Ursula K. Le Guin

Ursula Kroeber Le Guin (/ˈkroʊbər lə ˈɡwɪn/;[1] October 21, 1929 – January 22, 2018) was an American author. She is best known for her works of speculative fiction, including science fiction works set in her Hainish Universe, and the Earthsea fantasy series. First published in 1959, she had a literary career spanning nearly sixty years, during which she released more than twenty novels and over a hundred short stories, in addition to many volumes of poetry, literary criticism, translations, and children's books. Frequently described as an "author of science fiction", Le Guin has said she would prefer to be known as an "American novelist",[2] and has also been called a "major voice in American Letters".[3]

Le Guin was born in Berkeley, California, to author Theodora Kroeber and scholar Alfred Louis Kroeber. Having earned a master's degree in French, Le Guin began doctoral studies, but abandoned these after her marriage in 1953 to historian Charles Le Guin. She began writing full-time in the late 1950s, and achieved major critical and commercial success with A Wizard of Earthsea (1968) and The Left Hand of Darkness (1969)—described by Harold Bloom as her masterpieces.[4] For the latter volume Le Guin won both the Hugo and Nebula awards for best novel, becoming the first woman to do so. Several more works set in Earthsea or the Hainish Universe followed; other significant pieces include the experimental work Always Coming Home (1985), works set in the fictional country of Orsinia, and many anthologies.

Le Guin was strongly influenced by cultural anthropology, Taoism, feminism, and the writing of Jungian psychology. Many of her stories used anthropologists or cultural observers as protagonists, and Taoist ideas about balance and equilibrium have been identified in several works. Le Guin often subverted tropes typical to speculative fiction, such as through her use of dark-skinned protagonists in Earthsea, and also used unusual stylistic or structural devices in books such as Always Coming Home. Social and political themes, including gender, sexuality, and coming of age were prominent in her writing, and she explored alternative political structures in many stories, notably in the parable "The Ones Who Walk Away from Omelas" (1973) and the utopian novel The Dispossessed (1974).

Le Guin's writing was enormously influential in the field of speculative fiction, and was the subject of intense critical attention. She received numerous accolades, including seven Hugos, six Nebulas, and twenty-two Locus Awards, and was made a Grand Master of the Science Fiction and Fantasy Writers of America in 2003, only the second woman so honored. The U.S. Library of Congress named her a Living Legend in 2000, and in 2014, she won the National Book Foundation Medal for Distinguished Contribution to American Letters. Le Guin influenced many other authors, including Booker Prize winner Salman Rushdie, David Mitchell, Neil Gaiman, and Iain Banks. After her death in 2018, critic John Clute wrote that Le Guin had "presided over American science fiction for nearly half a century",[5] while author Michael Chabon referred to her as the "greatest American writer of her generation".[6]

Ursula K. Le Guin
Le Guin at a reading in Danville, California (2008)
Le Guin at a reading in Danville, California (2008)
BornUrsula Kroeber
October 21, 1929
Berkeley, California, U.S.
DiedJanuary 22, 2018 (aged 88)
Portland, Oregon, U.S.
OccupationNovelist
Alma mater
Periodc. 1959–2018
Genre
Notable works
Spouse
Charles Le Guin (m. 19532018)
Children3
RelativesAlfred Louis Kroeber (father); Theodora Kroeber (mother); Karl Kroeber (brother)
Website
ursulakleguin.com

Life

Childhood and education

Ishi
Ursula's father, Alfred Kroeber, with Ishi, the last of the Yahi people, in 1911

Ursula K. Le Guin was born Ursula Kroeber in Berkeley, California, on October 21, 1929. Her father, Alfred Louis Kroeber (1876–1960), was an anthropologist at the University of California, Berkeley.[7][8] Le Guin's mother, Theodora Kroeber (1897–1979; born Theodora Covel Kracaw), had a graduate degree in psychology, but turned to writing in her sixties, developing a successful career as an author; her best known work was Ishi in Two Worlds (1961), a biographical volume about Ishi, an indigenous American who was the last known member of the Yahi tribe.[7][9]

Ursula had three older brothers: Karl, who became notable as a literary scholar, Theodore, and Clifton.[10][11] The family had a large book collection, and the siblings all became interested in reading while they were young.[10] The Kroeber family also had a number of visitors, including well-known academics such as Robert Oppenheimer; Le Guin would later use Oppenheimer as the model for her protagonist, a physicist named Shevek, in The Dispossessed.[9][10] The family divided its time between a summer home in the Napa valley, and a house in Berkeley during the academic year.[9]

Le Guin's reading included science fiction and fantasy: she and her siblings frequently read issues of Thrilling Wonder Stories and Astounding Science Fiction. She was fond of myths and legends, particularly Norse mythology, and of Native American legends that her father would narrate. Other authors she enjoyed were Lord Dunsany and Lewis Padgett.[10] Le Guin also developed an early interest in writing; she wrote a short story when she was nine, and submitted her first short story to Astounding Science Fiction when she was eleven. The piece was rejected, and she did not submit anything else for another ten years.[4][12][13]

Le Guin attended Berkeley High School.[14] She received her Bachelor of Arts in Renaissance French and Italian literature from Radcliffe College in 1951, and graduated as a member of the Phi Beta Kappa honor society.[15] As a child she had been interested in biology and poetry, but had been limited in her opportunities by her difficulties with mathematics.[15] Le Guin undertook graduate studies at Columbia University, and earned a Master of Arts in French in 1952.[16] Soon after, she began working towards a Ph.D., and won a Fulbright grant to continue her studies in France from 1953 to 1954.[9][16]

Married life and death

In 1953, while traveling to France aboard the Queen Mary, Ursula met historian Charles Le Guin.[16] They got married in Paris in December 1953.[17] According to Le Guin, the marriage signaled the "end of the doctorate" for her.[16] While her husband finished his doctorate at Emory University in Georgia, and later at the University of Idaho, Le Guin taught French and worked as a secretary until the birth of her daughter Elisabeth in 1957.[17] In 1959 Charles became an instructor in history at Portland State University, and the couple moved to Portland, Oregon.[16] They would remain there for the rest of their lives,[18] although Le Guin received further Fulbright grants to travel to London in 1968 and 1975.[9] The couple had two daughters, Elisabeth and Caroline, by the time they moved, and a son, Theodore, was born in Portland in 1964.[16]

