On Space, Gender and Class in Ursula K. Le Guin's The
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<I>Always Coming Home</I>
Volume 17 Number 3 Article 7 Spring 3-15-1991 The Making of Always Coming Home Ursula K. Le Guin Todd Barton Margaret Chodos-Irvine George Hersh Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; and Hersh, George (1991) "The Making of Always Coming Home," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 17 : No. 3 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol17/iss3/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Transcript of panel discussion from 1988 Mythopoeic Conference. Author, illustrator, composer, and cartographer/ researcher discuss the genesis of Always Coming Home. Additional Keywords Le Guin, Ursula K. Always Coming Home; Le Guin, Ursula K. -
Always Coming Home
“A Mere Dream Dreamed in a Bad Time” A Marxist Reading of Utopian and Dystopian Elements in Ursula K. Le Guin’s Always Coming Home Sara Charléz Student Ht 2018 Examensarbete för kandidatexamen, 15 hp Engelska Abstract In Ursula K. Le Guin’s novel Always Coming Home, utopian and dystopian elements interact according to patterns inspired by anarchism and Taoism to criticise material excesses and oppressive social structures under capitalism. Via discussions of gender, state power, and forms of social (re)production, this Marxist reading proposes that the novel’s separation of utopia from dystopia hinges on the absence or presence of a state. The reading also suggests that the novel’s utopia is by its own admission a “mere dream” with limited relevance to anti-capitalist politics, and employs the novel’s own term “handmind” to show that the aesthetic and philosophical dimensions of its anti- capitalist sentiments encourage a reconsideration of utopia, to be viewed not as a fixed future product – a good-place – but as a constant process of becoming – a no-place. Keywords: anarchism, class, ideology, production, science fiction Table of contents Introduction .................................................................................................................... 1 On Always Coming Home ............................................................................................... 3 Utopia, Dystopia, and Marxist Criticism ..................................................................... 5 Utopian and Dystopian Elements in Always -
Shelf Order for Holdings Code UHS Library Short Story (UHSSC)
Shelf Order for Holdings Code UHS Library Short Story (UHSSC) Call Call Call Call Sorted Author Title Number Number Number Number Call Type Prefix Class Cutter Number X SC Abs SC Abs Absolute magnitude X SC Ada SC Ada Adams, Alice The stories of Alice Adams. X SC Afr SC Afr Larson, Charles R. African short stories; a collection of contemporary African writing, X SC Aft SC Aft Greenberg, Martin After the king : stories in honor of J.R.R. Tolkien Harry X SC Aft SC Aft After X SC Aik SC Aik Aiken, Joan, The far forests : tales of romance, fantasy, and suspense 1924-2004 X SC Alc SC Alc Alcott, Louisa May, Glimpses of Louisa; a centennial sampling of the best short stories. 1832-1888 X SC Ale SC Ale Alexie, Sherman, The Lone Ranger and Tonto fistfight in heaven 1966- X SC Ale SC Ale Alexie, Sherman, Ten little Indians : stories 1966- X SC Alf SC Alf Hitchcock, Alfred, Alfred Hitchcock presents: stories to be read with the lights on. 1899- X SC Alf SC Alf Hitchcock, Alfred, Alfred Hitchcock presents stories to be read with the door locked. 1899-1980 X SC Alp SC Alp Silverberg, Robert Alpha three X SC Ame SC Ame Clarke, John Henrik, American Negro short stories. 1915-1998 X SC Ame SC Ame Greene, Hugh, Sir. The American rivals of Sherlock Holmes X SC Ame SC Ame Skaggs, Calvin The American short story X SC Ame SC Ame America street : a multicultural anthology of stories X SC Ame SC Ame American dragons : twenty-five Asian American voices X SC Ame SC Ame American eyes : new Asian-American short stories for young adults X SC Ame SC Ame American gothic tales X SC Ame SC Ame American voices : best short fiction by contemporary authors : with comments by the authors X SC Ame SC Ame American West : twenty new stories from the Western Writers of America X SC AmI SC AmI Am I blue? : coming out from the silence X SC Ana SC Ana Analog. -
From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu
