![]() One Chinese character can mean so many different things, and as you know, the meanings have changed. The Tao de Ching, though very old, is accessible because the Chinese characters haven’t changed. ![]() This was my touchstone for comparing the other translations. I don’t know Chinese, but I drew upon the Paul Carus translation of 1898 which has the Chinese characters followed by a transliteration and a translation. Every decade or so I’d do another chapter. ![]() Ursula: Since my twenties, I’ve been working on these poems. In your introduction you write, “I wanted a Book of the Way accessible to a present-day, unwise, unpowerful, perhaps unmale reader, not seeking esoteric secrets, but listening for a voice that speaks to the soul.” With that intent, how did you work on your Tao? ![]() It is scrupulously fair and embracing, not addressed, as are previous translations, to Rulers or Sages or Masters. ![]() LeGuinīrenda: Your new rendition of the Tao de Ching strikes me as a very direct, pragmatic, and poetic classic. The feminine and the Tao: an interview with Ursula K. ![]()
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