Le Guin's writing career began in the late 1950s, but the time she spent caring for her children constrained her writing schedule.[16] She would continue writing and publishing for more than 50 years, until her death.[18] She was also an editor and a teacher at the undergraduate level. She served on the editorial boards of the journals Paradoxa and Science Fiction Studies, in addition to writing literary criticism herself.[19] She taught courses at Tulane University, Bennington College, and Stanford University, among others.[18][20] In May 1983 she delivered a Commencement speech entitled "A Left-Handed Commencement Address" at Mills College in Oakland, California.[21] It is listed as  No. 82 in American Rhetoric's Top 100 Speeches of the 20th Century,[22] and was included in her nonfiction collection Dancing at the Edge of the World.[23]

Le Guin died on January 22, 2018, at her home in Portland, at the age of 88. Her son stated that she had been in poor health for several months. He gave no specific cause for her death,[8] but said it was likely that she had a heart attack. Private memorial services for her were held in Portland.[24] A public memorial service, which included speeches by the writers Margaret Atwood, Molly Gloss, and Walidah Imarisha, was held in Portland in June 2018.[25][26]

Views and advocacy

Le Guin refused a Nebula Award for her story "The Diary of the Rose" in 1975, in protest at the Science Fiction Writers of America's revocation of Stanisław Lem's membership. Le Guin attributed the revocation to Lem's criticism of American science fiction and willingness to live in the Soviet Union, and said she felt reluctant to receive an award "for a story about political intolerance from a group that had just displayed political intolerance".[28][29]

Le Guin once said she was "raised as irreligious as a jackrabbit". She expressed a deep interest in Taoism and Buddhism, saying that Taoism gave her a "handle on how to look at life" during her adolescent years.[30] In 1997 she published a translation of the Tao Te Ching, motivated by her sympathy for Taoist thought.[30][31]

In December 2009, Le Guin resigned from the Authors Guild in protest over its endorsement of Google's book digitization project. "You decided to deal with the devil", she wrote in her resignation letter. "There are principles involved, above all the whole concept of copyright; and these you have seen fit to abandon to a corporation, on their terms, without a struggle."[32][33] In a speech at the 2014 National Book Awards, Le Guin criticized Amazon and the control it exerted over the publishing industry, specifically referencing Amazon's treatment of the Hachette Book Group during a dispute over ebook publication. Her speech received widespread media attention within and outside the US, and was broadcast twice by National Public Radio.[27][34][35]

Chronology of writings

Early work

Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first short story was "An die Musik", in 1961; both were set in her fictional country of Orsinia.[36][37] Between 1951 and 1961 she also wrote five novels, all set in Orsinia, which were rejected by publishers on the grounds that they were inaccessible. Some of her poetry from this period was published in 1975 in the volume Wild Angels.[38] Le Guin turned her attention to science fiction after lengthy periods of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.[39] Her first professional publication was the short story "April in Paris" in 1962 in Fantastic Science Fiction,[40] and four other stories followed in the next few years, in Fantastic or Amazing Stories.[39] Among them was The Dowry of the Angyar, which introduced the fictional Hainish Universe,[41] and "The Rule of Names" and "The Word of Unbinding", which introduced the world of Earthsea.[42] These stories were largely ignored by critics.[39]

Ace Books released Rocannon's World, Le Guin's first published novel in 1966. Two more Hainish novels, Planet of Exile and City of Illusions were published in 1966 and 1967, respectively, and the three books together would come to be known as the Hainish trilogy.[43] The first two were published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.[43] City of Illusions was published as a standalone volume, indicating Le Guin's greater name-recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.[43] The books contained many themes and ideas also present in Le Guin's better known later works, including the "archetypal journey", cultural contact and communication, the search for identity, and reconciling opposing forces.[44]

Critical attention

Le Guin's next two books brought her sudden and widespread critical acclaim. A Wizard of Earthsea, published in 1968, was a fantasy novel written initially for teenagers.[4] Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.[45][46] A coming of age story set in the fictional archipelago of Earthsea, the book received a positive reception in both the US and Britain.[45][47]

Ursula Le Guin Harlan Ellison
Le Guin with writer Harlan Ellison at Westercon in Portland, Oregon, 1984

Her next novel, The Left Hand of Darkness, was a Hainish Universe story exploring themes of gender and sexuality on a fictional planet where humans have no fixed sex.[48] According to scholar Donna White, the book "stunned the science fiction critics"; it won both the Hugo and the Nebula Awards for best novel, making Le Guin the first woman to win these awards, and a number of other accolades.[49][50] A Wizard of Earthsea and The Left Hand of Darkness were described by critic Harold Bloom as Le Guin's masterpieces.[4] The Left Hand of Darkness was also a personal milestone for Le Guin: critics described it as her "first contribution to feminism".[51] She won the Hugo Award again in 1973 for The Word for World is Forest, which Le Guin later described as the "most overt political statement" she had made in a fictional work.[52] The fiction of the period 1966 to 1974, which also included the Hugo Award-winning "The Ones Who Walk Away From Omelas" and the Nebula Award-winning "The Day Before the Revolution",[53] has been described by scholar Elizabeth Cummins as Le Guin's best-known body of work.[54]

Le Guin continued to develop themes of equilibrium and coming-of-age in the next two installments of the Earthsea series, The Tombs of Atuan and The Farthest Shore, published in 1971 and 1972, respectively.[55] Both books were praised for their writing, while the exploration of death as a theme in The Farthest Shore also drew praise.[56] Her 1974 novel The Dispossessed again won both the Hugo and the Nebula awards for best novel, making her the first person to win both awards for each of two books.[57] Also set in the Hainish Universe, the story explored anarchism and utopianism. Scholar Charlotte Spivack described it as representing a shift in Le Guin's science fiction towards discussing political ideas.[58][59]

Wider exploration

Le Guin published a variety of work in the second half of the 1970s. This included speculative fiction in the form of the collection The Wind's Twelve Quarters,[60] and the novel The Eye of the Heron.[61] She also published Very Far Away from Anywhere Else, a realistic novel for adolescents,[62] as well as the collection Orsinian Tales and the novel Malafrena in 1976 and 1979, respectively. Though the latter two were set in the fictional country of Orsinia, the stories were realistic fiction rather than fantasy or science fiction.[63] The Language of the Night, a collection of essays, was released in 1979,[64] and Le Guin also published Wild Angels, a volume of poetry, in 1975.[65]

Between 1979, when she published Malafrena, and 1994, when the collection A Fisherman of the Inland Sea was released, Le Guin wrote primarily for a younger audience.[66] She released The Beginning Place, an adolescent fantasy novel, in 1980,[66][67][31] and the experimental Always Coming Home in 1985.[68] She wrote 11 children's picture books, including the Catwings series, between 1979 and 1994, along with four more poetry collections, all of which were positively received.[65][66] She also revisited Earthsea, publishing Tehanu in 1992: coming eighteen years after The Farthest Shore, during which Le Guin's views had developed considerably, the book was grimmer in tone than the earlier works in the series, and challenged some ideas presented therein; nonetheless, it received critical praise.[69]

