In order to make Mukund Lath’s thoughts on music and identity accessible to a broader audience, and to call attention to links between Hindustānī musical theory and classical Indian philosophical notions, Lath’s paper “Identity Through Necessary Change: Thinking About ‘Rāga-Bhāva,’ Concepts and Characters” is being republished here with an introduction by David Shulman and explanatory notes. Mukund Lath argues that identity is usually understood as something that remains the same despite change. His endeavor is to (...) explore an alternative to this convention. The case study for Lath’s philosophical exploration is rāga music, i.e. Hindustānī classical music. He argues that the identity of the rāga is maintained not despite change, but owing to the necessary change in every execution of “the same” rāga. But how are we to even start thinking about a notion of identity that embraces rather than rejects change, a notion of identity that is based on and is rooted in change, not in stability or perpetuity? Lath explores this alternative and its consequences for the notion of identity at large. (shrink)

(A notion of imagination as Creative Transformation envisaged by certain ancient Indian literary critics and its application in the field of music.)The idea of creative imagination naturally suggests artistic activity. Activity such as that of the writer, the painter, the sculptor, the musician, the dancer, the architect and the like. This, we generally think, is the homeground of creative imagination, though, as has been justly pointed out, every human endeavour, whether thought or action, presupposes it, or, at least, needs it (...) in order to be significant. The writer comes first on my list because we who deal in words tend to think of literature before any other art, as is amply borne out by our proceedings here. But I have another, a more important reason for listing him first. Reflections over the writer's art, that is, literature, has a longer history and a greater depth of critical self-awareness in India than with respect to any other art, a fact which is perhaps true of most cultures. (shrink)

In this paper, I offer a close comparative reading of a creation myth from chapter 1 of the Bṛhadāraṇyaka-Upaniṣad, which opens with the startling statement “ātmaivedam agra āsīt”, “in the beginning there was the self (ātman)”. I read this classical text with Śaṅkara, its foremost commentator, in dialogue with an ensemble of Indologists (Wilhelm Halbfass, Greg Bailey and Frederick Smith) and theorists (Walter Benjamin, Ramchandra Gandhi and Hélène Cixous), and vis-à-vis, the creation myth narrated in chapter 1 of the Book (...) of Genesis. My aim is to decipher the intrinsic relation between identity, difference and diversity underlying the Upaniṣadic myth, and the ambivalent relationship (fear and desire) between self and other depicted here. The Upaniṣad presents a narrative of “the self first”, and implied is the aspiration to retrieve and rediscover this first self, the ātman, which precedes and encompasses everything else. I challenge this narrative drawing on Mukund Lath’s paper (J World Philos 4:6–23, 2003/2018). According to Lath, being is becoming, and change is a precondition of identity-formation. Identity, he argues, does not only accommodate but also invites change and plurality. Identity for Lath is a matter of creation, not restoration. It is pregnant with the future, not obsessed with premordiality. Lath’s unique case study for his counter-Upaniṣadic discussion of identity and self is classical Indian music, rāga music. (shrink)

Background and rationale Several factors that motivate individuals to participate in non-therapeutic studies have been identified. This study was conducted as limited data is available regarding these motivations from developing countries. Methods This was a single-centre study conducted over 4 months in which a questionnaire was administered to 102 healthy participants and 16 patient participants who had earlier taken part in non-therapeutic studies at our centre. Descriptive statistics and univariate analysis were used to analyse data. Results The most common motivation (...) among healthy participants was financial reward (65%) followed by altruism, free medical check up, curiosity and personal health benefit. Patient participants, however, most commonly said they consented to take part in the trial as they were ‘invited to participate by the treating physician’ (88%). In comparison with the patient participants, healthy participants were more likely to be satisfied with the financial reward (p=0.02), and recommend participation in studies to friends or relatives (p=0.0013). Conclusions The most common motivating factor to participate in non-therapeutic studies appears to be different for healthy participants (financial reward) and patient participants (invitation to participate by the physician). Participants also felt that adequate information and care was given to them during the trial, and that they would participate in future clinical studies, and would also recommend such studies to their friends. (shrink)

