dishes in a big
tin tray, the knife still standing in the butter,
change like the color of river water
in the delicate shift to day. Thin fog
veils the hedges, where a neighbor dog
makes rounds. 'Go to bed. It doesn't matter
about the washing-up. Take this book along.'
Whatever it was we said that night is gone,
framed like a photograph nobody took.
Stretched out on a camp cot with the book,
I think that we will talk all night again,
there, or another where, but I am wrong.”
― Marilyn Hacker, Winter Numbers: Poems