Later writings

Le Guin returned to the Hainish Cycle in the 1990s after a lengthy hiatus with the publication of a series of short stories, beginning with "The Shobies' Story" in 1990.[70] These stories included "Coming of Age in Karhide" (1995), described by scholar Sandra Lindow as "so transgressively sexual and so morally courageous" that Le Guin "could not have written it in the '60s".[70] In the same year she published the story suite Four Ways to Forgiveness, and followed it up with "Old Music and the Slave Women", a fifth, connected, story in 1999. All of the stories explored freedom and rebellion within a slave society.[71] In 2000 she published The Telling, which would be her final Hainish novel.[37][72]

From 2002 onwards several collections and anthologies of Le Guin's work were published. A series of her stories from the period 1994–2002 was released in 2002 in the collection The Birthday of the World and Other Stories, along with the novella Paradises Lost.[73] The volume examined unconventional ideas about gender, as well as anarchist themes.[74][75][76] Other collections included Changing Planes, also released in 2002, while the anthologies included The Unreal and the Real (2012),[37] and a two-volume set of the Hainish novels and stories released by the Library of America.[77]

Other works from this period included Lavinia (2008), based on a character from Virgil's Aeneid,[78] and the Annals of the Western Shore trilogy, consisting of Gifts (2004), Voices (2006), and Powers (2007).[79] Although Annals of the Western Shore was written for an adolescent audience, the third volume Powers received the Nebula Award for Best Novel in 2009.[79][80] In her final years, Le Guin largely turned away from fiction, and produced a number of essays, poems, and some translation.[5] Her final publication, in September 2018, was a collection of non-fiction, titled Dreams Must Explain Themselves, which was released shortly after her death.[37][81][82]

Style and influences

Influences

Le Guin read both classic and speculative fiction widely as a child. She later said that science fiction did not have much impact on her until she read the works of Theodore Sturgeon and Cordwainer Smith, and that she had sneered at science fiction as a child.[83][30] Authors Le Guin describes as influential include Victor Hugo, William Wordsworth, Charles Dickens, Boris Pasternak, and Philip K. Dick. Le Guin and Dick attended the same high-school, but did not know each other; Le Guin later described her novel The Lathe of Heaven as a homage to him.[12][30][84][85] She also considered J. R. R. Tolkien and Leo Tolstoy to be stylistic influences, and preferred reading Virginia Woolf and Jorge Luis Borges to well-known science-fiction authors such as Robert Heinlein, whose writing she described as being of the "white man conquers the universe" tradition.[86] Several scholars state that the influence of mythology, which Le Guin enjoyed reading as a child, is also visible in much of her work: for example, the short story The Dowry of the Angyar is described as a retelling of a Norse myth.[12][87]

The discipline of cultural anthropology had a powerful influence on Le Guin's writing.[88] Her father Alfred Kroeber is considered a pioneer in the field, and was a director of the University of California Museum of Anthropology: as a consequence of his research, Le Guin was exposed to anthropology and cultural exploration as a child. In addition to myths and legends, she read such volumes as The Leaves of the Golden Bough by Lady Frazer, a children's book adapted from The Golden Bough, a study of myth and religion by her husband James George Frazer.[52][88][89] She described living with her father's friends and acquaintances as giving her the experience of the other.[30] The experiences of Ishi, in particular, were influential on Le Guin, and elements of his story have been identified in works such as Planet of Exile, City of Illusions, and The Word for World Is Forest and The Dispossessed.[52]

Several scholars have commented that Le Guin's writing was influenced by Carl Jung, and specifically by the idea of Jungian archetypes.[90][91] In particular, the shadow in A Wizard of Earthsea is seen as the Shadow archetype from Jungian psychology, representing Ged's pride, fear, and desire for power.[92][93][94] Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture.[93] She stated elsewhere that she had never read Jung before writing the first Earthsea books.[92][93] Other archetypes, including the Mother, animus, and anima, have also been identified in Le Guin's writing.[90]

Philosophical Taoism had a large role in Le Guin's world view,[95] and the influence of Taoist thought can be seen in many of her stories.[96][97] Many of Le Guin's protagonists, including in The Lathe of Heaven, embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish Universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in A Wizard of Earthsea is not to use magic unless it is absolutely necessary.[97] Taoist influence is evident in Le Guin's depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment,[98] and a larger cosmic equilibrium, which wizards are tasked with maintaining.[99] Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, The Dispossessed prominent among them, explored such a process of reconciliation.[100] In the Earthsea universe, it is not the dark powers, but the characters' misunderstanding of the balance of life, that is depicted as evil,[101] in contrast to conventional Western stories in which good and evil are in constant conflict.[102][103]

Genre and style

Although Le Guin is primarily known for her works of speculative fiction, she also wrote realistic fiction, non-fiction, poetry, and several other literary forms, and White states that her work is difficult to classify.[3] Her writings received critical attention from mainstream critics, critics of children's literature, and critics of speculative fiction.[3] Le Guin herself said that she would prefer to be known as an "American novelist".[2] Le Guin's transgression of conventional boundaries of genre led to literary criticism of Le Guin becoming "Balkanized", particularly between scholars of children's literature and speculative fiction.[3] Commentators have noted that the Earthsea novels specifically received less critical attention because they were considered children's books. Le Guin herself took exception to this treatment of children's literature, describing it as "adult chauvinist piggery".[3][104] In 1976, literature scholar George Slusser criticized the "silly publication classification designating the original series as 'children's literature'",[105] while Barbara Bucknall stated that Le Guin "can be read, like Tolkien, by ten-year-olds and by adults. These stories are ageless because they deal with problems that confront us at any age."[105]

Several of her works have a premise drawn from sociology, psychology, or philosophy.[107][108] As a result, Le Guin's writing is often described as "soft" science fiction, and she has been described as the "patron saint" of this sub-genre.[109][110] A number of science fiction authors have objected to the term "soft science fiction", describing it as a potentially pejorative term used to dismiss stories not based on problems in physics, astronomy, or engineering, and also to target the writing of women or other groups under-represented in the genre.[111] Le Guin suggested the term "social science fiction" for some of her writing, while pointing out that many of her stories were not science fiction at all. She argued that the term "soft science fiction" was divisive, and implied a narrow view of what constitutes valid science fiction.[13]