Objective To evaluate the questions asked during the informed consent process by adult and adolescent participants as well as their parents in five interventional regulatory studies conducted at our center from 2018 to 2019. Methods The study protocol was approved by Institutional Ethics Committee [EC/OA-116/2019]. Consent narratives in the source documents for the studies were evaluated. Questions asked were classified as per Indian Council of Medical Research’s guidelines. We evaluated total number of questions, nature of questions and whether there was (...) an association between education, gender, phase of trials, physician taking consent and number questions being asked. Results A total of five studies that had N = 297 consent narratives were evaluated. Narratives of n = 284 adult participants/Guardians and of n = 13 children were analysed. A total of 374 questions were asked of which children asked only 10 questions. A total of 131/284 of the participants did not ask any question. Among the participants who asked questions, the majority132/171 participants asked about risks related to investigational products followed by questions related to study procedures 83/171. Participants/guardians with higher education and those who consented for Phase III studies asked significantly more questions. Conclusion A majority of the queries were related to the risks associated with the investigational products. Educational status and the Phase of the trial were found to be significantly associated with the number of questions being asked. (shrink)

Studies on Neurospora chromosome segment duplications (Dps) performed since the publication of Perkins's comprehensive review in 1997 form the focus of this article. We present a brief summary of Perkins's seminal work on chromosome rearrangements, specifically, the identification of insertional and quasiterminal translocations that can segregate Dp progeny when crossed with normal sequence strains (i.e., T × N). We describe the genome defense process called meiotic silencing by unpaired DNA that renders Dp‐heterozygous crosses (i.e., Dp × N) barren, which provides (...) a basis for identifying Dps, and discuss whether other processes also might contribute to the barren phenotype of Dp × N and Dp × Dp crosses. We then turn to studies suggesting that large Dps (i.e., >300 kbp) can allow smaller gene‐sized duplications to escape another genome defense process called repeat‐induced point mutation (RIP), possibly by titration of the RIP machinery. Finally, we assess whether in natural populations dominant RIP suppressor Dps provide an “RIP‐free” niche for evolution of new genes following the duplication of existing genes. (shrink)

Daya Krishna and Twentieth-Century Indian Philosophy introduces contemporary Indian philosophy as a unique philosophical genre through the writings of one its most significant exponents, Daya Krishna (1924-2007). It surveys Daya Krishna's main intellectual projects: rereading classical Indian sources anew, his famous Samvad Project, and his ardent attempt to formulate a social and political theory that can better fit India's needs and challenges. Conceived as a dialogue with Daya Krishna and contemporaries, including his interlocutors, Krishnachandra Bhattacharyya, Badrinath Shukla, Ramchandra Gandhi and (...) Mukund Lath, this book is an engaging introduction to anyone interested in contemporary Indian philosophy and in the thought-provoking writings of Daya Krishna. (shrink)

Daniel Raveh's book consists of four chapters, each dedicated to a certain narrative, retold and analyzed vis-à-vis Pātañjala-Yoga, and through the writings of contemporary philosophers such as Krishnachandra Bhattacharyya, Pandit Badrinath Shukla, Daya Krishna and Mukund Lath. The narratives discussed are from the Upaniṣadic lore, the Mahābhārata, the pre-modern Śaṅkara-digvijaya, and finally the script of a recent Bollywood movie, Ghajini.There are several layers to the book, all interesting in and of themselves, but their interconnection is the heart of (...) this unusual work. The thread that binds these layers and connects a myriad of themes and texts--classical and... (shrink)

Krishnachandra Bhattacharyya’s improvisations, or rather his interpretation as improvisation, inspires my own improvisation on Milan Kundera’s 1996 novel Slowness. Not only do I attempt to improvise, or to “interfere creatively” in Kundera’s work, but moreover, I argue that this is exactly how he himself works in Slowness with Vivant Denon’s 1777 novella No Tomorrow. Reading Kundera, as I do here, with and through Indian theory, from the 7th or 8th century poet Rājaśekhara to contemporary thinkers such as Bhattacharyya, Daya Krishna, (...) Mukund Lath and others, is not a standard move. However, it enables me to contemplate “in action” about the possibilities and impossibilities of a cross-cultural dialogue, as a potent tool of interpretation. (shrink)

