Skawennati_Hunterandwarriors
SkawennatiHunter with Warriors, 2012, machinimagraph from the project TimeTraveller™, 2008-2013.
Photo: courtesy of the artist

Ursula K. Le Guin’s Dream-Time

Kat Benedict
We all dream. This is not a supposition but part of our lived experience as human beings, and one that we share with animals. Failure to engage with dreams and the images and activities that manifest within them stems from a cultural undermining of the potential of dreaming for social and political change. Through dreaming, the sensory constraints of everyday consciousness are transcended, merging past, present, and future into meaningful atemporal continuities.

In American science fiction author Ursula K. Le Guin’s 1972 novella The Word for World Is Forest, dreams are pivotal to exploring exploitation and rebellion on a distant planet.1 1 - Ursula K. Le Guin, The Word for World Is Forest (Berkeley: Berkeley Books, 1976). The parable is set in the fictional Hainish universe, on the planet of Athshe, which has been colonized by a military-controlled logging team from Earth (known as Terra). The hues of the small, fur-covered and forest-dwelling Athsheans span from rich green to brown and black, along with light-green skin on the facial area, palms, and soles of the feet. Among many differences between the Athsheans and the Terrans, the Athsheans rarely sleep and frequently engage in lucid dreaming throughout the day, which the Terrans pathologize and punish as laziness. The novella is a story of the exploitative extraction of resources from a colonized planet, a native population on that planet living in close harmony with its world, and a violent rebellion by those Indigenous communities against the exploitative human colonizers.

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This article also appears in the issue 112 - Dreams
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