The influence of anthropology can be seen in the setting Le Guin chose for a number of her works. Several of her protagonists are anthropologists or ethnologists exploring a world alien to them.[112] This is particularly true in the stories set in the Hainish universe, an alternative reality in which humans did not evolve on Earth, but on Hain. The Hainish subsequently colonized many planets, before losing contact with them, giving rise to varied but related biology and social structure.[52][112] Examples include Rocannon in Rocannon's World and Genly Ai in The Left Hand of Darkness. Other characters, such as Shevek in The Dispossessed become cultural observers in the course of their journeys on other planets.[88][113] Le Guin's writing often examines alien cultures, and particularly the human cultures from planets other than Earth in the Hainish Universe.[112] In discovering these "alien" worlds, Le Guin's protagonists, and by extension the readers, also journey into themselves, and challenge the nature of what they consider "alien" and what they consider "native".[114]

Several of Le Guin's works have featured stylistic or structural features that were unusual or subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern", was unusual for the time of its publication.[48] This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear.[115] The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports.[116] Earthsea also employed an unconventional narrative form described by scholar Mike Cadden as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character's thoughts and emotions that are a feature of more direct narration.[117] Cadden suggests that this method leads to younger readers sympathizing directly with the characters, thereby making it an effective technique for young-adult literature.[118]

A number of Le Guin's writings, including the Earthsea series, challenged the conventions of epic fantasies and myths. Many of the protagonists in Earthsea were dark-skinned individuals, in comparison to the white-skinned heroes more traditionally used; some of the antagonists, in contrast, were white-skinned, a switching of race roles that has been remarked upon by multiple critics.[119][120] In a 2001 interview, Le Guin attributed the frequent lack of character illustrations on her book covers to her choice of non-white protagonists. She explained this choice, saying: "most people in the world aren't white. Why in the future would we assume they are?"[52] Her 1985 book Always Coming Home, described as "her great experiment", included a story told from the perspective of a young protagonist, but also included poems, rough drawings of plants and animals, myths, and anthropological reports from the matriarchal society of the Kesh, a fictional people living in the Napa valley after a catastrophic global flood.[37][68]

Themes

Gender and sexuality

Gender and sexuality are prominent themes in a number of Le Guin's works. The Left Hand of Darkness, published in 1969, was among the first books in the genre now known as feminist science fiction, and is the most famous examination of androgyny in science fiction.[121] The story is set on the fictional planet of Gethen, whose inhabitants are ambisexual humans with no fixed gender identity, who adopt female or male sexual characteristics for brief periods of their sexual cycle.[122] Which sex they adopt can depend on context and relationships.[123] Gethen was portrayed as a society without war, as a result of this absence of fixed gender characteristics, and also without sexuality as a continuous factor in social relationships.[51][122] Gethenian culture was explored in the novel through the eyes of a Terran, whose masculinity proves a barrier to cross-cultural communication.[51] Outside the Hainish cycle, Le Guin's use of a female protagonist in The Tombs of Atuan, published in 1971, was described as a "significant exploration of womanhood".[124]

Le Guin's attitude towards gender and feminism evolved considerably over time.[125] Although The Left Hand of Darkness was seen as a landmark exploration of gender, it also received criticism for not going far enough. Reviewers pointed to its usage of masculine gender pronouns to describe its androgynous characters,[48] the lack of androgynous characters portrayed in stereotypical feminine roles,[126] and the portrayal of heterosexuality as the norm on Gethen.[127] Le Guin's portrayal of gender in Earthsea was also described as perpetuating the notion of a male-dominated world.[128][129] Le Guin initially defended her writing; in a 1976 essay "Is Gender Necessary?" she wrote that gender was secondary to the novel's primary theme of loyalty. Le Guin revisited this essay in 1988, and acknowledged that gender was central to the novel;[48] she also apologized for depicting Gethenians solely in heterosexual relationships.[127]

Le Guin responded to these critiques in her subsequent writing. She intentionally used feminine pronouns for all sexually latent Gethenians in her 1995 short story "Coming of Age in Karhide", and in a later reprinting of "Winter's King", which was first published in 1969.[126][130][131] Coming of Age in Karhide was later anthologized in the 2002 collection The Birthday of the World, which contained six other stories featuring unorthodox sexual relationships and marital arrangements.[76] She also revisited gender relations in Earthsea in Tehanu, published in 1990.[132] During this later period she commented that she considered The Eye of the Heron, published in 1978, to be her first work genuinely centered on a woman.[133]

Moral development

Le Guin explores coming of age, and moral development more broadly, in many of her writings.[134] This is particularly the case in those works written for a younger audience, such as Earthsea and the Annals of the Western Shore. Le Guin wrote in a 1973 essay that she chose to explore coming-of-age in Earthsea since she was writing for an adolescent audience. She stated that "Coming of age ... is a process that took me many years; I finished it, so far as I ever will, at about age thirty-one; and so I feel rather deeply about it. So do most adolescents. It's their main occupation, in fact."[135] She also said that fantasy was best suited as a medium for describing coming of age, because exploring the subconscious was difficult using the language of "rational daily life".[135][136]

The first three Earthsea novels together follow Ged from youth to old age, and each of them also follow the coming of age of a different character.[137] A Wizard of Earthsea focuses on Ged's adolescence and coming of age,[138] and along with the other two works of the original Earthsea trilogy forms a part of Le Guin's dynamic portrayal of the process of growing old.[108] The novel is frequently described as a Bildungsroman,[139][140] in which Ged's coming of age is also intertwined with the physical journey he undertakes through the novel.[141] Mike Cadden stated that the book was a convincing tale "to a reader as young and possibly as headstrong as Ged, and therefore sympathetic to him".[140] Reviewers have described the ending of the novel, wherein Ged finally accepts the shadow as a part of himself, as a rite of passage. Scholar Jeanne Walker writes that the rite of passage at the end was an analogue for the entire plot of A Wizard of Earthsea, and that the plot itself plays the role of a rite of passage for an adolescent reader.[142][143]

Each volume of Annals of the Western Shore also describes the coming of age of its protagonists,[144] and features explorations of being enslaved to one's own power.[144][145] The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In Gifts, Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. This recognition allows them to take a third choice, and leave.[146] This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin's novella The Ones Who Walk Away from Omelas.[146] Similarly, Ged helps Tenar in The Tombs of Atuan to value herself and to find choices that she did not see,[147][148] leading her to leave the Tombs with him.[149]

Political systems

Alternative social and political systems are a recurring theme in Le Guin's writing.[6][150] Critics have paid particular attention to The Dispossessed and Always Coming Home,[150] although Le Guin explores related themes in a number of her works,[150] including in The Ones Who Walk Away From Omelas.[151] The Dispossessed is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including Peter Kropotkin, as well as from the counterculture of the 1960s and 1970s.[152] Le Guin has been credited with "[rescuing] anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.[153] Fellow author Kathleen Ann Goonan wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".[6]