This philosophical meditation, which deals with death as question, presence, and even teacher, begins with Ramchandra Gandhi’s penetrating essay ‘On Meriting Death.’ What does it mean ‘to merit’ death? To provide an answer, I travel through RCG’s corpus, in dialog with contemporary theorists such as Sri Aurobindo, Daya Krishna, and Mukund Lath. RCG implies that the question about ‘meriting’ death, and life, is not and cannot be ‘personal’ or ‘isolated’. For X to die, is for his close and (...) distant samāj a matter of losing him and living without him. Hence meriting death, as also life, is a joint venture which involves deep understanding regarding non-isolation as the heart of the human situation. RCG’s creative thinking, or svarāj in ideas, reaches its peak when he dares to offer an answer of his own to the piercing question kim āścaryam, ‘what is amazing?’ raised in the Yakṣa-praśna episode of the Mahābhārata. For RCG, the heart of the matter is not the ‘ungraspability’ of one’s unavoidable death, or the perennial search for ‘permanence’ in vain, but our failure to perceive ‘that in the martyā which is amṛta,’ i.e., a sense of solidarity in the face of death, connecting ‘I and Thou,’ which he derives from the icchā mṛtyu of his grandfather, the famous Mahatma. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Making of Contemporary Indian Philosophy: Krishnachandra Bhattacharyya ed. by Daniel Raveh and Elise Coquereau-SaoumaMuzaffar Ali (bio)The Making of Contemporary Indian Philosophy: Krishnachandra Bhattacharyya. Edited by Daniel Raveh and Elise Coquereau-Saouma. London: Routledge, 2023. Pp. xiii+ 263. Hardcover £120, isbn 978-0-367-70981-5. Krishnachandra Bhattacharyya (KCB) is more than the seminal essay, "Svaraj in Ideas," through which academicians, politicians, postcolonial/decolonial thinkers and too often philosophers usually identify and fossilize him. (...) That, in my opinion, is the characteristic message of this volume. The message attains significance when calls for decolonization result in the sacrifice of actual philosophical legacy and resources to 'mere polity talk'. KCB, and with him other philosophers, need to be rescued from this 'mere polity talk', and the current volume rightly navigates in that direction. Setting the tone, The Making of Contemporary Indian Philosophy: Krishnachandra Bhattacharyya states that KCB is a significant yet unsung piece in the "jigsaw puzzle" of contemporary Indian philosophy (CIP). It rightly acknowledges KCB as the father of CIP, a distinct-yet-neglected genre of Indian philosophy "that draws on both classical Indian philosophical sources and Western materials, old and new" (p. 3). With a focus on KCB, the volume attempts to get back to and deliberate on the spectrum of his philosophy with two aims: a) To rediscover the philosophical significance and novelty of his philosophy where the classics of Indian philosophy and the modern avatars of European philosophy are made to speak to each other, and, b) To re-turn the attention of a global philosophical landscape that remains dominated by classical Indian philosophy and modern Western philosophy towards the present, "the now," of Indian philosophy in CIP, which was set in motion by KCB at the beginning of the twentieth century. The volume is divided into five sections. The first section, "Entrée" includes Daniel Raveh's "Introduction" and Daya Krishna's essay on KCB. Raveh's introduction classifies KCB's philosophy under three rubrics of decolonization (Svaraj), philosophical reflections (KCB's series of studies), and independent essays (conceptualizations). It also offers a synoptic reading of available literature on KCB, so that the reader can situate his philosophy within the multifaceted discourses that need to be recognized, reconfigured and revisited. Daya Krishna's essay is based on his two separate books so that a joint overview of KCB's notion of subject-object and the three Absolutes can be offered to the reader. The second section, "Lexicography" has three essays where the contributors [End Page 1] investigate, analyse or study a particular concept from KCB's philosophy. Elise Coquereau-Souma's essay focuses on the absence of a specific definition of "demand" in KCB's entire project. To unravel the implications of the concept of demand in KCB, she argues that it, "instigates the movement of KCB's method" (p. 49) to study, understand, and realise the domain of the experiential. Nir Feinberg's contribution underlines given-ness as felt-fact (p. 72) in KCB's contemporary commentary on Śaṅkara's theory of māyā. Feinberg argues that KCB innovatively explores the possibility of understanding the reality of the world (otherwise illusory) through the category of feeling, and that knowledge and facts have a limited application to eliminate this feeling of reality. Dor Miller's essay focuses on the concept of rasa in KCB's philosophy. Miller argues that KCB considers rasa as a "feeling par excellence" that needs to be understood, examined and studied in consonance with other human feelings. KCB thus classifies feelings into "'direct,' 'sympathetic,' and 'contemplative'" (p. 80). The aesthetic experience of reality, Miller tells us, becomes possible through the contemplative feeling whose subject is "impersonal, or universal" (p. 89). Miller claims that KCB's interpretation of rasa via the realm of contemplative feelings transcends the traditional commentarial paradigms of rasa and may offer a remedy to some contemporary anxieties of rasa theorists, especially those raised by Mukund Lath. The third section, "Philosophical Junctions," includes four contributions and starts with Stephen Kaplan's chapter on KCB's three Absolutes and four aspects of negation. Kaplan is interested in understanding whether a mapping between KCB's fourfold theory... (shrink)

