520:) in the undertomb. She traps him in the labyrinth by slamming the door on him, and through a peephole sees him unsuccessfully attempt to open the door with a spell. Trapped in the labyrinth, Ged eventually collapses out of exhaustion, and Arha has him chained up while debating what to do with him. After questioning him, she learns that he has come to the Tombs for the long-lost half of the ring of Erreth-Akbe, a magical talisman broken centuries before, necessary for peace in Earthsea. The other half had come into his possession by pure chance, and a dragon later told him what it was. Arha is drawn to him as he tells her of the outside world, and keeps him prisoner in the tombs, bringing him food and water. However, Kossil learns of Ged's existence, forcing Arha to promise that Ged will be sacrificed to the Nameless Ones; however, she realizes that she cannot go through with it. She instructs Manan to dig a false grave underground, while she herself takes Ged to hide in the treasury of the Tombs.
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grave. Evading her, Arha goes to the treasury and confesses everything to Ged, who has found the other half of Erreth-Akbe's ring in the treasury. He tells Arha that she must either kill him or escape with him, and says that the
Nameless Ones demand her service, but give nothing and create nothing in return. He tells her his true name, Ged, in return for the trust she has shown him. They escape together, though Manan, who has come looking for Arha, falls into a pit in the labyrinth and is killed when he attempts to attack Ged. The tombs begin to collapse in on themselves; Ged holds them off until they leave. Arha reverts to calling herself Tenar as she and Ged travel to the coast where his boat is hidden. While waiting for the tide, she feels an urge to kill Ged for destroying her life, but realizes while gazing at him that she has no anger left. Ged and Tenar sail to Havnor, where they are received in triumph.
631:, this time from the perspective of a female character, Tenar. Though she nominally has a position of high authority, Tenar feels trapped by her duties as priestess, and desires to escape to a place where she can make her own choices. In contrast to Ged, whose journey was chiefly a private quest, Tenar's choices have direct social consequences. While Ged's growth is traced through the various adventures he experiences in the first volume of the series, Tenar's development is shown through her exploration of her own domain. The labyrinth, in particular, with its twists and turns, is a metaphor for Tenar's exploration of her own thoughts. In this reading of the novel, the labyrinth symbolizes the imprisonment of the women, and the darkness and unacknowledged thoughts within Tenar, which she begins to struggle through after feeling guilt over killing the prisoners sent to her for execution.
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in
Kargish culture is emphasized when Tenar is taken from her family, and chosen to be the high priestess of the Tombs. However, Tenar's mother unsuccessfully tries to dupe the priestesses into believing the child has a skin disease. Commentators state that this episode suggests certain universal impulses can lead to resistance against "cultural imperatives"; Tenar's mother is willing to bend the rules to keep her child. Unlike the rest of Earthsea, which relies on the "Old Speech" for its magic and rituals, the Kargish lands use their own tongue, and rituals are conducted with meaningless babble; thus from the moment the chanting of the priestesses is described, Le Guin suggests that the Kargish faith is one of meaningless words and ritual. The Kargish deities are revered as the "Nameless Ones"; thus Ged's statement to Arha that all things have names also works to undermine her faith.
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perspective to her. In her own thoughts, "she felt as if she had looked up and suddenly seen a whole new planet hanging huge and populous right outside the window, an entirely strange world, one in which the gods did not matter." Ged acts as a catalyst for this stream of thought, because he is completely alien to her; he is male, brown-skinned, and has a picture of the world is so different from Tenar's own. After speaking to him, she begins to wonder whether the
Nameless Ones, despite their power, deserve her worship, and begins to lose faith in them and in all the things she has been taught. She expects to find only evil in Ged, according to what she has been taught; but instead she finds light and love, further challenging her belief.
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self apart from it, helped in this process by Ged. She wrestles with her contradictory thoughts for a long time; keeping Ged alive would be contrary to all her teachings and the powers she serves, but sacrificing him would be contrary to her developing respect for life. An important moment in this process is when Ged calls her by her true name, and clarifies for her the choice between remaining in the Tombs as Arha and embracing Tenar and stepping into the larger world of
Earthsea. Afterwards, she has a nightmare about suffocating, a motif Cummins describes as being common to female coming-of-age stories.
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question the idea later in the novel. For much of the book she is known only as Arha, or the "Eaten one"; her identity as an individual is gradually erased. Though she is depicted as a person of strength and imagination, her development is stunted by the priestesses; her feelings are repressed, and her mind has no place to wander except the labyrinth. After trapping Ged, she talks to him about the rest of
Earthsea, and begins to desire a life outside the barrenness of the Tombs. It is only after her escape that she seems to regain her name, crying "I have my name back. I am Tenar!"
716:, in which she must struggle against the patriarchal Kargish empire. She learns to value herself for herself and not simply for her role as a priestess. She is helped through this process by Ged, who sees her as a powerful person, and helps her find choices that she did not see. Over the course of the story she realized that her true power is not her authority as the reincarnated high priestess, but the ability to make the choice to leave the labyrinth and the Tombs. Le Guin suggests that true power is not only about authority and mastery, but trust and collaboration.
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choice in her actions as a priestess, she now has a choice to move away from them; however, this "freedom is a heavy load". Le Guin ends the novel with the reassuring sentence "Gravely she walked beside up the white streets of Havnor, holding his hand, like a child coming home", suggesting that she has been successful in finding new connections in her life. The conclusion of the novel represents the successful end of a quest that Ged undertook as a mature wizard, part of the story arc that traces his character development across the first three
Earthsea books; thus
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assumes all the responsibilities of her position, becoming the highest ranked priestess in the Tombs. She is required to order the death of prisoners sent to the Tombs by the God-King of the Kargad lands; she has them killed by starvation, an act which haunts her for a long time. After Thar dies of old age, Arha becomes increasingly isolated: although stern, Thar had been fair to her. Kossil despises Arha and sees the
Nameless Ones as a threat to her power.
774:. Scholars have described Le Guin's depiction of Kargish culture as a subtle critique, particularly of the powers of the Tombs, which give nothing in return for their worship. Much of the early part of the novel describes the life that Tenar leads in the stable world of the Tombs. Ged's arrival acts as a turning point, and the rest of the book explores the possibility of change, and introduces different perspectives on the internal world of the novel.