The Dispossessed, set on the twin planets of Urras and Anarres, features a planned anarcho-socialist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but ethically and morally more advanced.[154] Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself travelling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.[154] The Eye of the Heron, published a few years after The Dispossessed, was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies; a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.[155]

Always Coming Home, set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, in which the story also explores the role of technology.[156] Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".[157] The Ones Who Walk Away From Omelas, a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.[158][159] The Word for World is Forest the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.[160] The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and imperialism, driven partly by her distaste for US intervention in the Vietnam War.[160][161][162]

Other social structures are examined in works such as the story cycle Four Ways to Forgiveness, and the short story "Old Music and the Slave Women", occasionally described as a "fifth way to forgiveness". [163] Set in the Hainish Universe, the five stories together examine revolution and reconstruction in a slave-owning society.[164][165] According to Rochelle, the stories examine a society that has the potential to build a "truly human community", made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom and the possibility of utopia, brought about through revolution.[166] Slavery, justice, and the role of women in society are also explored in The Annals of the Western Shore.[167][168]

Reception and legacy

Reception

Le Guin received rapid recognition after the publication of The Left Hand of Darkness in 1969, and by the 1970s she was among the best known writers in the field.[3][37] Her books sold many millions of copies, and were translated into more than 40 languages; several remained in print many decades after their first publication.[5][8][169] Her work received intense academic attention; she has been described as being the "premier writer of both fantasy and science fiction" in the 1970s,[170] the most frequently discussed science fiction writer in the 1970s,[171] and over her career, as intensively studied as Philip K. Dick.[37] Later in her career, she also received recognition from mainstream literary critics: in an obituary, Jo Walton stated that Le Guin "was so good that the mainstream couldn't dismiss SF any more".[49] According to White, Le Guin was as a "major voice in American letters", whose writing was the subject of many volumes of literary critique, more than two hundred scholarly articles, and a number of dissertations.[3]

Le Guin was unusual in receiving most of her recognition for her earliest works, which remained her most popular;[86] a commentator in 2018 described a "tendency toward didacticism" in her later works,[8] while John Clute, writing in The Guardian, stated that her later writing "suffers from the need she clearly felt to speak responsibly to her large audience about important things; an artist being responsible can be an artist wearing a crown of thorns".[5] Not all of her works received as positive a reception; The Compass Rose was among the volumes that had a mixed reaction, while the Science Fiction Encyclopedia described The Eye of the Heron as "an over-diagrammatic political fable whose translucent simplicity approaches self-Parody."[37] Even the critically well-received The Left Hand of Darkness, in addition to critique from feminists,[172] was described by Alexei Panshin as a "flat failure".[48]

Her writing was recognized by the popular media and by fellow authors. Commenting in 2009, the Los Angeles Times stated that after the death of Arthur C. Clarke, Le Guin was "arguably the most acclaimed science fiction writer on the planet", and went on to describe her as a "pioneer" of literature for young people.[86] In an obituary, Clute also stated that Le Guin had "presided over American science fiction for nearly half a century", and described her as having a reputation as an author of the "first rank".[5] In 2016, The New York Times described her as "America's greatest living science fiction writer".[173] Praise for Le Guin frequently focused on the social and political themes her work explored,[174] as well as her prose, which, according to Zadie Smith, was "as elegant and beautiful as any written in the twentieth century".[6] The New York Times described her as using "a lean but lyrical style" to explore issues of moral relevance.[8] Prefacing an interview in 2008, Vice magazine described Le Guin as having written "some of the more mind-warping sf and fantasy tales of the past 40 years".[13]

After Le Guin's death in 2018, writer Michael Chabon referred to her as the "greatest American writer of her generation", and said that she had "awed [him] with the power of an unfettered imagination".[6] Author Margaret Atwood praised Le Guin's "sane, smart, crafty and lyrical voice", and wrote that social injustice was a powerful motivation through Le Guin's life.[175] Literary critic Harold Bloom described Le Guin as an "exquisite stylist", saying that in her writing, "Every word was exactly in place and every sentence or line had resonance". According to Bloom, Le Guin was a "visionary who set herself against all brutality, discrimination, and exploitation".[6] Academic and author Joyce Carol Oates highlighted Le Guin's "outspoken sense of justice, decency, and common sense", and called her "one of the great American writers and a visionary artist whose work will long endure".[6] China Miéville described Le Guin as a "literary colossus", and wrote that she was a "writer of intense ethical seriousness and intelligence, of wit and fury, of radical politics, of subtlety, of freedom and yearning".[6]

Awards and recognition

The accolades Le Guin has received include numerous annual awards for individual works. She won seven Hugo Awards from twenty-four nominations, and six Nebula Awards from eighteen nominations, including four Nebula Awards for Best Novel from six nominations, more than any other writer.[176][177] Le Guin won twenty-two Locus Awards,[176] voted for by subscribers of Locus Magazine,[178] and as of 2019 was joint third for total wins, as well as second behind Neil Gaiman for the number of wins for works of fiction.[179] For her novels alone she won five Locus Awards, four Nebula Awards, two Hugo Awards, and one World Fantasy Award, and won each of those awards in short fiction categories as well.[29][176] Her third Earthsea novel, The Farthest Shore, won the 1973 National Book Award for Young People's Literature,[180] and she was a finalist for ten Mythopoeic Awards, nine in Fantasy and one for Scholarship.[176] Her 1996 collection Unlocking the Air and Other Stories was one of three finalists for the 1997 Pulitzer Prize for Fiction.[181] Other awards won by Le Guin include three James Tiptree Jr. Awards, two World Fantasy Awards, and three Jupiter Awards.[176] She won her final Hugo and Locus awards in the year of her death, for the essay collection No Time to Spare: Thinking About What Matters, and an anthology of the Hainish cycle, respectively.[176]

Other awards and accolades have recognized Le Guin's contributions to speculative fiction. She was voted a Gandalf Grand Master Award by the World Science Fiction Society in 1979.[176] The Science Fiction Research Association gave her its Pilgrim Award in 1989 for her "lifetime contributions to SF and fantasy scholarship".[176] At the 1995 World Fantasy Convention she won the World Fantasy Award for Life Achievement, a judged recognition of outstanding service to the fantasy field.[176][182] The Science Fiction and Fantasy Hall of Fame inducted her in 2001, its sixth class of two deceased and two living writers.[183] The Science Fiction and Fantasy Writers of America made her its 20th Grand Master in 2003: she was the second, and as of 2019 one of only six, women to receive that honor.[184][185][186] In 2010, Le Guin was awarded the Lyman Tower Sargent Distinguished Scholar Award by the North American Society for Utopian Studies.[187] In 2013, she was given the Eaton Award by the University of California, Riverside, for lifetime achievement in science fiction.[176][188]