From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield Children's Literature, Volume 21, 1993 , pp. 43-65 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/chl.0.0516 For additional information about this article http://muse.jhu.edu/journals/chl/summary/v021/21.hatfield.html Access provided by Virginia Polytechnic Inst. __ACCESS_STATEMENT__ St.University __ACCESS_STATEMENT__ (Viva) (7 Feb 2014 09:28 GMT) From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield In literature as in "real life," women, children, and animals are the obscure matter upon which Civilization erects itself, phallologically. That they are Other is (vide Lacan et al.) the foundation of language, the Father Tongue. By climbing up into his head and shutting out every voice but his own, "Civilized Man" has gone deaf. He can't hear the wolf calling him brother—not Master, but brother. He can't hear the earth calling him child—not Father, but son. He hears only his own words making up the world. He can't hear the animals, they have nothing to say. Children babble, and have to be taught how to climb up into their heads and shut the doors of perception. No use teaching woman at all, they talk all the time, of course, but never say anything. This is the myth of Civilization, embodied in monotheisms which assign soul to Man alone. [Le Guin, Buffalo Gab 9-10] In recent years Ursula K. -
Ursula K. Le Guin: a Critical Companion
Ursula K. Le Guin: A Critical Companion Susan M. Bernardo Graham J. Murphy Greenwood Press URSULA K. LE GUIN Ursula K. Le Guin. Photograph by Marian Wood Kolisch. URSULA K. LE GUIN A Critical Companion Susan M. Bernardo and Graham J. Murphy CRITICAL COMPANIONS TO POPULAR CONTEMPORARY WRITERS Kathleen Gregory Klein, Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Bernardo, Susan M. Ursula K. Le Guin : a critical companion / Susan M. Bernardo and Graham J. Murphy. p. cm. — (Critical companions to popular contemporary writers, ISSN 1082–4979) Includes bibliographical references and index. ISBN 0–313–33225–8 (alk. paper) 1. Le Guin, Ursula K., 1929—Criticism and interpretation. 2. Science fiction, American—History and criticism. 3. Fantasy fiction, American—History and criti- cism. I. Murphy, Graham J., 1970– II. Title. III. Series. PS3562.E42Z54 2006 813'.54—dc22 2006017937 British Library Cataloguing in Publication Data is available. Copyright © 2006 by Susan M. Bernardo and Graham J. Murphy All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006017937 ISBN: 0–313–33225–8 ISSN: 1082–4979 First published in 2006 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 To Mark Wagner, an ever-patient, astute reader and feline loyalist. -
Full Screen View
THE QUEST FOR SELFHOOD IN URSULA LE GUIN'S WIZARD OF EARTHSEA AND THE FARTHEST SHORE by Jerry K. Durbeej A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements of the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2000 THE QUEST FOR SELFHOOD IN URSULA LE GUIN'S THE WIZARD OF EARTHSEA AND THE FARTHEST SHORE By Jerry K. Durbeej This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Robert Collins, Department ofEnglish. It was submitted to the faculty of The Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster of Arts. SUPERVISORY COMMJTTEE: ~£i c.r02~ Chairman, Thesis Advisor /ff/IUZ~ Chairperson, Department ofEnglish Vice Provost Date ii ABSTRACT Author: Jerry K. Durbeej Title: The Quest for Selfhood in Ursula Le Guin's The Wizard ofEarthsea and The Farthest Shore Institution: Florida Atlantic University Thesis Advisor: Dr. Robert Collins Degree: Master of Arts Year: 2000 In A Wizard ofEarthsea and The Farthest Shore, Ursula K. Le Guin presents the theme of selfhood, of maturity, and of identity through the character heroes of Ged and Arren. Ofthese two, Ged experiences the quest for selfhood on two levels: first, from boy to manhood, and then from manhood to the awareness of death. Both novels deal with the struggle to create, which is primarily a struggle with self, with one's own powers, and with the need to control these powers and their consequences. -
The Search for Self in Ursula K. Le Guin's Wizard of Earthsea
===================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 19:5 May 2019 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ==================================================================== The Search for Self in Ursula K. Le Guin's Wizard of Earthsea P. Rini Melina Dr. C. Shanmugasundaram Ph. D Research Scholar Research supervisor Department of English Assistant Professor Annamalai University Department of English Annamalai Nagar 608 002 Annamalai University [email protected] Annamalai Nagar 608 002 [email protected] Abstract Ursula K. Le Guin was an American author. she was best known for her works of speculative fiction, including the science fiction works sets in the Hainish Universe and the fantasy series of Earth Sea. She began writing full time in the 1950s and achieved major critical and commercial success with A Wizard of Earth Sea (1968). For the latter volume Le Guin won both the Hugo and Nebula awards for best novel, becoming the first woman to do so. This research paper deals with the self-identity in the maturation of fantasy super-hero Ged, or sparrow hawk, the title character. Over the course of the novel, he learns the true meaning of Wizardry its limits as well as its capabilities. One of the main attractions of the novel, in addition to Ged himself, the fantasy and the adventure, is Le Guin’s skill at showing the friendships that make Ged’s success and mistakes seem so important. Keywords: Ursula K. Le Guin, Wizard of Earthsea, Self-Identity, Imaginative, Trickster, Wizard, Magic, Witch In the Wizard of Earthsea, Ged's voyage to selfhood is chiefly a battle to find and name the strange shade which persistently pursues him. -