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ever". Speculative fiction scholar Mike Cadden praised the characterization in the novel, calling Tenar the "finest and most complicated multiple character in the
Earthsea series, and maybe in all of her fiction". However, scholar Sandra Lindow referred to the conclusion of the novel, and particularly the conclusion of Ged and Tenar's relationship, as unsatisfying. A 2016 review in
591:, he plays the role of the wise helper to the protagonist, a type of companionship common to Le Guin's novels. After Tenar chooses to talk to him rather than have him killed, he tells her about the rest of Earthsea that she is ignorant of, and so helps her see a path out of her difficulties that she could not. The scars that Ged bears from his encounter with the shadow in
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guards ostensibly to protect them, the Tombs are a prison, and act to isolate the women from the rest of society. The priestesses have internalized this situation, and act to enforce it: Kossil's cruelty is described as epitomizing this. Brought into this environment, Tenar's development as a person is not the result of choices she made, as is the case with Ged in
461:, and has many cultures within the widespread archipelago. Most of the characters of the story are of the Hardic peoples, who are dark-skinned, and who populate most of the islands. The internal universe of Earthsea has not remained constant across Le Guin's various works set in it, but has been continually adjusted and revised.
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themes and ethical questions. Le Guin's treatment of gender was criticized by several scholars, who stated that she had created a female protagonist, but within a male-dominated framework. Nonetheless, the novel has been described by scholars and commentators as "beautifully written", and a "significant exploration of womanhood".
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called the series a masterpiece of fantasy. The prose in the novel received praise; a 1996 reference book on science fiction described them as among the best regarded fantasies, and went on to call the series a "fast-paced narrative" that explored serious questions of morality, power, and identity, Science fiction writer
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occasions, such as when his staff allows Tenar to see the undertomb for the first time: she is shocked then to find it to be beautiful, rather than just dark. Ged is responsible for giving Tenar a wider perspective and showing her a more compassionate and joyful world than her previous experience allowed her to imagine.
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Tenar begins to question her beliefs when she hears Kossil defying the
Nameless Ones, and sees that they do not punish her. She has a conversation with Penthe, her only friend, who expresses an "unfaith" in the divinity of the God-king. Though Tenar reacts to this with shock, the incident opens a new
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What she had begun to learn was the weight of liberty. Freedom is a heavy load, a great and strange burden for the spirit to undertake. It is not easy. It is not a gift given, but a choice made, and the choice may be a hard one. The road goes upward towards the light; but the laden traveler may never
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island of Atuan. Born on the day that the high priestess of the Tombs of Atuan died, she is believed to be her reincarnation. Tenar is taken from her family when five years old and goes to the Tombs. Her name is taken from her in a ceremony, and she is referred to as "Arha", or the "eaten one", after
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said that it was a "beautifully written" book. She went on to write that a "lesser writer" would have ended the novel after the earthquake and the collapse of the Tombs, but that the last section of the story, about Ged and Tenar's travel, "do a lot to ground it", making it "solid and well rooted as
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has since been translated into more than 20 languages, and has been reprinted many times. The first three
Earthsea novels received critical acclaim as works for children when they were published. The classification of the original trilogy as children's literature was decried by many critics, such as
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The notion of faith and deep belief is a large part of the novel, and is related to the book's other theme of identity. Throughout the story there is a tension between faith in the Nameless Ones and their power, and human curiosity and the tendency to question. The importance of tradition and belief
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After this incident, she falls ill and experiences nightmares, suggesting that when she underwent the rituals that made her the "eaten one", some of her personality and her regard for life remained. She questions her faith (another theme that runs through the novel), and begins to develop a sense of
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beneath the Tombs, teaching her how to find her way around them. She tells of the treasure hidden within the labyrinth, which wizards from the archipelago have tried to steal. When Arha asks about the wizards, Thar tells her that they are unbelievers who can work magic. When she turns fourteen, Arha
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was well received when it was published, with critics commenting favorably on the character of Tenar, Le Guin's writing, and her "sensitive" portrayal of cultural differences between the Kargish people and the people of the rest of Earthsea. The story received praise for its exploration of religious
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Arha and Kossil have a public falling out, in which Kossil says that nobody believes in the Nameless Ones anymore. In response, Arha curses her in the name of the Nameless Ones. Realizing that Kossil will now be determined to kill her, she heads to the labyrinth and sees Kossil uncovering the false
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people, who see the Hardic folk as evil sorcerers: the Kargish, in turn, are viewed by the Hardic as barbarians. The Kargish peoples have a distinct culture and geography: for example, they do not use written language, as they consider it an evil practice. The Kargish people have been described by
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was sex, a statement which reviewers have suggested meant not physical intimacy, but yearning and the recognition of potential for intimacy. The role of the women priestesses at the Tombs is analogous to that of Kargish women in their society; though the priestesses have eunuch servants and male
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argues that while Ged does not actually save Tenar, he "functions as the midwife in her rebirth". Ged is the figure of the "other" in this novel; in contrast to the other inhabitants of the Tombs, he is male, dark-skinned, and a wizard. Ged's difference in the story is symbolized by light on many
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view of the culture of the Tombs, and through them, of the Kargish lands as a whole. The reader is shown that the true names of people have no particular significance in the Kargish lands, whereas in the Archipelago they grant power over the thing being named; nonetheless, the critical moment in
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is told, is born on the Kargish island of Atuan before being taken away to serve the Nameless Ones as their high priestess. She is told that she is the reincarnation of the high priestess, and has lived at the tombs since time immemorial; though she believes this early in her life, she begins to
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in 1972, but did not win any other major awards before being a runner-up for the International Children's Literature Association's Phoenix Award twenty years after its first publication. Upon its publication British critic Naomi Lewis called it an "extraordinary book", while scholar Andrew Wolk
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The hold that the darkness has over her does not disappear when she escapes and the Tombs are brought down in an earthquake by the nameless ones. She contemplates killing Ged, blaming him for her pain. Eventually, she learns to accept her guilt over her actions, realizing that though she had no
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follows the story of Tenar, a young girl born in the Kargish empire, who is taken while still a child to be the high priestess to the "Nameless Ones" at the Tombs of Atuan. Her existence at the Tombs is a lonely one, deepened by the isolation of being the highest ranking priestess. Her world is
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for depicting the "suppression" of a female cult. Other scholars dispute this description, arguing that the "cult" in question is in fact shown as evil, and is moreover not acting of its free will; it is already subordinate to the will of a male king. Speaking decades after the publication of
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as "free indirect discourse"; a technique 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
457:, the world is shown as being based on a delicate balance, which most of its inhabitants are aware of, but which is disrupted by somebody in each of the original trilogy of novels. Magic in the societies of Earthsea is depicted as a force for both good and evil. The setting of Earthsea is
930:, and in the first three Earthsea volumes in general, has been questioned by critics, who suggest that it perpetuates a male-dominated model of the world of Earthsea. The unhealthy cult depicted at the Tombs serves only to reinforce the moral superiority of the school of Roke depicted in
453:, or group of islands. In the fictional history of this world, the islands were raised from the ocean by Segoy, an ancient deity or hero. The world is inhabited by both humans and dragons, and several among the humans are sorcerers or wizards. Influenced strongly by Le Guin's interest in
799:, another of Le Guin's fantasy works; both stories have a female protagonist guiding a blundering male through a labyrinth of sorts. Comparisons have been made to a number of Le Guin's works which have a notion of a dream world in which the protagonists undergo a transformation; in
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Le Guin's portrayal of the cultural differences between the Kargish lands and the rest of Earthsea has been praised as "sensitive", while her use of the theme of gender has been referred to as a "significant exploration of womanhood". Nonetheless, Le Guin's treatment of gender in
477:; its monarch, the God-king, claims to represent the power of the Nameless Ones, described as the "powers of the dark, of ruin, of madness". The society is depicted as militant, and patriarchal. Le Guin suggests that though the God-king relies upon the Nameless Ones and their
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works, written during the same period. Fantasy scholar George Slusser described them as providing a counterweight to the "excessive pessimism" of the Hainish novels. He saw the former as depicting individual action in a favorable light, in contrast to works such as
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narration. Cadden suggests that this method leads to younger readers sympathizing directly with the characters, thereby making it an effective technique for young-adult literature, whereas adults are likely to read the situations differently. In
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Arha's childhood and youth are lonely; her only friends are Manan and Penthe, a priestess her own age. She is trained in her duties by Thar and Kossil, the priestesses of the two other major deities. Thar tells her of the undertomb and the
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Barbara Bucknall, who stated that the stories were "ageless because they deal with problems that confront us at any age", and could be read by both children and adults. It took several decades and the publication of a fourth novel,
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under the Tombs, but then rebels against her teaching and keeps him alive. Through him she learns more of the outside world, and begins to question her faith in the Nameless Ones and her place at the Tombs.