This paper is a tribute to Rajendra Swaroop Bhatnagar. Bhatnagar Saab was a philosopher of the here and now, of the worldly, of the social, who did not hesitate to look into violence, poverty, pain, and suffering. He was an activist through his writings, and worked to establish social awareness. Metaphysics and the spiritual, considered by many as a central leitmotif of Indian philosophy, he saw as secondary or even marginal. The first part of the paper surveys and contextualizes Bhatnagar (...) Saab’s work as a philosopher and translator of Plato into Hindi. The second part of the paper is a multilingual manifesto, which calls attention to philosophy in Hindi and other modern Indian languages and challenges the over-dominance of English. The third part of the paper is a jugalbandi, a philosophical duet. It includes one of Bhatnagar’s last essays, “No Suffering if Human Beings Were Not Sensitive”, published here for the first time, interwoven with my “commentary,” in which I aim to amplify different points raised by him and to expand the boundaries of the discussion. The main theme to be addressed is suffering. What could be more relevant during the present Covid-19 days? (shrink)

To most people outside the relevant laboratories and operating rooms, xenotransplants and artificial organ transplants are bizarre. While the bizarre scares many away and angers others, Lesley A. Sharp approached it and asked, What behooves medical research to take organs out of pigs and primates and design organs out of metal and plastic and use them to replace failing organs in humans? Sharp attended years of conferences, visited countless hospitals and laboratories, and interviewed engineers, scientists, and surgeons to explore the (...) choices and implicit values of decision‐makers in alternative transplantation. The Transplant Imaginary: Mechanical Hearts, Animal Parts, and Moral Thinking in Highly Experimental Science is a rich resource for philosophers who wish to expound on the morality of implanting nonhuman animal and mechanical organs into humans. The author's thorough ethnographic survey of xeno‐ and biomechanical transplant research leads well into two lines of questioning. First, how ethical is the pursuit of alternative transplant? Second, what is essential for transplant researchers to do their jobs ethically? (shrink)

This paper examines Nietzsche’s conflicted relation to Epicurus, an important naturalistic predecessor in the ‘art of living’ tradition. I focus in particular on the Epicurean credo “live unnoticed” (lathe biōsas), which advocated an inconspicuous life of quiet philosophical reflection, self-cultivation and friendship, avoiding the public radar and eschewing the larger ambitions and perturbations of political life. Perhaps unsurprisingly, the idea looms largest and is most warmly received in Nietzsche’s middle period writings, where one finds a repeated concern with prudence, withdrawal (...) and concealment, and where the primary emphasis is on private pluralistic experiments in therapeutic self-cultivation among small groups of free spirits. The idea of the Epicurean Garden appeals greatly to Nietzsche at this time as well, and I suggest that Zarathustra’s Blessed Isles are best understood as a friendship community along these lines. However, Nietzsche’s growing impatience with human imperfections and the siren song of great politics eventually lead him away from Epicurus and back to Plato. Beginning with Zarathustra, the paradigm of the modest, hidden helpful philosopher-therapist is replaced by the more ambitious philosopher-legislator who takes upon himself the task of determining the future of humanity. Nonetheless, I argue that we can profit more from the modest, practical insights of Nietzsche’s Epicurean art of living. (full version). (shrink)

This paper examines Nietzsche’s conflicted relation to Epicurus, an important naturalistic predecessor in the ‘art of living’ tradition. I focus in particular on the Epicurean credo “live unnoticed” (lathe biōsas), which advocated an inconspicuous life of quiet philosophical reflection, self-cultivation and friendship, avoiding the public radar and eschewing the larger ambitions and perturbations of political life. Perhaps unsurprisingly, the idea looms largest and is most warmly received in Nietzsche’s middle period writings, where one finds a repeated concern with prudence, withdrawal (...) and concealment, and where the primary emphasis is on private pluralistic experiments in therapeutic self-cultivation among small groups of free spirits. The idea of the Epicurean Garden appeals greatly to Nietzsche at this time as well, and I suggest that Zarathustra’s Blessed Isles are best understood as a friendship community along these lines. However, Nietzsche’s growing impatience with human imperfections and the siren song of great politics eventually lead him away from Epicurus and back to Plato. Beginning with Zarathustra, the paradigm of the modest, hidden helpful philosopher-therapist is replaced by the more ambitious philosopher-legislator who takes upon himself the task of determining the future of humanity. Nonetheless, I argue that we can profit more from the modest, practical insights of Nietzsche’s Epicurean art of living. (short version). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, in (P)rescription (...) Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

