Le Guin, Ursula K. 1989. Dancing at the Edge of the World: Thoughts on Words, Women, Places. 1st ed. New York, NY: Grove Press. Reid, William A. 1981. “The Deliberative Approach to the Study of the Curriculum and Its Relation to Critical Pluralism.” In Rethinking Curriculum Studies: A Radical Approach, edited by Martin Lawn and Len Barton. New York, NY: Routledge. yeah sure i'll put this on my goodreads. why not. anything to encourage people to read it; it's like five minutes long and it's a very thoughtful examination of narrative, specifically the way narrative is shaped by a patriarchal drive toward conflict, violence, and war as the centerpoints of human existence.

Taguchi, Hillevi Lenz. 2012. “A Diffractive and Deleuzian Approach to Analysing Interview Data.” Feminist Theory 13(3): 265–281. doi: 10.1177/1464700112456001. With a new introduction by Donna Haraway, the eminent cyberfeminist, author of the revolutionary A Cyborg Manifesto and most recently, Staying with the Trouble and Manifestly Haraway. In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin retells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination. Canby, Vincent. 1991. “Lily Tomlin, Translated From Stage To Screen.” The New York Times, September 27. http://www.nytimes.com/movie/review?res=9401EFD7123AF934A1575AC0A967958260. The introduction of a singular hero, however, replicates a very specific and historical power relation. The pioneers and the saviors: likely male, likely white, almost certainly brimming with unearned confidence. The veneration of the hero reduces others into victims: those who must be rescued. “The prototypical savior is a person who has been raised in privilege and taught implicitly or explicitly (or both) that they possess the answers and skills needed to rescue others,” writes Jordan Flaherty in his book No More Heroes. To be a hero is fundamentally privileged, and any act of heroism reinforces that privilege.I came here after reading this one quote below and I am still trying to process the essay. Authors really give us strange, unusual perspectives which once we read seem so obvious. This essay is the kind that needs to be read again and again and would probably keep adding meaning to itself and for me as time passes. Wagner, Jane. 2012. The Search for Signs of Intelligent Life in the Universe. New York, NY: Harper Collins Publishers Inc. Original edition, Original screenplay published in 1986. Desde las cavernas venimos contando el relato del Héroe, de ese cazador de mamuts y de todas las emocionantes historias que traía para compartir en cada regreso. “Antes de que te des cuenta, los hombres y las mujeres en el campo de avena salvaje y sus hijos e hijas y las habilidades de quienes construyen y los pensamientos de quienes piensan y las canciones de quienes cantan forman parte de aquel relato, fueron puestos al servicio del cuento del Héroe. Pero este no es su relato. Es el de él” (29). Y pienso, de qué forma la civilización, cultura, sociedad que armamos gira en torno a este héroe y sus hazañas, y con ello a su capacidad por encima del resto. Harta de las idolatrías. Wagner, Jane. 1986. The Search for Signs of Intelligent Life in the Universe. 1st ed. New York, NY: Harper & Row.

Este libro habla de los relatos no contados. De otra forma de contar relatos. Y no puedo evitar traer a cuenta algo que me pasa en relación al tema. Considero que no soy buena contando anécdotas, cuando era chica escuchaba a mi hermana contar a nuestros padres algo que ambas habíamos vívido y me sorprendía viviendo una nueva historia. ¿Eso pasó?, me preguntaba dudando de mi memoria. De adulta me sigue pasando lo mismo y muchas veces paso la palabra para que otro cuente la anécdota compartida porque, de seguro, va a ser más emocionante que si la cuento yo. Quizás sea eso lo que despertó mi interés por las historias que se cuentan, por el tratar de analizarlas, encontrar el mecanismo detrás. Y de eso va este libro, de encontrar la base del mecanismo de contar historias y proponer uno alternativo. “(…) busco la naturaleza, el sujeto, las palabras del otro relato, la historia no contada, la historia de la vida (36)”. We will not “beat” climate change, nor is “nature” our adversary. If the planet could be considered a container for all life, in which everything — plants, animals, humans — are all held together, then to attempt domination becomes a self-defeating act. By letting ourselves “become part of the killer story,” writes Le Guin, “we may get finished along with it.” All of which is to say: we have to abandon the old story. Gough, Noel. 1998. “Reflections and Diffractions: Functions of Fiction in Curriculum Inquiry.” In Curriculum: Toward New Identities, edited by William F. Pinar, 93–127. New York, NY: Garland Publishing Inc. This influential essay opens a portal to terra ignota: unknown lands where the possibilities of human experience and knowledge can be discovered anew.The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it. So the Hero has decreed through his mouthpieces the Lawgivers, first, that the proper shape of the narrative is that of the arrow or spear, starting here and going straight there and THOK! hitting its mark (which drops dead); second, that the central concern of narrative, including the novel, is conflict; and third, that the story isn't any good if he isn't in it.

Y lo que propone Le Guin es preguntarse por la historia de quien recolectaba las “semillas, raíces, brotes, tallos, hojas, nueces, vainas, frutos y granos, añadiendo insectos y moluscos junto a la captura de aves, peces, ratones, conejos y otros pequeños animales inofensivos para aumentar la cantidad de proteína (27)”, que constituían, dice, del sesenta y cinco al ochenta por ciento de lo que los seres humanos comían en ese periodo de la historia. Los verdaderos responsables de mantenerlos alimentados, bah! Y que más allá de consumirlos debían transportar los alimentos, y ahí entra en juego el recipiente, la bolsa. “Un libro guarda palabras. Las palabras guardan cosas. Portan significados. Una novela es un atado que mantiene las cosas en una relación particular y poderosa las unas con las otras y con nosotras (38)”. Barad, Karen M. 2008. “Posthuman Performativity: Toward an Understanding of How Matter Comes to Matter.” In Material Feminisms, edited by Stacy Alaimo and Susan J. Hekman, 120–154. Bloomington, IN: Indiana University Press. It matters what stories we tell to tell other stories with; it matters what concepts we think to think other concepts with. ’ (Haraway 2019:10) Bailey, John. 1991. The Search for Signs of Inteligent Life in the Universe. Los Angeles, CA: Orion Classics. The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it."Ursula K. Le Guin published twenty-two novels, eleven volumes of short stories, four collections of essays, twelve books for children, six volumes of poetry and four of translation, and has received many awards: Hugo, Nebula, National Book Award, PEN-Malamud, etc. Her recent publications include the novel Lavinia, an essay collection, Cheek by Jowl, and The Wild Girls. She lived in Portland, Oregon. Fisher, Elizabeth. 1979. Woman’s Creation: Sexual Evolution and the Shaping of Society. 1st ed. Garden City, NY: Anchor Press.