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as ancient and wise, and to her wondering where they come from. Le Guin later said that her choice of fantasy as a medium, and of the theme of coming of age, was a product of her writing for adolescents.
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shares elements of the story of a heroic quest with other Earthsea novels, but subverts some of the tropes common to the genre of fantasy at the time, such as by choosing a female protagonist, and a
363:, published in 1975. Earthsea was the setting for a story Le Guin wrote in 1965 or 1966, which was never published. In 1967, Herman Schein (the publisher of Parnassus Press and the husband of
803:, this is the labyrinth. Ged's journey through the series has been compared to the traditional heroic quest, including a "descent into the underworld" represented by the labyrinth in
371:) asked Le Guin to try writing a book "for older kids", giving her complete freedom over the subject and the approach. Drawing from her short stories, Le Guin began work on
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being consecrated to the service of the "Nameless Ones" at the age of six with a ceremony involving a symbolic sacrifice. She moves into her own tiny house, and is given a
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Comoletti, Laura B.; Drout, Michael C. (2001). "How They Do Things with Words: Language, Power, Gender, and the Priestly Wizards of Ursula K. Le Guin s Earthsea Books".
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is Le Guin's familiarity with anthropology, visible in her description of Kargish culture and cultural differences with the rest of Earthsea. Le Guin's belief in
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praised the religious theme in the novel, saying Le Guin "skillfully illustrates the way religious conviction can permeate and give meaning to a life", while
473:. This society does not believe in the equilibrium that the rest of the archipelago believes in, and does not believe in magic either. The Kargad empire is a
399:. The influence of Norse lore can be seen in the characters of the Kargs, who are blonde and blue-eyed, and worship two gods who are brothers. Influential in
309:(1972), the third Earthsea volume. Whereas the two men grow into socially approved roles, Tenar rebels and struggles against the confines of her social role.
554:, the fourth Earthsea novel, is narrated from Tenar's point of view; it depicts her life on Gont and her reunion and relationship with Ged. She reappears in
441:, while Tenar's growing disquiet with her beliefs has been compared to the unease of individuals who began to protest discrimination and the Vietnam War.
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that explores Tenar's growth and identity. Tenar's coming-of-age is closely tied to her exploration of faith and her belief in the Nameless Ones.
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examines the development of a young girl in great detail, a choice unusual for a fantasy writer of the period in which the book was written.
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explores themes of gender and power in the setting of a cult of female priests in service to a patriarchal society, while providing an
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587:, he is depicted as a mature individual in the second Earthsea volume, one who gradually transforms Tenar's view of the world. In
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referred to it as "a classic of stealth-missile literature, a fantasy adventure that's actually a feminist horror thriller".
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Though the structure of the Earthsea novels is in many ways typical of fantasy, it has been described as subverting the
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in which characters grow into the characteristics society believes they should have, Tenar's coming of age is a female
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Cadden, Mike (2006). "Taking Different Roads to the City: The Development of Ursula K. Le Guin's Young Adult Novels".
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Kuznets, Lois R. (1985). ""High Fantasy" in America: A Study of Lloyd Alexander, Ursula Le Guin, and Susan Cooper".
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A dark hand had let go its lifelong hold upon her heart. But she did not feel joy, as she had in the mountains...
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Erlich, Richard D. (1987). "Ursula K. Le Guin and Arthur C. Clarke on Immanence, Transcendence, and Massacres".
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Despite the fact that Tenar does not become a wizard (like Ged) or a king (like Arren, the primary character of
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scholars as being the analog of people in the United States; similarities include an organized religion, and a
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953:) to be her first novel not centered on a man; critics have interpreted this to mean that Le Guin considered
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2503:"From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu"
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1088:(Reading). Washington Center for the Performing Arts: Timberland Regional Library. Event occurs at 1:06:25
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The form of narrative employed by Le Guin in the Earthsea trilogy has been described by literature scholar
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is visible in the idea of a cosmic "balance" in the universe of Earthsea. Le Guin originally intended for
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for the series to be recognized as adult literature. Two more books were published in subsequent years;
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Reider, Noriko T. (2005). ""Spirited Away": Film of the Fantastic and Evolving Japanese Folk Symbols".
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make Tenar realize that he has confronted death in a way that she has never done. Literature scholar
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Wolk, Anthony (March 1990). "Challenge the Boundaries: An Overview of Science Fiction and Fantasy".
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for a different character; the first for Ged, the second for Tenar, and the third for Arren.
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view of Kargish culture. Tenar, who became the subject of Le Guin's fourth Earthsea novel,
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which Tenar recalls her true name has been described as influencing other works such as
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as a sequel after considering the loose ends in the first book, and wrote a third book,
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in 1971. It was the second book of the original Earthsea "trilogy", being preceded by
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of this genre. The protagonists of her stories, with the exception of Tenar, were all
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was written, subtly affected the structure of the book. Although not a "primarily
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Dooley, Patricia (1980). "Magic and Art in Ursula Le Guin's Earthsea Trilogy".
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A Guide to Fantasy Literature: Thoughts on Stories of Wonder & Enchantment
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Griffin, Jan M. (Spring 1996). "Ursula LeGuin's Magical World of Earthsea".
