Kelly Reichardt e Ursula K. Le Guin

práticas situadas de fabulação especulativa

Abstract

Our proposal with this article is to investigate a possible kinship between the fabulative work of filmmaker Kelly Reichardt in Meek’s Cutoff (2010), her first “period” film, and some propositions in the fictional and essayistic work of speculative fiction author Ursula K. Le Guin.

As a starting point, we establish the very territory from which these stories were woven - the state of Oregon, USA - where the two authors chose to set, and to which they directed many of their questions about the narratives that had traditionally been handed down to them about the country's history. Both share a common curiosity about the role of women in the composition of this territory, and seek to recover these narratives, which have been buried by masculinist public history, the history of the fatherland. As these women have done historically, they both choose to enter in relationship with other perspectives, other world visions beyond the modern paradigm, seeking to fabulate “a world where many worlds fit”.

Our research will seek to understand how these speculations, which go in the opposite hand oh the technoheroic narrative, proposing, instead of policies of annihilation and domination, practices of alliance between alterities for survival, these two authors not only go against the usual expectations of the genres in which they work (the western and science fiction), but also generate reflections on the possibilities of existence in a world that is not only that of yesterday or tomorrow, but also that of today.