Later in her career Le Guin also received accolades recognizing her contributions to literature more generally. In April 2000 the U.S. Library of Congress made Le Guin a Living Legend in the "Writers and Artists" category for her significant contributions to America's cultural heritage.[189] The American Library Association granted her the annual Margaret Edwards Award in 2004, and also selected her to deliver the annual May Hill Arbuthnot Lecture.[190][191] The Edwards Award recognizes one writer and a particular body of work: the 2004 panel cited the first four Earthsea volumes, The Left Hand of Darkness and The Beginning Place. The panel said that Le Guin "has inspired four generations of young adults to read beautifully constructed language, visit fantasy worlds that inform them about their own lives, and think about their ideas that are neither easy nor inconsequential".[190] At its 2009 convention, the Freedom From Religion Foundation awarded the Emperor Has No Clothes Award to Le Guin.[192] A collection of Le Guin's works was published by the Library of America in 2016, an honor only rarely given to living writers.[173] The National Book Foundation awarded Le Guin its Medal for Distinguished Contribution to American Letters, stating that she had "defied conventions of narrative, language, character, and genre, and transcended boundaries between fantasy and realism to forge new paths for literary fiction".[193][194] The American Academy of Arts and Letters made her a member in 2017.[195]

Legacy and influence

Le Guin had a considerable influence on the field of speculative fiction. Jo Walton argued that Le Guin played a large role in both broadening the genre and helping genre writers achieve mainstream recognition.[49] Modern writers have credited A Wizard of Earthsea for introducing the idea of a "wizard school", which would later be made famous by the Harry Potter series of books,[196] and with popularizing the trope of a boy wizard, also present in Harry Potter.[197] Le Guin coined the name "ansible" for an instantaneous interstellar communication device in 1966; the term was later adopted by several other writers, including Orson Scott Card in the Ender Series and Neil Gaiman in a script for a Doctor Who episode.[198] The notion that names can exert power is also present in Hayao Miyazaki's 2001 film Spirited Away; critics have suggested that that idea originated with Le Guin's Earthsea series.[199]

In discussing The Left Hand of Darkness, literary critic Harold Bloom wrote "Le Guin, more than Tolkien, has raised fantasy into high literature, for our time".[200] Bloom followed this up by listing the book in his The Western Canon (1994) as one of the books in his conception of artistic works that have been important and influential in Western culture.[201] The Paris Review wrote that "No single work did more to upend the genre's conventions than The Left Hand of Darkness".[30] White, in assessing literary criticism of Le Guin, argued that The Left Hand of Darkness was one of the seminal works of science fiction, as important as Mary Shelley's Frankenstein (1818).[48] Suzanne Reid wrote that at the time the novel was written, Le Guin's ideas of androgyny were unique not only to science fiction, but to literature in general.[51] A Wizard of Earthsea is also described as broadly influential: Atwood called it one of the "wellsprings" of fantasy literature.[202]

Commentators have described Le Guin as being influential in the field of literature more generally. Literary critic Elaine Showalter suggested that Le Guin "set the pace as a writer for women unlearning silence, fear, and self-doubt",[6] while writer Brian Attebery stated that "[Le Guin] invented us: science fiction and fantasy critics like me but also poets and essayists and picture book writers and novelists".[6] Le Guin's own literary criticism proved influential; her 1973 essay "From Elfland to Poughkeepsie" led to renewed interest in the work of Kenneth Morris, and eventually to the publication of a posthumous novel by Morris.[203] Le Guin also played a role in bringing speculative fiction into the literary mainstream by supporting journalists and scholarly endeavors examining speculative fiction.[204]

Several prominent authors acknowledge Le Guin's influence on their own writing. Jo Walton stated that "her way of looking at the world had a huge influence on me, not just as a writer but as a human being".[49] Other writers she influenced include Booker Prize winner Salman Rushdie, as well as David Mitchell, Gaiman, Algis Budrys, Goonan, and Iain Banks.[6][30][86] Mitchell, author of books such as Cloud Atlas, described A Wizard of Earthsea as having a strong influence on him, and said that he felt a desire to "wield words with the same power as Ursula Le Guin".[205] Film-maker Arwen Curry began production on a documentary about Le Guin in 2009, filming "dozens" of hours of interviews with the author as well as many other writers and artists who have been inspired by her. Curry launched a successful crowdfunding campaign to finish the documentary in early 2016 after winning a grant from the National Endowment for the Humanities.[206]

Adaptations of her work

Le Guin's works have been adapted for radio,[207][208] as well as for film, television, and the stage. Her 1971 novel The Lathe of Heaven has been adapted twice, in 1979 by WNET with Le Guin's participation, and the in 2002 by the A&E Network. In a 2008 interview, she said she considers the 1979 adaptation as "the only good adaptation to film" of her work to date.[13] In the early 1980s Hayao Miyazaki asked to create an animated adaptation of Earthsea. Le Guin, who was unfamiliar with his work and anime in general, initially turned down the offer, but later accepted after seeing My Neighbor Totoro.[209] The third and fourth Earthsea books were used as the basis of Tales from Earthsea, released in 2006. The film was directed by Miyazaki's son, Gorō, rather than Hayao Miyazaki himself, which disappointed Le Guin. Le Guin was positive about the aesthetic of the film, writing that "much of it was beautiful", but was critical of the moral sense of the film and its use of physical violence, and particularly the use of a villain whose death provided the film's resolution.[209] In 2004 the Sci Fi Channel adapted the first two books of the Earthsea trilogy as the miniseries Legend of Earthsea. Le Guin was highly critical of the adaptation, calling it a "far cry from the Earthsea I envisioned", objecting to the use of white actors for her red-, brown-, or black-skinned characters.[210]