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The novels of the Earthsea cycle differ notably from Le Guin's early
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Some of the North-eastern islands are populated by the white-skinned
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Hollindale, Peter (September 2003). "The Last Dragon of Earthsea".
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The Language of the Night: Essays on Fantasy and Science Fiction
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in the Winter 1970 issue. The complete version was published by
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Ursula K. Le Guin Beyond Genre: Fiction for Children and Adults
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343:'s universe of Earthsea first appeared in two short stories, "
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servant, Manan, with whom she develops a bond of affection.
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The short stories published in 1964 introduced the world of
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buried in the treasury of the Tombs. Tenar traps him in the
2189:
1978:
1976:
1927:
1925:
1923:
1737:
1735:
1100:
1016:
Esmonde, Margaret P. (1981). "The Good Witch of the West".
887:
667:
has been described as part of Ged's coming-of-age as well.
510:
Arha's routine is disrupted by her discovery of the wizard
490:
465:
2023:
1371:
1369:
481:
to maintain his authority, he no longer believes in them.
1222:
1176:
1174:
191:
1973:
1949:
1920:
1896:
1872:
1862:
1860:
1847:
1845:
1843:
1841:
1839:
1814:
1812:
1797:
1732:
1657:
1655:
1589:
1587:
1545:
1520:
1518:
1516:
1514:
1489:
1487:
1485:
1381:
1161:
1159:
807:. It has drawn comparisons to the character of Alvin in
2089:
1562:
1560:
1535:
1533:
1366:
1257:
1255:
1253:
1251:
1249:
872:, have sometimes been referred to as a second trilogy.
560:, the sixth Earthsea book. Tenar is paired with Ged in
33:
First edition cover (hardcover, second state, with the
2101:
1171:
2375:
1961:
1908:
1857:
1836:
1809:
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1234:
1198:
1156:
1085:
Ursula K. Le Guin reads from "The Wizard of Earthsea"
203:
2299:
2177:
2140:
2077:
1611:
1557:
1530:
1499:
1393:
1354:
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1246:
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876:
has been described as a rewriting or reimagining of
194:
1599:
188:
2725:(1st ed.). Milwaukee, WI: Crickhollow Books.
2718:
2654:
2354:
489:The story follows a girl named Tenar, born on the
701:; instead, her coming of age is forced upon her.
3543:
2457:. Cambridge University Press. pp. 224β235.
387:and important concepts in it, such as Le Guin's
2693:(1st ed.). Boston, MA: Twayne Publishers.
2558:(1st ed.). Westport, CT: Greenwood Press.
1058:"The Left and Right Hands of Ursula K. Le Guin"
2807:
2636:Dancing the Tao: Le Guin and Moral Development
2554:Bernardo, Susan M.; Murphy, Graham J. (2006).
2553:
2453:. In James, Edward; Mendlesohn, Farah (eds.).
2044:
1943:
1890:
1830:
1714:
1646:
1464:
1426:
1348:
1324:
1192:
1115:
973:
971:
969:
579:, who in the story goes by his common name of
429:that was gaining prominence during the period
219:, first published in the Winter 1970 issue of
2793:
2455:The Cambridge Companion to Fantasy Literature
2361:. Mercer Island, Washington: Starmont House.
2286:Association for Library Service for Children
2160:"ti:The Tombs of Atuan au:Ursula K. Le Guin"
1422:
1420:
1418:
1416:
1414:
1412:
1410:
1408:
820:
2612:
1228:
1128:
1126:
1124:
966:
688:Gender and power feature as themes through
2800:
2786:
2393:
2219:
1274:
1272:
1270:
27:
2577:(1st ed.). New York, NY: Routledge.
2526:
1752:
1750:
1678:
1676:
1674:
1672:
1670:
1405:
1011:
1009:
1007:
1005:
1003:
1001:
2669:The Farthest Shores of Ursula K. Le Guin
2652:
2613:Le Guin, Ursula K.; Wood, Susan (1980).
2500:
2274:
2107:
2029:
1135:"Let Her be Eaten!: Ursula K. Le Guin's
1121:
1051:
1049:
1047:
868:, both in 2001. These books, along with
759:The early part of the story provides an
411:to be a standalone novel, but she wrote
331:
3424:Buffalo Gals and Other Animal Presences
2739:
2686:
2665:
2591:
2556:Ursula K. Le Guin: A Critical Companion
2254:
2146:
1994:
1988:
1982:
1967:
1955:
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1336:
1305:
1278:
1267:
1240:
1204:
1165:
1082:Le Guin, Ursula K. (October 10, 2010).
1081:
1015:
977:
16:1970 fantasy novel by Ursula K. Le Guin
3544:
2742:Fantasy: The Liberation of Imagination
2716:
2633:
2572:
2445:
2439:
2394:Teitelbaum, Ilana (November 4, 2016).
2381:
2305:
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2183:
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1756:
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1216:
1180:
1132:
998:
949:(published in 1978, seven years after
719:
227:in 1971. It is the second book in the
3237:
2781:
2773:Internet Speculative Fiction Database
2744:(1st ed.). New York: Routledge.
1044:
943:, Le Guin stated that she considered
2352:
2346:
2317:
752:heroes more traditionally used. The
3440:Unlocking the Air and Other Stories
2419:
683:
670:
527:
265:, who seeks to steal the half of a
13:
3361:The Ones Who Walk Away from Omelas
2709:
2357:The Science Fiction Reference Book
2222:Children's Literature in Education
1055:
14:
3623:
3147:Vaster than Empires and More Slow
2760:
2638:. Cambridge Scholars Publishing.
731:Vaster than Empires and More Slow
3513:Dancing at the Edge of the World
3302:Very Far Away from Anywhere Else
2282:"List of Newberry award winners"
608:
336:Le Guin giving a reading in 2008
184:
2595:Understanding Ursula K. Le Guin
2494:
2413:
2387:
2311:
2248:
2213:
2152:
2050:
1133:Walton, Jo (October 11, 2011).
484:
2666:Slusser, George Edgar (1976).
1075:
829:was published in the magazine
543:Tenar, from whose perspective
534:List of characters in Earthsea
248:Set in the fictional world of
1:
3432:A Fisherman of the Inland Sea
3197:Old Music and the Slave Women
3154:The Day Before the Revolution
2661:. Liverpool University Press.
2463:10.1017/CCOL9780521429597.021
960:
327:
223:, and published as a book by
215:novel by the American author
3098:The Word for World Is Forest
2653:Rochelle, Warren G. (2001).
957:to be a male-centered book.
351:" (1964), both published in
257:disrupted by the arrival of
7:
3587:American young adult novels
3572:Newbery Honor-winning works
3229:Annals of the Western Shore
2687:Spivack, Charlotte (1984).
2592:Cummins, Elizabeth (1990).
2448:"Modern Children's Fantasy"
978:Le Guin, Ursula K. (1971).
