厄休拉·勒古恩（Ursula K. Le Guin, 1929-2018），生于美国加州伯克利，世界著名奇幻、科幻小说家，被称为“科幻小说女王”。勒古恩在各种不同写作领域均取得了不凡的成就，一生共著有21部小说、11卷短篇小说集、4本文集、12本儿童文学、6卷诗歌和4部翻译；多次赢得国际幻想小说领域最重要的奖项：7次雨果奖、6次星云奖、21次轨迹奖，她还曾获美国国家图书奖、卡夫卡奖及美国科幻奇幻作家协会“大师”称号、《洛杉矶时报》“罗伯特·基尔希终身成就奖”等荣誉。西方文学评论家哈罗德·布鲁姆将她列入美国经典文学作家之中，《纽约时报》则称她为“美国当代最伟大的科幻小说家”，尽管她本人更喜欢以“美国小说家”之名为人所知。
At the beginning of one of my books I wrote, “The people in this book might be going to have lived a long, long time from now in Northern California.” That is—I think—the active voice, progressive conjugation, potential mood, present tense, third-person plural of go inflecting the past infinitive of live.
I deliberately used this magnificent conglomeration of verbiage to establish myself and the reader as pretending to look back in time on some fictional people whom we are at the same time pretending might exist in a time far in our future. You can say all that with a couple of verb forms.
很多孩子享受语言之音本身的愉悦。他们沉湎于重复词语悦耳的声响和拟声词的清脆与顺滑感，迷恋有乐感或震撼耳膜的词语，喜欢异想天开地随意使用它们。有些作家保留着这种原始的乐趣，为语言的声音着迷。其他人则随着成长，失掉了阅读和写作中对口语和听觉的敏感。这是一种悲哀的损失。 “Most children enjoy the sound of language for its own sake. They wallow in repetitions and luscious word-sounds and the crunch and...
“Most children enjoy the sound of language for its own sake. They wallow in repetitions and luscious word-sounds and the crunch and slither of onomatopoeia;* they fall in love with musical or impressive words and use them in all the wrong places. Some writers keep this primal interest in and love for the sounds of language. Others “outgrow” their oral/aural sense of what they’re reading or writing. That’s a dead loss.”