Le Guin's novel The Left Hand of Darkness and novella Paradises Lost have both been adapted for the stage. In 1995, Chicago's Lifeline Theatre presented its adaptation of The Left Hand of Darkness. Reviewer Jack Helbig at the Chicago Reader wrote that the "adaptation is intelligent and well crafted but ultimately unsatisfying", in large measure because it is extremely difficult to compress a complex 300-page novel into a two-hour stage presentation.[211] Paradises Lost was adapted into an opera by the opera program of the University of Illinois.[212][213] The opera was composed by Stephen A. Taylor;[212] the libretto has been attributed both to Kate Gale[214] and to Marcia Johnson.[212] Adapted in 2005,[214] the opera premiered in April 2012.[215] Le Guin described the effort as a "beautiful opera" in an interview, and expressed hopes that it would be picked up by other producers. She also said she was better pleased with stage adaptations, including Paradises Lost, than screen adaptations of her work till date.[213] In 2013, the Portland Playhouse and Hand2Mouth Theatre produced a stage adaptation of The Left Hand of Darkness, directed and adapted by Jonathan Walters, with text adapted by John Schmor. The play opened May 2, 2013, and ran until June 16, 2013, in Portland, Oregon.[216]

Bibliography

Le Guin's career as a professional writer spanned nearly sixty years, from 1959 to 2018. During this period, she wrote more than twenty novels, more than a hundred short stories, more than a dozen volumes of poetry, five translations, and thirteen children's books.[8][195] Her writing encompassed speculative fiction, realistic fiction, non-fiction, screenplays, librettos, essays, poetry, speeches, translations, literary critiques, chapbooks, and children's fiction. Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first short story was "An die Musik", in 1961; both were set in her fictional country of Orsinia. Her first professional publication was the short story "April in Paris" in 1962, while her first published novel was Rocannon's World, released by Ace Books in 1966.[36][37][40][217] Her last publication was a 2018 collection of non-fiction, titled Dreams Must Explain Themselves and Other Essays 1972–2004.[37] Her best known works include the six volumes of the Earthsea series, and the many novels of the Hainish Cycle.[37][218]

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Sources

  • Bernardo, Susan M.; Murphy, Graham J. (2006). Ursula K. Le Guin: A Critical Companion. Greenwood Press. ISBN 978-0-313-33225-8.
  • Bloom, Harold (1987). "Introduction". In Bloom, Harold (ed.). Modern Critical Interpretations: Ursula Le Guin's The Left Hand of Darkness. Chelsea House Publications. pp. 1–10. ISBN 978-1-55546-064-8.
  • Cadden, Mike (2005). Ursula K. Le Guin Beyond Genre: Fiction for Children and Adults. Routledge. ISBN 978-0-415-99527-6.
  • Cummins, Elizabeth (1990). Understanding Ursula K. Le Guin. University of South Carolina Press. ISBN 978-0-87249-687-3.
  • Erlich, Richard D. (December 2009). Coyote's Song: The Teaching Stories of Ursula K. Le Guin. Wildside Press LLC. ISBN 978-1-4344-5775-2.
  • Kuznets, Lois R. (1985). "'High Fantasy' in America: A Study of Lloyd Alexander, Ursula Le Guin, and Susan Cooper". The Lion and the Unicorn. 9: 19–35. doi:10.1353/uni.0.0075.
  • Lindow, Sandra J. (2012). Dancing the Tao: Le Guin and Moral Development. Cambridge Scholars Publishing. ISBN 978-1-4438-4302-7.
  • Lothian, Alexis (2006). "Grinding Axes and Balancing Oppositions: The Transformation of Feminisms in Ursula K. Le Guin's Science Fiction". Extrapolation. 47 (3): 380–395. doi:10.3828/extr.2006.47.3.4.
  • Nicholls, Peter; Clute, John; Sleight, Graham, eds. (April 7, 2018). "Le Guin, Ursula K.". The Encyclopedia of Science Fiction. London: Gollancz. Retrieved May 7, 2018.
  • Reid, Suzanne Elizabeth (1997). Presenting Ursula Le Guin. Twayne. ISBN 978-0-8057-4609-9.
  • Rochelle, Warren (2001). Communities of the Heart: The Rhetoric of Myth in the Fiction of Ursula K. Le Guin. Liverpool University Press. ISBN 978-0-85323-876-8.
  • Rochelle, Warren G. (2008). "Ursula K. Le Guin". A Companion to Science Fiction. John Wiley & Sons. pp. 408–419. ISBN 9781405144582.
  • Slusser, George Edgar (1976). The Farthest Shores of Ursula K. Le Guin. Wildside Press LLC. ISBN 978-0-89370-205-2.
  • Spivack, Charlotte (1984). Ursula K. Le Guin. Twayne Publishers. ISBN 978-0-8057-7393-4.
  • Tymn, Marshall B. (1981). The Science fiction reference book. Starmont House. ISBN 978-0-916732-49-3.
  • White, Donna (1999). Dancing with Dragons: Ursula K. Le Guin and the Critics. Camden House. ISBN 978-1-57113-034-1.

Further reading

External links

Interviews
Speeches
A Fisherman of the Inland Sea

A Fisherman of the Inland Sea is a 1994 collection of short stories and novellas by Ursula K. Le Guin. The collection was second in the 1995 Locus Award poll in the collection category.

Changing Planes

Changing Planes is a 2003 collection of short stories by Ursula K. Le Guin. Each chapter describes a different world and the society that inhabits it; these societies share similarities with Earth's cultures in some respects, but may be notably dissimilar in other respects. Many of the chapters are brief vignettes or ethnographic profiles of the societies they describe.

Changing Planes won the Locus Award for best collection in 2004.

City of Illusions

City of Illusions is a 1967 science fiction novel by American writer Ursula K. Le Guin. It is set on Earth in the distant future, and is part of her Hainish Cycle. City of Illusions lays the foundation for the Hainish cycle which is a fictional world in which the majority of Ursula K. Le Guin's science fiction novels take place.

Earthsea

Earthsea, also known as The Earthsea Cycle, is a series of fantasy books written by the American writer Ursula K. Le Guin and the name of their setting, a world of islands surrounded by an uncharted ocean. There are six Earthsea books written between 1968 and 2001, beginning with A Wizard of Earthsea and continuing with The Tombs of Atuan, The Farthest Shore, Tehanu, Tales from Earthsea, and The Other Wind. Unusually for a series, Tales from Earthsea is a short story collection; the rest are novels. There are also four additional short stories not in Tales from Earthsea.

Illustrators have included Pauline Ellison, Ruth Robbins, Anne Yvonne Gilbert, Gail Garraty, Margaret Chodos-Irvine, Kelly Nelson, Marion Wood Kolisch, Ursula K. Le Guin, Charles Vess and Cliff Nielsen.

In 2018, all the novels and short stories were published as The Books of Earthsea: The Complete Illustrated Edition.

Lavinia (novel)

Lavinia is a Locus Award-winning 2008 novel by American author Ursula K. Le Guin. It relates the life of Lavinia, a minor character in Virgil's epic poem the Aeneid.