10:
3628:
3592:Young adult fantasy novels
3400:The Wind's Twelve Quarters
2634:Lindow, Sandra J. (2012).
2619:. Ultramarine publishing.
2546:
2446:Butler, Catherine (2012).
2353:Tymn, Marshall B. (1981).
2134:10.3828/extr.1987.28.2.105
2045:Bernardo & Murphy 2006
1944:Bernardo & Murphy 2006
1891:Bernardo & Murphy 2006
1831:Bernardo & Murphy 2006
1715:Bernardo & Murphy 2006
1647:Bernardo & Murphy 2006
1465:Bernardo & Murphy 2006
1349:Bernardo & Murphy 2006
1325:Bernardo & Murphy 2006
1193:Bernardo & Murphy 2006
1116:Bernardo & Murphy 2006
531:
444:
360:The Wind's Twelve Quarters
3607:Novels set in subterranea
3505:The Language of the Night
3496:
3466:
3448:The Birthday of the World
3391:
3352:
3285:
3276:
3226:
3206:
3124:
3082:The Left Hand of Darkness
3049:
3036:
2996:
2967:
2940:
2887:
2836:
2825:
2816:
2740:Mathews, Richard (2002).
821:Publication and reception
603:
163:
150:
138:
130:
120:
112:
102:
92:
78:
68:
60:
52:
42:
26:
3183:Coming of Age in Karhide
3106:Four Ways to Forgiveness
2657:Communities of the Heart
2210:, pp. 111β112, 165.
1997:The Lion and the Unicorn
1697:10.3828/extr.2006.47.3.7
538:
425:, and opposition to the
3582:American bildungsromans
3577:American fantasy novels
2717:Martin, Philip (2009).
2234:10.1023/A:1025390102089
1293:10.21061/alan.v23i3.a.5
1229:Le Guin & Wood 1980
789:Scholars have compared
748:, in comparison to the
439:women's rights movement
2672:. Wildside Press LLC.
2501:Hatfield, Len (1993).
814:The City and the Stars
642:
571:
337:
3597:Novels about religion
3562:1971 children's books
3521:Lao Tzu: Tao Te Ching
3368:The Diary of the Rose
2957:The Books of Earthsea
2924:The Daughter of Odren
2896:The Word of Unbinding
2771:title listing at the
2573:Cadden, Mike (2005).
2507:Children's Literature
2258:(December 16, 2004).
2198:, pp. 80β81, 97.
1759:Children's Literature
1429:Children's Literature
1018:Children's Literature
825:A shorter version of
640:reach the end of it.
634:
423:civil rights movement
367:, the illustrator of
349:The Word of Unbinding
335:
261:, the protagonist of
3612:Atheneum Books books
3557:1971 American novels
3478:(series) (1988β1999)
3310:The Eye of the Heron
3169:The Matter of Seggri
2917:Darkrose and Diamond
2845:A Wizard of Earthsea
2426:Entertainment Weekly
946:The Eye of the Heron
932:A Wizard of Earthsea
919:Entertainment Weekly
839:A Wizard of Earthsea
699:A Wizard of Earthsea
645:βUrsula K. Le Guin,
615:A Wizard of Earthsea
593:A Wizard of Earthsea
585:A Wizard of Earthsea
517:A Wizard of Earthsea
514:(the protagonist of
409:A Wizard of Earthsea
373:A Wizard of Earthsea
369:A Wizard of Earthsea
279:A Wizard of Earthsea
263:A Wizard of Earthsea
234:A Wizard of Earthsea
156:A Wizard of Earthsea
134:163 (first edition)
3567:1971 fantasy novels
3326:The Beginning Place
3294:The Lathe of Heaven
3176:A Man of the People
3133:The Dowry of Angyar
3022:Earthsea Revisioned
2985:Tales from Earthsea
2949:Tales from Earthsea
2400:The Huffington Post
2320:The English Journal
2047:, pp. 112β113.
1946:, pp. 109β110.
1893:, pp. 113β114.
1833:, pp. 108β109.
1717:, pp. 108β110.
1327:, pp. 110β111.
913:The Huffington Post
861:Tales from Earthsea
796:The Beginning Place
720:Style and structure
629:coming-of-age story
395:legends as well as
317:leading character.
23:
22:The Tombs of Atuan
3529:Steering the Craft
3334:Always Coming Home
3161:The Shobies' Story
2861:The Farthest Shore
2853:The Tombs of Atuan
2768:The Tombs of Atuan
2519:10.1353/chl.0.0516
2032:, pp. 48, 53.
2009:10.1353/uni.0.0075
1771:10.1353/chl.0.0319
1554:, pp. 80, 94.
1441:10.1353/chl.0.0786
1137:The Tombs of Atuan
1030:10.1353/chl.0.0112
981:The Tombs of Atuan
955:The Tombs of Atuan
951:The Tombs of Atuan
941:The Tombs of Atuan
936:The Tombs of Atuan
928:The Tombs of Atuan
902:Newbery Honor Book
898:The Tombs of Atuan
883:Legend of Earthsea
878:The Tombs of Atuan
849:The Tombs of Atuan
844:The Farthest Shore
841:, and followed by
827:The Tombs of Atuan
805:The Tombs of Atuan
801:The Tombs of Atuan
791:The Tombs of Atuan
784:The Tombs of Atuan
706:The Farthest Shore
694:The Tombs of Atuan
690:The Tombs of Atuan
665:The Tombs of Atuan
647:The Tombs of Atuan
619:The Tombs of Atuan
589:The Tombs of Atuan
566:The Tombs of Atuan
562:The Tombs of Atuan
545:The Tombs of Atuan
431:The Tombs of Atuan
418:The Farthest Shore
413:The Tombs of Atuan
401:The Tombs of Atuan
389:treatment of magic
338:
321:The Tombs of Atuan
311:The Tombs of Atuan
306:The Farthest Shore
291:The Tombs of Atuan
283:The Tombs of Atuan
254:The Tombs of Atuan
243:Newbery Honor Book
239:The Tombs of Atuan
180:The Tombs of Atuan
169:The Farthest Shore
21:
3539:
3538:
3492:
3491:
3272:
3271:
3222:
3221:
3074:City of Illusions
3032:
3031:
2903:The Rule of Names
2810:Ursula K. Le Guin
2732:978-1-933987-04-0
2690:Ursula K. Le Guin
2679:978-0-89370-205-2
2645:978-1-4438-3988-4
2605:978-0-87249-687-3
2420:Franich, Darren.
2098:, pp. 92β93.
1985:, pp. 32β35.
1958:, pp. 38β39.
1934:, pp. 42β43.
1905:, pp. 54β58.
1881:, pp. 46β47.
1806:, pp. 40β41.
1744:, pp. 44β45.
