Quotes from Tehanu

“Why are men afraid of women?"
If your strength is only the other's weakness, you live in fear," Ged said.
"Yes; but women seem to fear their own strength, to be afraid of themselves."
"Are they ever taught to trust themselves?" Ged asked, and as he spoke Therru came in on her work again. His eyes and Tenar's met.
"No," she said. "Trust is not what we're taught." She watched the child stack the wood in the box. "If power were trust," she said. "I like that word. If it weren't all these arrangements - one above the other - kings and masters and mages and owners - It all seems so unnecessary. Real power, real freedom, would lie in trust, not force."
"As children trust their parents," he said.”
― Ursula K. Le Guin, quote from Tehanu

“What is a woman's power then?" she asked.
"I don't think we know."
"When has a woman power because she's a woman? With her children, I suppose. For a while..."
"In her house, maybe."
She looked around the kitchen. "But the doors are shut," she said, "the doors are locked."
"Because you're valuable."
"Oh yes. We're precious. So long as we're powerless.”
― Ursula K. Le Guin, quote from Tehanu

“You are beautiful," Tenar said in a different tone. "Listen to me, Therru. Come here. You have scars, ugly scars, because an ugly, evil thing was done to you. People see the scars. But they see you, too, and you aren't the scars. You aren't ugly. You aren't evil. You are Therru, and beautiful. You are Therru who can work, and walk, and run, and dance, beautifully, in a red dress.”
― Ursula K. Le Guin, quote from Tehanu

“If women had power, what would men be but women who can't bear children? And what would women be but men who can?"
"Hah!" went Tenar; and presently, with some cunning, she said, "Haven't there been queens? Weren't they women of power?"
"A queen's only a she-king," said Ged.
She snorted.
"I mean, men give her power. They let her use their power. But it isn't hers, is it? It isn't because she's a woman that she's powerful, but despite it.”
― Ursula K. Le Guin, quote from Tehanu

“What's wrong with men?" Tenar inquired cautiously.
As cautiously, lowering her voice, Moss replied, "I don't know, my dearie. I've thought on it. Often I've thought on it. The best I can say it is like this. A man's in his skin, see, like a nut in its shell." She held up her long, bent, wet fingers as if holding a walnut. "It's hard and strong, that shell, and it's all full of him. Full of grand man-meat, man-self. And that's all. That's all there is. It's all him and nothing else, inside.”
― Ursula K. Le Guin, quote from Tehanu

“Ours is only a little power, seems like, next to theirs," Moss said. "But it goes down deep. It's all roots. It's like an old blackberry thicket. And a wizard's power's like a fir tree, maybe, great and tall and grand, but it'll blow right down in a storm. Nothing kills a blackberry bramble.”
― Ursula K. Le Guin, quote from Tehanu

“The best I can say, it's like this. A man's in his skin, see, like a nut in its shell ... It's hard and strong, that shell, and it's all full of him. Full of grand man-meat, man-self. And that's all. That's all there is.

A woman's a different thing entirely. Who knows where a woman begins and ends? Listen mistress, I have roots, I have roots deeper than this island. Deeper than the sea, older than the raising of the lands. I go back into the dark ... I go back into the dark! Before the moon I am, what a woman is, a woman of power, a woman's power, deeper than the roots of trees, deeper than the roots of islands, older than the Making, older than the moon. Who dares ask questions of the dark? Who'll ask the dark its name?”
― Ursula K. Le Guin, quote from Tehanu

“If women had power what would men be but women who can't bear children? And what would women be but men who can?”
― Ursula K. Le Guin, quote from Tehanu

“She thought about how it was to have been a woman in the prime of life, with children and a man, and then to lose all that, becoming old and a widow, powerless. But even so she did not feel she understood his shame, his agony of humiliation. Perhaps only a man could feel so. A woman got used to shame.”
― Ursula K. Le Guin, quote from Tehanu

“You're a respectable woman, dearie, and her reputation is a woman's wealth."
"Her wealth," Tenar repeated in the same blank way; then she said it again: "Her wealth. Her treasure. Her hoard. Her value...”
― Ursula K. Le Guin, quote from Tehanu

“What are we so afraid of? Why don't we let 'em tell us we're afraid? What is it they're afraid of?" She picked up the stocking she had been darning, turned it in her hands, was silent awhile; finally she said, "What are they afraid of us for?”
― Ursula K. Le Guin, quote from Tehanu

“A man gives out, dearie. A woman takes in.”
― Ursula K. Le Guin, quote from Tehanu

“If we hide, Therru, we feed him. We will eat. And we will starve him. Come with me.”
― Ursula K. Le Guin, quote from Tehanu