The Other Ursula Le Guin History and Time in the Orsinian Tales
The Other Ursula Le Guin History and Time in the Orsinian Tales Anastasia Pease Senior Lecturer in English Union College rsula Kroeber le guin, who died in January at the age of 88, was a prolific American writer, winner of Hugo and Nebula awards, and was named the first female UScience Fiction Grand Master by the Science Fiction and Fantasy Writers of America in 2003. She was at the forefront of the gradual recognition of science fiction and fantasy as serious literature, worthy of careful study and scrupulous critical attention. Le Guin was the first writer to send a boy wizard to school in 1 Le Guin has addressed this issue in an essay called “Despising her deeply imaginative Earthsea series, published decades before Harry Genres,” which may be found as a Potter. And her many other works, such as The Left Hand of Darkness free e-book extra in HarperCollins and The Dispossessed, are now classics of speculative fiction. Populated PerfectBound version of The Birthday of the World. by unforgettable characters and set on alien planets, they help readers explore our own world—its gender dynamics, social psychology, and even economics. As a result, these books have increasingly been studied, written about, taught at the college level, and examined critically. Yet one part of her body of work, the so-called mainstream stories, set in an imaginary country called Orsinia, have received relatively little critical attention. Part of the reason is that these early 2 This is a term from Le Guin’s creations are eclipsed by her later, more famous, works. -
The Underground and the Labyrinth in Ursula K. Le Guin's
L L L Page 1 of 8 Original Research LLL i t e r a t o r Womanspace: The underground and the labyrinth in Ursula K. Le Guin’s Earthsea narratives Authors: Ursula K. Le Guin’s renowned Earthsea cycle, spanning 20 years and five texts, is often 1 Lynette Douglas acknowledged to be a textual space for the creative exploration and interrogation of gender. Deirdre Byrne1 The two spaces in the title – ‘earth’ and ‘sea’ – are held in equilibrium, both by the author’s Affiliations: craft and by magic. Unfortunately, though, few critics have explored how these spaces 1Department of English function in the narrative. In this article, we explore the representation of underground Studies, University of South spaces and labyrinths as meaningful landscapes in the Earthsea cycle. These spaces are found Africa, South Africa throughout Le Guin’s Earthsea fiction, but are foregrounded in four narratives: ‘The finder’ Correspondence to: and ‘The bones of the earth’ (Tales from Earthsea), The tombs of Atuan and The other wind. Le Lynette Douglas Guin’s writing consistently identifies the earth as feminine, in keeping with the archetype of ‘Mother Earth’, and we find that subterranean spaces and labyrinths are depicted as sites Email: [email protected] of power and empowerment for women. Nevertheless, we argue that Le Guin’s affinity for gender equity and balance prevents these tropes from becoming another tired revisioning of Postal address: an easy equation of earthy forces and ‘the feminine’. Rather, for Le Guin, the underground PO Box 392, Tshwane 0003, and the labyrinth are sites of union between masculine and feminine elements and characters, South Africa through the empowerment of the feminine. -
Powers of Horror; an Essay on Abjection
POWERS OF HORROR An Essay on Abjection EUROPEAN PERSPECTIVES: A Series of the Columbia University Press POWERS OF HORROR An Essay on Abjection JULIA KRISTEVA Translated by LEON S. ROUDIEZ COLUMBIA UNIVERSITY PRESS New York 1982 Library of Congress Cataloging in Publication Data Kristeva, Julia, 1941- Powers of horror. (European perspectives) Translation of: Pouvoirs de l'horreur. 1. Celine, Louis-Ferdinand, 1894-1961 — Criticism and interpretation. 2. Horror in literature. 