1390:, pp. 33β35.
1183:, pp. 80β81.
831:Worlds of Fantasy
597:Elizabeth Cummins
345:The Rule of Names
341:Ursula K. Le Guin
221:Worlds of Fantasy
217:Ursula K. Le Guin
176:
175:
113:Publication place
53:Cover artist
47:Ursula K. Le Guin
3619:
3467:Children's books
3416:The Compass Rose
3375:The Wife's Story
3283:
3282:
3235:
3234:
3090:The Dispossessed
3058:Rocannon's World
3047:
3046:
2834:
2833:
2802:
2795:
2788:
2779:
2778:
2755:
2736:
2724:
2704:
2683:
2662:
2660:
2649:
2630:
2609:
2588:
2569:
2541:
2540:
2530:
2498:
2492:
2491:
2489:
2487:
2482:on July 12, 2018
2481:
2475:. Archived from
2452:
2443:
2437:
2436:
2434:
2432:
2417:
2411:
2410:
2408:
2406:
2391:
2385:
2379:
2373:
2372:
2360:
2350:
2344:
2343:
2315:
2309:
2303:
2297:
2296:
2294:
2292:
2278:
2272:
2271:
2269:
2267:
2252:
2246:
2245:
2217:
2211:
2205:
2199:
2193:
2187:
2181:
2175:
2174:
2172:
2170:
2156:
2150:
2144:
2138:
2137:
2117:
2111:
2105:
2099:
2093:
2087:
2081:
2075:
2074:
2054:
2048:
2042:
2033:
2027:
2021:
2020:
1992:
1986:
1980:
1971:
1965:
1959:
1953:
1947:
1941:
1935:
1929:
1918:
1912:
1906:
1900:
1894:
1888:
1882:
1876:
1870:
1864:
1855:
1849:
1834:
1828:
1822:
1816:
1807:
1801:
1795:
1789:
1783:
1782:
1754:
1745:
1739:
1730:
1724:
1718:
1712:
1701:
1700:
1680:
1665:
1659:
1650:
1644:
1633:
1627:
1621:
1615:
1609:
1603:
1597:
1591:
1582:
1576:
1570:
1564:
1555:
1549:
1543:
1537:
1528:
1522:
1509:
1503:
1497:
1491:
1480:
1474:
1468:
1462:
1453:
1452:
1424:
1403:
1397:
1391:
1385:
1379:
1378:, pp. 9β10.
1373:
1364:
1358:
1352:
1346:
1340:
1334:
1328:
1322:
1309:
1303:
1297:
1296:
1276:
1265:
1259:
1244:
1238:
1232:
1226:
1220:
1214:
1208:
1202:
1196:
1190:
1184:
1178:
1169:
1163:
1154:
1153:
1151:
1149:
1130:
1119:
1113:
1098:
1097:
1095:
1093:
1079:
1073:
1072:
1070:
1068:
1056:Liptak, Andrew.
1053:
1042:
1041:
1013:
996:
995:
975:
809:Arthur C. Clarke
684:Gender and power
671:Faith and belief
654:
528:Major characters
210:
209:
206:
205:
202:
199:
196:
193:
190:
164:Followed by
151:Preceded by
104:Publication date
31:
24:
20:
3627:
3626:
3622:
3621:
3620:
3618:
3617:
3616:
3552:Earthsea novels
3542:
3541:
3540:
3535:
3488:
3462:
3456:Changing Planes
3387:
3348:
3278:
3268:
3218:
3202:
3120:
3066:Planet of Exile
3040:
3028:
2992:
2963:
2936:
2883:
2821:
2812:
2806:
2763:
2758:
2752:
2733:
2712:
2710:Further reading
2707:
2701:
2680:
2646:
2627:
2606:
2585:
2566:
2549:
2544:
2499:
2495:
2485:
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2347:
2316:
2312:
2304:
2300:
2290:
2288:
2280:
2279:
2275:
2265:
2263:
2256:Le Guin, Ursula
2253:
2249:
2218:
2214:
2206:
2202:
2194:
2190:
2182:
2178:
2168:
2166:
2158:
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2106:
2102:
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2090:
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2078:
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2024:
1993:
1989:
1981:
1974:
1966:
1962:
1954:
1950:
1942:
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1374:
1367:
1359:
1355:
1347:
1343:
1335:
1331:
1323:
1312:
1304:
1300:
1281:The ALAN Review
1277:
1268:
1260:
1247:
1239:
1235:
1227:
1223:
1215:
1211:
1203:
1199:
1191:
1187:
1179:
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1164:
1157:
1147:
1145:
1131:
1122:
1114:
1101:
1091:
1089:
1080:
1076:
1066:
1064:
1054:
1045:
1014:
999:
992:
976:
967:
963:
823:
761:anthropological
722:
686:
673:
656:
644:
611:
606:
574:
541:
536:
530:
487:
449:Earthsea is an
447:
397:Norse mythology
393:Native American
330:
295:anthropological
187:
183:
121:Media type
105:
38:
17:
12:
11:
5:
3625:
3615:
3614:
3609:
3604:
3599:
3594:
3589:
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3468:
3464:
3463:
3461:
3460:
3452:
3444:
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3428:
3420:
3412:
3408:Orsinian Tales
3404:
3395:
3393:
3389:
3388:
3386:
3385:
3382:Paradises Lost
3378:
3371:
3364:
3356:
3354:
3350:
3349:
3347:
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3322:
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2877:The Other Wind
2873:
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2849:
2840:
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2822:
2817:
2814:
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2761:External links
2759:
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2374:
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2332:10.2307/819230
2310:
2298:
2273:
2247:
2228:(3): 183β193.
2212:
2200:
2188:
2176:
2151:
2139:
2128:(2): 105β129.
2112:
2100:
2088:
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2059:Film Criticism
2049:
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2022:
1987:
1972:
1960:
1948:
1936:
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1871:
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1746:
1731:
1719:
1702:
1691:(3): 427β444.
1666:
1651:
1649:, p. 108.
1634:
1632:, p. 104.
1622:
1610:
1598:
1596:, p. 106.
1583:
1571:
1556:
1544:
1529:
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1498:
1481:
1479:, p. 109.
1469:
1467:, p. 107.
1454:
1404:
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1351:, p. 114.
1341:
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1197:
1195:, p. 111.
