There’s no introduction, no forward, no dedication; Finding My Elegy: New and Selected Poems, by Ursula K. Le Guin opens quite simply and immediately after the colophon and table of contents with a short, early poem. “Offering” serves as both preface and invocation, entreating the reader and invisible gods to judge a poem made of the verge of sleep but then forgotten upon waking, and if finding it good, to accept it as an offering. Taken with the resonance of “elegy” in the collection’s title, and the clear symbolism of sleep as a metaphor for death, the initial poem is a clear invitation to the reader to explore these inner lands with the writer, then make up our own minds regarding the worth and weight of the journey.
Inner lands are familiar territory for Le Guin. Her essay collection, The Language of the Night, begins with a 1973 essay called “A Citizen of Mondath” in which she opens with a quotation from A Dreamer’s Tales, by Lord Dunsany:
Toldees, Mondath, Arizim, these are the Inner Lands, the lands whose sentinels upon their borders do not behold the sea. Beyond them to the east there lies a desert, for ever untroubled by man: all yellow it is, and spotted with shadows of stones, and Death is in it, like a leopard lying in the sun.
Le Guin concludes her essay with the observation that, “Outer Space, and the Inner Lands, are still, and always will be, my country.” It’s fitting, then, that nearly forty years later, Le Guin is still exploring those Inner Lands with additional maturity, insight, and gravitas.
It’s sometimes difficult to explore big and abstract ideas in prose without sounding pompous and impenetrable, and likewise it’s hard to express simple daily observations without sounding trite and a little dull and droning on with too many words to convey what was an instant of experience. These are the sorts of insights sometimes better reserved for poetry.
Finding My Elegy offers poems written between 1960 and 2010, so some of them will likely be familiar to the longtime Le Guin reader. Seventy of the poems were selected from earlier volumes, and seventy-seven are presented for the first time. The poems range in length and form, romp with expression and wordplay, and wind about exploring the impossible and inexpressible, the sacred contrasted with the profane.
There are quiet poems about life and work and sleeping cats, here, reminiscent of Emily Dickinson’s gift for juxtaposing the mundane with the profound. There are longer, more structured, careful poems, exploring the faces of god and motherhood and love and sex and despair and sleep.
The poems span the entirety of Le Guin’s career so far, from 1960 to present; collected and presented together, they distill much of Le Guin’s writing life. Finding My Elegy is not so much lament as examination, a recollection of a literary body of work that is rich, evocative, and sometimes whimsical — much like any life.
An elegy for such a remarkable body of work and thought must be sought, because there’s so very much to recall, sort, and consider, that there are no simple summations. The entire retrospective taken as a whole reads like a single long poem made of many smaller parts.
Nothing about Le Guin’s selection and presentation of these poems is accidental or random, and as a reader it’s only fitting that we approach this collection with the same attention to detail and mindfulness, both of the parts and of the whole of the book. As Le Guin’s reader, we seek so that we, too, may find her elegy.
If you haven’t read much poetry, don’t worry: Finding My Elegy is an excellent door into the inner lands for any reader. If you’re a long time poetry lover, you’ll find the journey extraordinarily rewarding and well worth your consideration. Ultimately, the collection, itself, is a long and lovely elegy to be remembered, reconsidered, and revisited again and again.