Ursula K. LeGuin - Buffalo Gals and Other Animal Presences

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PRAISE FOR URSULA K. LE GUIN AND BUFFALO GALS AND OTHER ANIMAL

PRESENCES "Ursula Le Guin, one of the most significant science fiction

writers of the past two decades, charms the reader with some glimpses

of greatness . . . this disarmingly informal volume of short fiction

... is like a visit with one of America's most brilliant writers."

-- Santa Barbara News-Press

"Refreshing . . . these stories are a strong tonic for many modern

spiritual ills."

-- Santa Cruz Sentinel

"A delightful collection . . . designed to shatter your world view."

-- Riverside Press Enterprise

"How wonderful to be in the hands of an accomplished storyteller like

Ursula K. Le Guin, whose work shares in that imaginative transformation

of the world sometimes called magical realism, science fiction, or

fantasy."

-- Los Angeles Times Book Review

"Ursula Le Guin . . . transcends genre and delivers a delightful

collection of works. . . . The effect is a disturbing and delicious

disorientation that makes us resee ourselves and our relationship to

the world. What she does with craft and good humor will both

entertain and educate."

-- Santa Barbara

URSULA K. LE GUIN is an outstanding American writer whose works include

science fiction, fantasy, young adult fiction, children's books, essays

and poems. She has received numerous awards including the Nebula, Hugo,

Kafka, and National Book Awards. Among her best known novels are The

Left Hand of Darkness, The Dispossessed, Earthsea (a Trilogy), and

Always Coming Home.

NAL BOOKS ARE AVAILABLE AT QUANTITY DISCOUNTS WHEN USED TO PROMOTE

PRODUCTS OR SERVICES. FOR INFORMATION PLEASE WRITE TO PREMIUM MARKETING

DIVISION. NEW AMERICAN LIBRARY, 1633 BROADWAY, NEW YORK, NEW YORK

10019.

ACKNOWLEDGEMENTS

by Denise Levertov Goodman; reprinted by permission of New Directions

Jeffers; reprinted from Selected Poems by permission of Random House,

Inc. "Elegy" by Rainer Maria Rilke is the translation of Ursula K. Le

Guin; first appeared in The Magazine of Fantasy and Science Fiction

Ursula K. Le Guin; first appeared in Wild Angels by Ursula K. Le Guin,

first appeared in Compass Rose by Ursula K. Le Guin, Harper & Row,

edited by Robert Silverberg and Roger Elwood. "Torrey Pines Reserve" ©

1981 by Ursula K. Le Guin; first appeared in Hard Words by Ursula K. Le

K. Le Guin; first appeared in The Seattle Review, Summer 1987. "Xmas

Guin; first appeared in Orbit 14, edited by Damon Knight. "Vaster Than

Ursula K. Le Guin; first appeared in Wild Angels by Ursula K. Le Guin,

in Hard Words by Ursula K. Le Guin, Harper & Row, 1981. "Winter Downs"

Ursula K. Le Guin; first appeared in The New Yorker, August 25, 1986.

Universe 5, edited by Terry Carr. "The Author of the Acacia Seeds and

Other Extracts From the Journal of the Association of Therolinguistics"

appeared in The Little Magazine, Volume 14, combined Numbers I & 2.

2068, Santa Barbara, California 93120.

This is an authorized reprint of a hardcover edition published by Capra

Press.

PLUME TRADEMARK REO. US PAT. OFF. AND FOREIGN COUNTRIES REGISTERED

TRADEMARK -- MARCA REGISTRADA HECHO EN CHICAGO. U.S.A.

SIGNET, SIGNET CLASSIC, MENTOR, ONYX, PLUME, MERIDIAN

and NAL BOOKS are published in the United States by NAL PENGUIN INC.,

1633 Broadway, New York, New York 10019,

in Canada by The New American Library of Canada Limited,

81 Mack Avenue, Scarborough, Ontario MIL IMS

Library of Congress Cataloging-ln-Publication

LeGuin, Ursula K., 1929-

Buffalo gals and other animal presences / by Ursula K. Le Guin. p.

cm.

ISBN 0-452-26139-2 (pbk.)

1. Animals -- Literary collections. I. Title.

[PS3562.E42B8 1988] 88-15583 813'.54 -- dc!9

CIP Design and typography by Jim Cook (Santa Barbara, California).