1185:
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1155:
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1074:
1062:Kirkus Reviews
1043:
997:
990:
964:
962:
959:
888:Sci Fi Channel
866:The Other Wind
835:Atheneum Books
822:
819:
766:Hayao Miyazaki
754:Tombs of Atuan
721:
718:
685:
682:
672:
669:
649:, chapter 12,
633:
610:
607:
605:
602:
573:
570:
557:The Other Wind
540:
537:
532:Main article:
529:
526:
486:
483:
479:high priestess
446:
443:
347:" (1964) and "
329:
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225:Atheneum Books
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3353:Short stories
3351:
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3328:
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3190:Mountain Ways
3187:
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3166:
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3140:Winter's King
3137:
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3125:Short stories
3123:
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2888:Short stories
2886:
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2751:0-415-93890-2
2747:
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2723:
2722:
2715:
2714:
2702:
2700:0-8057-7393-2
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2626:9780399504822
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2584:0-415-99527-2
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2565:0-313-33225-8
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2538:
2534:
2529:
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2472:9781139014625
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2368:0-916732-49-5
2364:
2359:
2358:
2349:
2341:
2337:
2333:
2329:
2325:
2321:
2314:
2308:, p. 81.
2307:
2302:
2287:
2283:
2277:
2261:
2257:
2251:
2243:
2239:
2235:
2231:
2227:
2223:
2216:
2209:
2204:
2197:
2192:
2186:, p. 96.
2185:
2180:
2165:
2161:
2155:
2148:
2143:
2135:
2131:
2127:
2123:
2122:Extrapolation
2116:
2110:, p. 48.
2109:
2108:Rochelle 2001
2104:
2097:
2092:
2086:, p. 92.
2085:
2080:
2072:
2068:
2064:
2060:
2053:
2046:
2041:
2039:
2031:
2030:Rochelle 2001
2026:
2018:
2014:
2010:
2006:
2002:
1998:
1991:
1984:
1979:
1977:
1970:, p. 49.
1969:
1964:
1957:
1952:
1945:
1940:
1933:
1928:
1926:
1924:
1917:, p. 43.
1916:
1911:
1904:
1899:
1892:
1887:
1880:
1875:
1869:, p. 45.
1868:
1863:
1861:
1854:, p. 44.
1853:
1848:
1846:
1844:
1842:
1840:
1832:
1827:
1821:, p. 39.
1820:
1815:
1813:
1805:
1800:
1794:, p. 39.
1793:
1788:
1780:
1776:
1772:
1768:
1764:
1760:
1753:
1751:
1743:
1738:
1736:
1729:, p. 42.
1728:
1723:
1716:
1711:
1709:
1707:
1698:
1694:
1690:
1686:
1685:Extrapolation
1679:
1677:
1675:
1673:
1671:
1664:, p. 60.
1663:
1658:
1656:
1648:
1643:
1641:
1639:
1631:
1626:
1620:, p. 85.
1619:
1614:
1607:
1602:
1595:
1590:
1588:
1581:, p. 33.
1580:
1575:
1569:, p. 94.
1568:
1563:
1561:
1553:
1548:
1542:, p. 13.
1541:
1536:
1534:
1527:, p. 40.
1526:
1521:
1519:
1517:
1515:
1508:, p. 12.
1507:
1502:
1496:, p. 41.
1495:
1490:
1488:
1486:
1478:
1473:
1466:
1461:
1459:
1450:
1446:
1442:
1438:
1434:
1430:
1423:
1421:
1419:
1417:
1415:
1413:
1411:
1409:
1402:, p. 79.
1401:
1396:
1389:
1384:
1377:
1372:
1370:
1362:
1357:
1350:
1345:
1339:, p. 24.
1338:
1333:
1326:
1321:
1319:
1317:
1315:
1307:
1302:
1294:
1290:
1286:
1282:
1275:
1273:
1271:
1264:, p. 80.
1263:
1258:
1256:
1254:
1252:
1250:
1243:, p. 22.
1242:
1237:
1231:, p. 41.
1230:
1225:
1219:, p. xi.
1218:
1213:
1207:, p. 25.
1206:
1201:
1194:
1189:
1182:
1177:
1175:
1167:
1162:
1160:
1144:
1140:
1138:
1129:
1127:
1125:
1118:, p. 97.
1117:
1112:
1110:
1108:
1106:
1104:
1087:
1086:
1078:
1063:
1059:
1052:
1050:
1048:
1039:
1035:
1031:
1027:
1023:
1019:
1012:
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1008:
1006:
1004:
1002:
993:
991:9780689206801
987:
983:
982:
974:
972:
970:
965:
958:
956:
952:
948:
947:
942:
937:
933:
929:
923:
921:
920:
915:
914:
908:
903:
899:
895:
893:
889:
885:
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871:
867:
863:
862:
857:
856:
850:
846:
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840:
836:
832:
828:
818:
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815:
810:
806:
802:
798:
797:
792:
787:
785:
780:
775:
773:
772:
771:Spirited Away
768:'s 2001 film
767:
762:
757:
755:
751:
750:white-skinned
747:
743:
738:
736:
735:bildungsroman
732:
727:
726:Hainish cycle
717:
715:
714:bildungsroman
711:
710:bildungsroman
707:
702:
700:
695:
691:
681:
677:
668:
666:
660:
655:
652:
648:
641:
637:
632:
630:
626:
625:
624:bildungsroman
620:
616:
609:Coming of age
601:
598:
594:
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586:
582:
578:
569:
567:
563:
559:
558:
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519:
518:
513:
508:
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499:
497:
492:
482:
480:
476:
472:
467:
462:
460:
459:preindustrial
456:
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440:
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287:bildungsroman
284:
280:
275:
272:
268:
264:
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255:
251:
246:
244:
240:
236:
235:
231:series after
230:
226:
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157:
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149:
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145:9780689206801
143:
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137:
133:
129:
126:
123:
119:
116:United States
115:
111:
107:
101:
98:
95:
91:
88:
87:Bildungsroman
84:
81:
77:
74:
71:
67:
63:
59:
55:
51:
48:
45:
41:
36:
35:Newbery Honor
30:
25:
19:
3527:
3519:
3511:
3503:
3481:
3473:
3454:
3446:
3438:
3430:
3422:
3414:
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3398:
3340:
3332:
3324:
3316:
3308:
3300:
3292:
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3252:
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3227:
3159:
3112:
3104:
3096:
3088:
3080:
3072:
3064:
3056:
3037:
3020:
2984:
2978:(miniseries)
2975:
2955:
2947:
2875:
2867:
2859:
2852:
2851:
2843:
2826:
2819:Bibliography
2767:
2741:
2720:
2689:
2668:
2656:
2635:
2615:
2594:
2574:
2555:
2513:(1): 43β65.
2510:
2506:
2496:
2484:. Retrieved
2477:the original
2454:
2441:
2429:. Retrieved
2425:
2415:
2403:. Retrieved
2399:
2389:
2377:
2356:
2348:
2326:(3): 26β31.
2323:
2319:
2313:
2301:
2291:November 17,
2289:. Retrieved
2285:
2276:
2264:. Retrieved
2250:
2225:
2221:
2215:
2203:
2191:
2179:
2167:. Retrieved
2163:
2154:
2149:, p. 9.