An examination of tool marks and other evidence of manufacturing techniques on two astrolabes of identical pattern made by Hartman of Nuremberg in 1537 shows that all of the parts have been laid out with scribers and filed to final dimensions. All parts except the rings of the maters, which are castings, are made of sheet brass. The only machine tool employed was a small lathe with longitudinal feed, which was used to turn the diameters of the pins. Corresponding dimensions (...) of the two astrolabes differ by less than 0·2 mm on average, but parts are not interchangeable between the instruments. There is evidence that this pattern of astrolabe was made in batches with division of labour in Harman's shop. This paper is an introductory study intended to show methods of examination that reveal manufacturing techniques. (shrink)

It is hardly a novel claim that the work of Ursula K. Le Guin (1929–2018) contains influences from philosophical Daoism, but I argue that this influence has yet to be fully understood. Several scholars criticize Le Guin for misrepresenting Daoist ideas as they appear in ancient Chinese philosophical texts, particularly the Dao De Jing and the Zhuangzi. While I have sympathy for this charge, especially as it relates to Le Guin’s translation of the Dao De Jing, I argue that it (...) fails to understand the extent to which her fiction contains her own philosophical development of Daoist ideas. Looking at some of her most influential works (e.g., The Left Hand of Darkness, The Dispossessed, The Lathe of Heaven, A Wizard of Earthsea, etc.), I suggest that Le Guin’s fiction is better seen as a refocusing of Daoist concepts such as complementary contrasts and non-action (wu wei) in the contexts of modern feminism, modern anarchism, science fiction, and fantasy. Le Guin was not trying to represent ancient Daoism as a scholar. Rather, she was trying to reimagine Daoism as a creative artist and philosopher in her own right. This way of viewing Le Guin’s work does not fully exorcise the specter of the possibility of Orientalist cultural appropriation, but it does make the issue more complex in a way that can deepen further conversations. To what extent can an artist be guilty of misrepresentation if representation was not, strictly speaking, her goal? I end with a brief reflection on what is perhaps the deepest philosophical lesson of Le Guin’s work: everything is more complicated than it first appears. On that note, the present article is an attempt not just to do philosophy about Le Guin, but to do philosophy in a Le Guinian fashion, which requires rethinking the metaphor of combat that guides much academic philosophy today. (shrink)

It was a dark and stormy night, in the otherwise unnoteworthy year 711 E.C. , and the great-aunt sat crouched at her typewriter, holding his hands out to it from time to time as if for warmth and swinging on a swing. He was a handsome boy of about eighteen, one of those men who suddenly excite your desire when you meet them in the street, and who leave you with a vague feeling of uneasiness and excited senses. On the (...) plate beside the typewriter lay a slice of tomato. It was a flawless slice. It was a perfect slice of a perfect tomato. It is perfectly boring. I hold out my hands to the typewriter again, while swinging and showing my delicate limbs, and observe that the rows of keys are marked with all the letters of the English alphabet, and all the letters of the French alphabet minus accent marks, and all the letters of the Polish alphabet except the dark L. By striking these keys with the ends of my fingers or, conceivably, a small blunt object, the aging woman can create a flaw in the tomato. She did so at once. It was then a seriously, indeed a disgustingly flawed tomato, but it continued to be perfectly boring until eaten. She expired instantly in awful agony, of snakebite, flinging the window wide to get air. It is a dark and stormy night and the rain falling in in the typewriter keys writes a story in German about a great-aunt who went to a symposium on narrative and got eaten in the forest by a metabear. She writes the story while reading it with close attention, not sure what to expect, but collaborating hard, as if that was anything new; and this is the story I wrote . . . Ursula K. Le Guin, distinguished novelist, poet, and essayist, is the author of The Left Hand of Darkness, Malafrena, and The Dispossessed, for which she won both the Hugo and the Nebula Award. Her novel The Lathe of Heaven was made into a film by the Public Broadcasting System. (shrink)