3. Abjection in literature. I. Title. II. Series. PQ2607.E834Z73413 843'.912 82-4481 ISBN 0-231-05346-0 AACR2 Columbia University Press New York Guildford, Surrey Copyright © 1982 Columbia University Press Pouvoirs de l'horreur © 1980 Editions du Seuil AD rights reserved Printed in the United States of America Clothbound editions of Columbia University Press books are Smyth- sewn and printed on permanent and durable acid-free paper. Contents Translator's Note vii I. Approaching Abjection i 2. Something To Be Scared Of 32 3- From Filth to Defilement 56 4- Semiotics of Biblical Abomination 90 5- . Qui Tollis Peccata Mundi 113 6. Celine: Neither Actor nor Martyr • 133 7- Suffering and Horror 140 8. Those Females Who Can Wreck the Infinite 157 9- "Ours To Jew or Die" 174 12 In the Beginning and Without End . 188 11 Powers of Horror 207 Notes 211 Translator's Note When the original version of this book was published in France in 1980, critics sensed that it marked a turning point in Julia Kristeva's writing. Her concerns seemed less arcane, her presentation more appealingly worked out; as Guy Scarpetta put it in he Nouvel Observateur (May 19, 1980), she now intro- duced into "theoretical rigor an effective measure of seduction." Actually, no sudden change has taken place: the features that are noticeable in Powers of Horror were already in evidence in several earlier essays, some of which have been translated in Desire in Language (Columbia University Press, 1980). -
New Cultural Models in Women-S Fantasy Literature Sarah Jane Gamble Submitted for the Degree of Doctor of Philosophy University
NEW CULTURAL MODELS IN WOMEN-S FANTASY LITERATURE SARAH JANE GAMBLE SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SHEFFIELD, DEPARTMENT OF ENGLISH LITERATURE OCTOBER 1991 NEW CULTURAL MODELS IN WOMEN'S FANTASY LITERATURE Sarah Jane Gamble This thesis examines the way in which modern women writers use non realistic literary forms in order to create new role models of and for women. The work of six authors are analysed in detail - Angela Carter, Doris Lessing, Margaret Atwood, Ursula Le Guin, Joanna Russ and Kate Wilhelm. I argue that they share a discontent with the conventions of classic realism, which they all regard as perpetuating ideologically-generated stereotypes of women. Accordingly, they move away from mimetic modes in order to formulate a discourse which will challenge conventional representations of the 'feminine', arriving at a new conception of the female subject. I argue that although these writers represent a range of feminist responses to the dominant order, they all arrive at a s1mil~r conviction that such an order is male-dominated. All exhibit an awareness of the work of feminist critics, creating texts which consciously interact with feminist theory. I then discuss how these authors use their art to examine the their own situation as women who write. All draw the attention to the existence of a tradition of female censorship, whereby the creative woman has experienced, in an intensified form, the repreSSion experienced by all women in a culture which privileges the male over the female. All these writers exhibit a desire to escape such a tradition, progressing towards the formulation of a utopian female subject who is free to be fully creative a project they represent metaphorically in the form of a quest. -
Daoism and Environmentalism in Ursula K. Le Guin's
Cosmic Landscapes Daoism and Environmentalism in Ursula K. Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow A Thesis Presented to the Department of Literature, Area Studies and European Languages University of Oslo in Partial Fulfillment of the Requirements for the MA Degree UNIVERSITY OF OSLO 30-point thesis Spring 2017 II Cosmic Landscapes Daoism and Environmentalism in Ursula K. Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow III © Erling Sølvskutt Brunskow 2017 Cosmic Landscapes: Daoism and Environmentalism in Ursula Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow http://www.duo.uio.no/ Print: Reprosentralen, Universitetet i Oslo IV Abstract This study looks at how Ursula K. Le Guin’s utopian fiction, represented by The Dispossessed (1974) and Always Coming Home (1985) uses Daoism to challenge the traditions of the genre of utopian literature and to present an environmental ethos for the future. This study considers these novels alongside classic Daoist texts, as well as recent scholarly writings on Daoism in relation to ecology, to explore how the tradition informs Le Guin’s ecological vision. I show how these representations engage the reader to question and resist established ideas of the relationship between human beings and nature. Within this context, I argue that Le Guin makes use of the strategy of cognitive estrangement to allow readers to identify and consequently analyze established norms from alternative perspectives. V VI Acknowledgements First, I would like to thank my supervisor, Associate Professor Bruce Barnhart, for his encouragement and guidance throughout this project. I am also grateful to Associate Professor Mark Luccarelli for turning me on to environmental criticism through putting up the course on American environmentalist history.