2147:Cummins 1990
2142:
2125:
2121:
2115:
2103:
2091:
2079:
2062:
2058:
2052:
2025:
2000:
1996:
1990:
1983:Slusser 1976
1968:Cummins 1990
1963:
1956:Cummins 1990
1951:
1939:
1932:Cummins 1990
1915:Cummins 1990
1910:
1903:Cummins 1990
1898:
1886:
1879:Cummins 1990
1874:
1867:Cummins 1990
1852:Cummins 1990
1826:
1819:Cummins 1990
1804:Cummins 1990
1799:
1792:Slusser 1976
1787:
1762:
1758:
1742:Cummins 1990
1727:Cummins 1990
1722:
1688:
1684:
1662:Cummins 1990
1625:
1613:
1608:, p. 7.
1601:
1579:Spivack 1984
1574:
1547:
1525:Slusser 1976
1501:
1494:Cummins 1990
1472:
1432:
1428:
1395:
1388:Cummins 1990
1383:
1376:Cummins 1990
1363:, p. 8.
1361:Cummins 1990
1356:
1344:
1337:Cummins 1990
1332:
1308:, p. 2.
1306:Spivack 1984
1301:
1284:
1280:
1241:Cummins 1990
1236:
1224:
1212:
1205:Cummins 1990
1200:
1188:
1166:Cummins 1990
1148:November 17,
1146:. Retrieved
1142:
1136:
1092:December 28,
1090:. Retrieved
1084:
1077:
1065:. Retrieved
1061:
1021:
1017:
984:. Atheneum.
980:
954:
950:
944:
940:
935:
931:
927:
924:
917:
911:
897:
896:
881:
877:
873:
869:
865:
859:
853:
848:
842:
838:
830:
826:
824:
812:
804:
800:
794:
790:
788:
783:
776:
769:
758:
753:
746:dark-skinned
739:
734:
723:
713:
709:
705:
703:
698:
693:
689:
687:
678:
674:
664:
661:
657:
650:
646:
643:
638:
635:
622:
618:
614:
612:
592:
588:
584:
580:
575:
565:
561:
555:
549:
544:
542:
522:
515:
509:
500:
488:
485:Plot summary
471:class system
463:
448:
430:
416:
412:
408:
400:
382:
372:
368:
365:Ruth Robbins
358:
352:
339:
320:
319:
315:dark-skinned
310:
304:
298:
290:
282:
278:
276:
262:
253:
247:
238:
232:
220:
179:
178:
177:
167:
154:
56:Gail Garraty
18:
3497:Non-fiction
3392:Collections
3114:The Telling
2968:Adaptations
2941:Collections
2528:10919/25443
2382:Cadden 2005
2306:Cadden 2005
2262:. slate.com
2208:Cadden 2005
2196:Cadden 2005
2184:Cadden 2005
2096:Cadden 2005
2084:Cadden 2005
2065:(3): 4β27.
1765:: 103β110.
1630:Cadden 2005
1618:Cadden 2005
1606:Cadden 2005
1594:Cadden 2005
1567:Cadden 2005
1552:Cadden 2005
1540:Lindow 2012
1506:Lindow 2012
1477:Cadden 2005
1435:: 113β141.
1400:Cadden 2005
1262:Cadden 2005
1217:Cadden 2005
1181:Cadden 2005
1024:: 185β190.
894:Earthsea".
892:whitewashed
811:'s novella
779:Mike Cadden
581:Sparrowhawk
451:archipelago
427:Vietnam War
3546:Categories
3483:Cat Dreams
3009:Characters
961:References
328:Background
3318:Malafrena
2931:Firelight
2910:Dragonfly
2808:Works by
2537:144166026
2242:160303057
2164:World Cat
2017:143248850
2003:: 19β35.
1779:145614526
1449:144350409
1038:144926089
907:Jo Walton
847:in 1972.
504:labyrinth
475:theocracy
354:Fantastic
271:labyrinth
245:in 1972.
125:Hardcover
93:Publisher
3475:Catwings
3384:" (2002)
3377:" (1982)
3370:" (1976)
3363:" (1973)
3199:" (1999)
3192:" (1996)
3185:" (1995)
3171:" (1994)
3156:" (1974)
3149:" (1971)
3142:" (1969)
3135:" (1964)
3039:Hainish
3004:Universe
2976:Earthsea
2933:" (2018)
2926:" (2014)
2919:" (1999)
2912:" (1997)
2905:" (1964)
2898:" (1964)
2828:Earthsea
2486:July 10,
2431:June 22,
2405:June 22,
2266:July 10,
2169:June 25,
2071:44019178
1067:June 22,
613:As with
435:feminist
385:Earthsea
267:talisman
250:Earthsea
237:(1969).
229:Earthsea
73:Earthsea
61:Language
3342:Lavinia
3279:fiction
3214:Ansible
3207:Related
2997:Related
2547:Sources
1143:Tor.com
491:Kargish
466:Kargish
445:Setting
377:wizards
213:fantasy
83:Fantasy
64:English
3532:(1998)
3524:(1997)
3516:(1982)
3508:(1979)
3459:(2003)
3451:(2002)
3443:(1996)
3435:(1994)
3427:(1987)
3419:(1982)
3411:(1976)
3403:(1975)
3345:(2008)
3337:(1985)
3329:(1980)
3321:(1979)
3313:(1978)
3305:(1976)
3297:(1971)
3286:Novels
3277:Other
3265:(2007)
3262:Powers
3257:(2006)
3254:Voices
3249:(2004)
3238:Novels
3164:(1990)
3117:(2000)
3109:(1995)
3101:(1976)
3093:(1974)
3085:(1969)
3077:(1967)
3069:(1966)
3061:(1966)
3050:Novels
3025:(1993)
2989:(2006)
2987:(film)
2980:(2004)
2960:(2018)
2952:(2001)
2880:(2001)
2872:(1990)
2869:Tehanu
2864:(1972)
2856:(1971)
2848:(1968)
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900:was a
874:Tehanu
870:Tehanu
855:Tehanu
742:tropes
651:Voyage
604:Themes
551:Tehanu
496:eunuch
455:Taoism
405:Taoism
300:Tehanu
241:was a
171:
158:
69:Series
43:Author
3246:Gifts
3041:Cycle
2533:S2CID
2480:(PDF)
2451:(PDF)
2336:JSTOR
2238:S2CID
2067:JSTOR
2013:S2CID
1775:S2CID
1445:S2CID
1287:(3).
1034:S2CID
621:is a
539:Tenar
285:is a
277:Like
211:is a
131:Pages
79:Genre
2746:ISBN
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2488:2019
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2268:2011
2171:2017
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1069:2017
986:ISBN
864:and
140:ISBN
108:1971
3014:Ged
2523:hdl
2515:doi
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2005:doi
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