More than most of her works, Ursula K. Le Guin’s The Dispossessed feels unfinished, its perspective blurred. But through its flawed aperture one nevertheless sees why: its subject is all that is left unsaid and undone after a revolution. In this tale of two worlds, anarchist Anarres and statist Urras are implacably opposed. Yet each is continuous with the other. For its flaws, The Dispossessed, as a sociological novel, brilliantly analyzes where emancipatory politics can go wrong, using insights that were new even to social scientists in the early 1970s: the notion that power need not be formally titled or openly hierarchical in order to be effective and oppressive. In short, this is a novel about the dangers of informal power, and how revolutionary dogma can rhetorically mask it. But it stands out among Cold War era fiction for not portraying a flawed leftist society as a dystopia. Instead, Le Guin’s vision of Anarres is of a society that has become complacent, that has forgotten the permanence of revolution, where bad actors take advantage of political dogma and “non‐hierarchical” stations to exercise power in grotesque ways. Power never goes away, and Le Guin’s genius in The Dispossessed lies in showing us the myriad ways it endures.

中文翻译：

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命名星星：厄休拉·勒金（Ursula Le Guin）的《无神论者》和对乌托邦主义的重新想象

Ursula K. Le Guin的作品《 The Dispossessed》比她的大多数作品都未完成，其视角模糊。但是，通过漏洞百出的开口，人们仍然明白为什么：它的主题是革命后所有被遗忘和遗忘的事物。在这两个世界的故事中，无政府主义者阿纳雷斯和国家主义者乌拉斯毫无保留地遭到反对。然而，每个彼此都是连续的。由于其缺陷，作为社会学小说的《 The Dispossessed》巧妙地分析了解放政治可能出问题的地方，使用了1970年代初甚至对于社会科学家来说都是新的见解：权力不需要正式命名或公开分层的观念有效和压抑。简而言之，这是一部关于非正式权力的危险的小说，以及革命教条如何用口头上的措辞掩盖它的小说。但这在冷战时代小说中脱颖而出，因为它没有将有缺陷的左派社会描绘成反乌托邦。取而代之的是，勒金（Le Guin）对阿纳雷斯（Anarres）的看法是一个已经变得自满的社会，它忘记了革命的持久性，在这个社会中，坏人利用政治教条和“非等级”站以怪诞的方式行使权力。权力永远不会消失，勒奎因在《无神论者》中的才华在于向我们展示了它所承受的无数种方式。