“The heavy work requiring muscle and the skilled work with crops and sheep was done by Ged, Shandy, and Tenar, while the two old men who had been there all their lives, his father's men took him about and told him how they managed it all, and truly believed they were managing it all, and shared their believe with him.”
― Ursula K. Le Guin, quote from Tehanu

“But because she was not a girl now, she was not awed, but only wondered at how men ordered their world into this dance of masks, and how easily a woman might learn to dance it.”
― Ursula K. Le Guin, quote from Tehanu

“The child stared at her or at nothing, trying to breathe, and trying again to breathe, and trying again to breathe.”
― Ursula K. Le Guin, quote from Tehanu

“You seemed, in your power, as free as man can be. But at what cost? What made you free? And I... I was made, moulded like clay, by the will of the women serving the Old Powers, or serving the men who made all services and ways and places, I no longer know which. Then I went free, with you, for a moment, and with Ogion. But it was not my freedom. Only it gave me a choice; and I chose. I chose to mould myself like clay to the use of a farm and a farmer and our children. I made myself a vessel. I know its shape. But not the clay. Life danced me. I know the dances. But I don't know who the dancer is.”
― Ursula K. Le Guin, quote from Tehanu

“As a child in Atuan, Tenar had learned how to learn. There seemed always to be a great deal to be learned, more than she would have believed when she was a prentice-priestess or the pupil of a mage.”
― Ursula K. Le Guin, quote from Tehanu

“Tăcerea era ca o prezență între ei. Femeia înălță capul și se uită la Șoiman.
- Ei - vorbi ea - în care pat să dorm, Ged? Al copilului sau al tău?
El își trase răsuflarea. Vorbi cu glas scăzut.
- Al meu, dacă vrei.
- Vreau.
Tăcerea îl stăpânea. Tenar putea vedea efortul pe care-l făcea ca să se smulgă din ea.
- Dacă o să ai răbdare cu mine ...
- Am avut răbdare cu tine vreme de douăzeci și cinci de ani - zise ea.
Se uită la el și începu să râdă.”
― Ursula K. Le Guin, quote from Tehanu

“..all I understand about living is having your work to do, and being able to do it. That's the pleasure, and the glory, and all. And if you can't do the work, or it's taken from you, then what's any good? You have to have something...”
― Ursula K. Le Guin, quote from Tehanu

“A woman's a different thing entirely. Who knows where a woman begins and ends? Listen, mistress, I have roots, I have roots deeper than this island.
Deeper than the sea, older than the raising of the lands. I go back into the dark.”
― Ursula K. Le Guin, quote from Tehanu

“She bathed in the water she had heated (...) and crept into bed beside the little, warm, silky silence that was Therru asleep.”
― Ursula K. Le Guin, quote from Tehanu

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“It was 1976.
It was one of the darkest days of my life when that nurse, Mrs. Shimmer, pulled out a maxi pad that measured the width and depth of a mattress and showed us how to use it. It had a belt with it that looked like a slingshot that possessed the jaw-dropping potential to pop a man's head like a gourd. As she stretched the belt between the fingers of her two hands, Mrs. Shimmer told us becoming a woman was a magical and beautiful experience.

I remember thinking to myself, You're damn right it had better be magic, because that's what it's going to take to get me to wear something like that, Tinkerbell! It looked like a saddle. Weighed as much as one, too. Some girls even cried.
I didn't.
I raised my hand.
"Mrs. Shimmer," I asked the cautiously, "so what kind of security napkins do boys wear when their flower pollinates? Does it have a belt, too?"
The room got quiet except for a bubbling round of giggles.
"You haven't been paying attention, have you?" Mrs. Shimmer accused sharply. "Boys have stamens, and stamens do not require sanitary napkins. They require self control, but you'll learn that soon enough."
I was certainly hoping my naughty bits (what Mrs. Shimmer explained to us was like the pistil of a flower) didn't get out of control, because I had no idea what to do if they did.”
― Laurie Notaro, quote from The Idiot Girls' Action-Adventure Club: True Tales from a Magnificent and Clumsy Life

“I had to pretend you didn't exist. That's how much it hurt


She was still thinking if your safety p. 361”
― Jessica Grant, quote from Come, Thou Tortoise

“I began to get a feeling familiar to me from my bartending days of being the only sane man in a nuthouse. It doesn't make you feel superior but depressed and scared, because there is nobody you can contact.”
― William S. Burroughs, quote from And the Hippos Were Boiled in Their Tanks

“A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard.
The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol.
...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.”
― Roland Barthes, quote from Mythologies

“None of them even know who they are. They're just acting out their roles. Being what their parents made them. Always trying to be what's expected. It's exhausting.”
― Marie Sexton, quote from Promises

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