First Plume Printing, September, 1988 123456789

PRINTED IN THE UNITED STATES OF AMERICA

Contents

Introduction .......................... 9

"Come Into Animal Presence" (Denise Levertov) .................... 14

I. Buffalo Gals, Won't You Come Out Tonight .... 17

II. Three Rock Poems .................... 55

The Basalt ......................... 56

Flints ............................ 56

Mt St Helens/Omphalos ................ 57

III. "The Wife's Story" and "Mazes" ............ 61

Mazes ............................ 61

The Wife's Story ...................... 67

IV. Five Vegetable Poems .................. 75

Torrey Pines Reserve ................... 76

Lewis and Clark and After ............... 77

West Texas ......................... 77

Xmas Over ......................... 78

The Crown of Laurel................... 78

V. "The Direction of the Road" and "Vaster Than Empires"

.................. 83

The Direction of the Road ............... 84

Vaster Than Empires and More Slow ......... 92

VI. Seven Bird and Beast Poems ............. 131

What is Going on in the Oaks ............ 132

ForTed .......................... 133

Found Poem ....................... 134

Totem ........................... 134

Winter Downs ...................... 135

The Man Eater ..................... 135

SleepingOut ....................... 136

VII. "The White Donkey" and "Horse Camp" ..... 139

The White Donkey ................... 140

Horse Camp ....................... 143

VIII. Four Cat Poems ..................... 151

Tabby Lorenzo ...................... 152

Black Leonard in Negative Space .......... 152

A Conversation With a Silence ........... 153

For Leonard, Darko, and Burton Watson ..... 153

IX "Schrodinger's Cat" and

"The Author of the Acacia Seeds" .......... 157

SchrOdinger's Cat .................... 158

The Author of the Acacia Seeds and Other Extracts from the Journal of

Therolinguistics ....... 167

X. "May's Lion" ....................... 179

May's Lion ........................ 179

XI. Rilke's "Eighth Duino Elegy" and ;, "She Unnames Them"

................. 191 |

The Eighth Elegy, from the f Duino Elegies of RM. Rilke

............. 191

She Unnames Them .................. 194

Buffalo

Gals

Introduction

ALTHOUGH I WHINED and tried to hide under the rug my inexorable

publisher demanded an introduction for this book of my stories and

poems about animals. Having done introductions before, I have found

that many readers loathe them, reviewers sneer at them, and critics

dismiss them; and then they all tell me so. As for myself I rather like

introductions, but generally read them after reading what they were

supposed to introduce me to. Read as extra-ductions, they are often

interesting and useful. But that won't do. Ductions must be intro, and

come first, like salad in restaurants, a lot of cardboard lettuce with

bits of red wooden cabbage soaked in dressing so that you're disabled

for the entree.

The kind of introduction that conies naturally is oral. Reading aloud

to an audience, one often talks a little about what one is going to

read; and so for each section of this book I have tried to write down

the kind of thing I might say about the pieces if I were performing

them.

As for the book as a whole: first of all I am grateful to my inexorable

publisher for having the idea of doing such a collection, and for

asking me to write a long new story for it It was his request that gave

me the story "Buffalo Gals." Three other stories have not been printed

in book form before, and twelve of the poems have not been printed

anywhere till now. They are not all exactly about animals. In fact this

is a sort of Twenty Questions anthology --

10 JT BUFFALO GALS

animal, vegetable, or mineral? But the animals, naturally, are more

active. And more talkative.

What about talking animals, anyhow?

In his literary biography of Rudyard Kipling so sympathetic and

perceptive a reader/writer as Angus Wilson dismisses the Jungle Books

as schoolboy stories with animal costumes, and has no truck at all with

the fust So Stories. As I think the Jungle Books, along with the other

"children's story," Kim, are Kipling's finest work, and consider the

fust So Stories a unique and miraculous interaction of prose with

poetry with graphics, of adult mind with child mind, and of written

with oral literature -- a shining intersection among endless dreary

one-way streets -- so Wilson's dismissal of them was something I needed

to understand. Not that it was anything unusual. Critical terror of

Kiddilit is common. People to whom sophistication is a positive

intellectual value shun anything "written for children"; if you want to

clear the room of derrideans, mention Beatrix Potter without sneering.

With the agreed exception of Alice in Wonderland, books for children

are to be mentioned only dismissively or jocosely by the adult male

critic. Just as Angus Wilson used to dismiss Virginia Woolf

uncomfortably, jocosely, as a lady novelist, though he finally and

creditably admitted that he might have missed something there... In

literature as in "real life," women, children, and animals are the

obscure matter upon which Civilization erects itself, phallologically.

That they are Other is (vide Lacan etal.} the foundation of language,

the Father Tongue. If Man vs. Nature is the name of the game, no wonder

the team players kick out all these non-men who won't learn the rules

and run around the cricket pitch squeaking and barking and chattering!

But then, who are the Bandar-Log? Why do animals in kids' books talk?

Why do animals in myths talk? How come the prince eats a burned fish-

scale

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PRAISEFORURSULAK.LEGUINANDBUFFALOGALSANDOTHERANIMALPRESENCES"UrsulaLeGuin,oneofthemostsignificantsciencefictionwritersofthepasttwodecades,charmsthereaderwithsomeglimpsesofgreatness...thisdisarminglyinformalvolumeofshortfiction...islikeavisitwithoneofAmerica'smostbrilliantwriters."--SantaBarbaraNews-...

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