Malafrena

Malafrena is a 1979 novel by Ursula K. Le Guin. The only fantastic element of this novel is that it takes place in the imaginary Central European country of Orsinia, which is also the setting of her collection Orsinian Tales.

In many ways, Malafrena reads like a 19th-century novel, with its many detailed characters, its political and romantic subplots, its lack of the supernatural, and its settings that range from the mansions of the aristocracy to slums and a prison.

Malafrena is written for an adult audience, rather than children and young adults, the target readership of most of Le Guin's works in the period 1979-1994.

Orsinian Tales

Orsinian Tales is a collection of eleven short stories by American writer Ursula K. Le Guin, most of them set in the imaginary country of Orsinia.

Powers (novel)

Powers (2007) is the third book in the trilogy Annals of the Western Shore, sometimes called Chronicles of the Western Shore, a young adult series by Ursula K. Le Guin. It is preceded in the series by Voices.

Powers won the 2008 Nebula Award for Best Novel.

Rocannon's World

Rocannon's World is a science fiction novel by American writer Ursula K. Le Guin, her literary debut. It was published in 1966 as an Ace Double, along with Avram Davidson's The Kar-Chee Reign, following the tête-bêche format. Though it is one of Le Guin's many works set in the universe of the technological Hainish Cycle, the story itself has many elements of heroic fantasy. The hero Gaveral Rocannon encounters lords who live in castles and wield swords, and other races much like fairies and gnomes, in his travels on a backward planet.

The word "ansible" for a faster-than-light communicator, was coined in the novel. The term has since been widely used in science fiction.

Steering the Craft

Steering the Craft: Exercises and Discussions on Story Writing for the Lone Mariner and the Mutinous Crew is a 1998 nonfiction book by Ursula K. Le Guin. Developed from a writers' workshop led by Le Guin, the book contains self-guided exercises and discussions focused on the craft of narrative prose.

Tales from Earthsea

Tales from Earthsea is a collection of fantasy stories and essays by American author Ursula K. Le Guin, published by Harcourt in 2001. It accompanies five novels (1968 to 2001) set in the fictional archipelago Earthsea.Tales from Earthsea won the annual Endeavour Award, for the best book by a writer from the Pacific Northwest, and Locus Award, Best Collection, for speculative fiction collections.

Two of the five collected stories were previously published, "Darkrose and Diamond" (1999) and "Dragonfly" (1998), and both had been nominated for annual awards.

The Compass Rose

The Compass Rose is a 1982 collection of short stories by American writer Ursula K. Le Guin, and illustrated by Anne Yvonne Gilbert in 1983. It is organized into sections on the theme of directions, though not strictly compass-related as the title implies.

It won the Locus Award for best Single Author Collection in 1983.

The Day Before the Revolution

"The Day Before the Revolution" is a science fiction short story by American writer Ursula K. Le Guin, first published in 1974.

It is considered a short story prologue to The Dispossessed and represents an idealized anarchy by following the character of "Odo", the semi-legendary woman who led the revolution that founded the anarchist society in The Dispossessed.

The Ones Who Walk Away from Omelas

"The Ones Who Walk Away from Omelas" is a 1973 work of short philosophical fiction by American writer Ursula K. Le Guin. With deliberately both vague and vivid descriptions, the narrator depicts a summer festival in the utopian city of Omelas, whose prosperity depends on the perpetual misery of a single child. "The Ones Who Walk Away from Omelas" was nominated for the Locus Award for Best Short Fiction in 1974 and won the Hugo Award for Best Short Story in 1974.

The Telling

The Telling is a 2000 science fiction novel by Ursula K. Le Guin set in her fictional universe of Hainish Cycle. The Telling is Le Guin's first follow-up novel set in the Hainish Cycle since her 1974 novel The Dispossessed. It tells the story of Sutty, a Terran sent to be an Ekumen observer, on the planet Aka, and her experiences of political and religious conflicts between a corporatist government and the indigenous resistance, which is centered on the traditions of storytelling, locally referred to as "the Telling" (for which the book is named).

The Wife's Story

"The Wife's Story" is a short story written by Ursula K. Le Guin.

Unlocking the Air and Other Stories

Unlocking the Air and Other Stories is a 1996 collection of short stories by Ursula K. Le Guin. Like Searoad and Orsinian Tales, most of the included stories are neither science fiction nor fantasy. It was a finalist for the 1997 Pulitzer Prize for Fiction.

Ursula K. Le Guin bibliography

Ursula K. Le Guin (1929–2018) was an American author of speculative fiction, realistic fiction, non-fiction, screenplays, librettos, essays, poetry, speeches, translations, literary critiques, chapbooks, and children's fiction. She was primarily known for her works of speculative fiction. These include works set in the fictional world of Earthsea, stories in the Hainish Cycle, and standalone novels and short stories. Though frequently referred to as an author of science fiction, critics have described her work as being difficult to classify.Le Guin came to critical attention with the publication of A Wizard of Earthsea in 1968, and The Left Hand of Darkness in 1969. The Earthsea books, of which A Wizard of Earthsea was the first, have been described as Le Guin's best work by several commentators, while scholar Charlotte Spivack described The Left Hand of Darkness as having established Le Guin's reputation as a writer of science fiction. Literary critic Harold Bloom referred to the books as Le Guin's masterpieces. Several scholars have called the Earthsea books Le Guin's best work. Her work has received intense critical attention. As of 1999, ten volumes of literary criticism and forty dissertations had been written about her work: she was referred to by scholar Donna White as a "major figure in American letters". Her awards include the National Book Award, the Newbery Medal, and multiple Hugo and Nebula Awards. Feminist critiques of her writing were particularly influential upon Le Guin's later work.Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first short story was "An die Musik", in 1961; both were set in her fictional country of Orsinia. Her first professional publication was the short story "April in Paris" in 1962, while her first published novel was Rocannon's World, released by Ace Books in 1966. Her last publication was a 2018 collection of non-fiction, titled Dreams Must Explain Themselves and Other Essays 1972–2004. This bibliography includes all of Le Guin's published novels, short fiction, translations, edited volumes, and all collections that include material not previously published in book form, as well as any works mentioned in commentary about Le Guin's writings.

Winter's King

"Winter's King" is a science fiction short story by American writer Ursula K. Le Guin, originally published in the September 1969 issue of Orbit, a fiction anthology. The story is part of the Hainish Cycle and explores topics such as the human effect of space travel at nearly the speed of light, as well as religious and political topics such as feudalism."Winter's King" was one of four nominees for the 1970 Hugo Award for Best Short Story.

Le Guin revised the story, focusing on pronoun gender, for its inclusion in her 1975 short story collection The Wind's Twelve Quarters.

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