of a thing gives one power over it. Attempting to save the life of a dying child, Ged travels spiritually to the border between death and life, and there the shadow finds him and begins to pursue him. This pursuit drives him to Osskil and the Stone of Terrenon, where Ged almost subordinates himself to the forces of nonbeing in order to gain power over the shadow; this is his most threatening temptation. When he takes shelter with Ogion, the wizard advises him to turn on and pursue the shadow, to attempt to possess it. In the final crisis, Ged confronts his shadow and gives it his own name. So named, the shadow and Ged merge, making him a powerful adult hero.

Although Le Guin was not to articulate and publish her main feminist ideas until well after the appearance of the Earthsea books, the directions her thought would take are implicit in those books. The Taoist worldview of A Wizard of Earthsea differs from the Christian worldview that is implicit in much heroic fantasy, such as J. R. R. Tolkien’s trilogy The Lord of the Rings (1955). One main difference is that Le Guin’s worldview sees the universe as continuous, without beginning or end; therefore, human history contains no fall or last judgment. This has several implications for how women are portrayed in her work.

Although women hold inferior social and political positions, there is no ancient religious justification for this state of affairs. In The Tombs of Atuan (1971) and Tehanu, Le Guin makes it clear that the oppression of women in Earthsea results from an age of imbalance in political life, in which men have come to dominate politics and magic. It appears at the end of Tehanu that, as a new age begins, a woman will lead in the realm of magic, a man will lead in the realm of politics, and the two will cooperate in governing a unified Earthsea.

The worldview of the Earthsea books tends to be inclusive rather than exclusive. As the main characters, through their adventures and learning, come into line with that worldview, they are more inclined to act cooperatively, to think of community as a structure for including all who share a locale rather than as a set of concepts for including the like-minded and excluding the different. Ged’s final self-integration is inclusive rather than exclusive, and his missions in the later books become communitarian rather than individualistic. He always rejects even the most needed personal gains if accepting them will harm the community.

A Wizard of Earthsea won a Boston Globe/Horn Book Award in 1969, the same year in which Le Guin published The Left Hand of Darkness, which won both of the most prestigious science-fiction awards, the Nebula and the Hugo. The Tombs of Atuan won a Newbery Honor Book citation, and The Farthest Shore (1972) won a National Book Award for children’s literature. Such success, at a time when few women published science fiction or fantasy under their own names, was decisive in drawing women openly into these areas, so that within twenty-five years, dozens of women had established reputations in a field dominated by men since its beginnings, first in medieval and later in romantic fantasy and continuing into the twentieth century development of science fiction and new fantasy as highly popular genres.

Another important contribution of the Earthsea books is that they were important in changing the reputation of fantasy and science fiction as genres. Although Le Guin did expect children to read these books, they are not simple. Her admirers quickly saw that her themes were as serious socially and philosophically as her writing was beautiful and subtle. By this means, Le Guin was influential in bringing serious critical attention to these genres. She was among those writers who initiated a sort of renaissance in fantasy and science fiction, both in their production and in their recognition as important cultural products.

Earthsea is a mythical realm composed of numerous small island nations surrounded by a largely uncharted sea. It shares a border with the world of the dead. The economy and politics of Earthsea resemble a medieval style, with trade and barter primarily managed by kings or ruling families. While the technology remains medieval, magic is prevalent and offers many advantages similar to advanced technology, especially in areas like medicine and weather control. However, this magic does not extend to advanced technologies in transportation, industry, or warfare.

Initially formless, as it approached, it began to resemble a man.
The history of Earthsea reveals the worldview that underlies it. Ged explains that the stars' shining is the repetition of a long, continuous word, with the name of every essential thing in creation being a syllable. All of creation is encompassed in and formed by words. From the darkness of nonexistence emerges the light of being. Everything exists temporarily, then returns to its origin in nonexistence. Because the cosmos is articulating a word that is creation, magic becomes possible. A wizard or mage can engage with and, to some degree, influence creation by learning the syllables of this long word and speaking them at the correct moments. Mastering these magical syllables does not grant simple power to the wizard, as they can misuse them and disrupt the balance of creation. The magician might inadvertently produce the opposite of his intentions. For instance, in The Farthest Shore, a selfish individual might destroy creation while striving to achieve an impossible feat, such as immortality. For any person, immortality is unachievable because it would disturb the dynamic exchange between being and nonbeing that maintains the cosmos, enabling life and change.

Besides the island inhabitants, Earthsea is home to dragons, the oldest living beings. They speak the original language of creation and generally do not concern themselves with human affairs. However, they can be both extremely helpful and highly dangerous. One of the greatest achievements for a magician is to become a dragon lord, someone who has conversed with a dragon in the ancient language and survived to recount the experience.

At the heart of the series is Le Guin's symbolic contrast between existence and nonexistence, which serves as the source of creative energy in Earthsea's universe. Ged faces this duality through his separation into self and Shadow. To mature, he must learn to view himself and his Shadow as integral parts of a single entity. He needs to grasp that the forces of being and nonbeing cannot be simplified into a mere dichotomy of good versus evil. Although he must confront nonbeing as if it were evil, he cannot eradicate it. Nonbeing is indestructible because it constitutes one of the foundational elements of creation. Instead, Ged must comprehend the essential equilibrium between these forces and recognize his role in upholding this balance. As a conscious and creative entity, his duty involves supporting being and opposing nonbeing.

Within this overarching framework, Le Guin introduces a parallel set of symbolic oppositions: light and dark, wet and dry, sea and desert, conscious and unconscious, self and shadow, speech and silence, life and death. Observing how any image or event connects to these contrasts can lead to a deeper understanding of the meanings behind Ged's adventures and heightens the suspense in his struggle with his Shadow.

Le Guin's mastery of language shines through in her exquisite prose style. She weaves poems and songs into the narrative, beginning the novel with a verse about the creation of Earthsea: "Only in silence the word, only in dark the light, only in dying life: bright the hawk's flight on the empty sky." This verse not only showcases the power of her language but also reveals the ideal of balance that guides the trilogy and reflects the plots of all three novels.

Le Guin has crafted an evocative novel about a unique boy's journey to manhood. His challenges unfold within a complex and profound philosophical framework embodied in his world, psyche, and symbolic imagery and events. His growth is portrayed through a series of beautifully told adventures that are both engaging and thrilling. The novel is a joy to revisit and to read aloud to others.

A Wizard of Earthsea explores the challenges of growing up, focusing on the journey of self-discovery. For young Ged, the most challenging part of understanding himself is acknowledging and accepting his Shadow. This Shadow symbolizes the aspects of his personality he wishes to ignore, contrasting the traits he aims to develop. Children often want to hide from the frightening or forbidden parts of themselves, but they also desire to understand and master them. Fairy tales use fantasy to create symbolic images of these intimidating elements, helping children to tame them. Le Guin suggests that transitioning into adulthood requires facing and integrating these rejected parts of the self, which she refers to as the Shadow. Embracing the Shadow not only leads to maturity but also unleashes creative and imaginative power. Ged's journey provides young readers with a way to visualize their own hopes and fears as they transition from adolescence to adulthood.

Although the novel specifically features a talented child, its themes are universal. Gifted readers might find particular enjoyment in a story about a young person experiencing similar struggles, but all teenagers often feel distinct from others and can discover their own unique talents. Most young readers will relate to Ged and find pleasure in following his journey to maturity.

The book rarely touches on topics that might provoke traditional cultural objections, such as sex, violence, or religion. A thorough analysis and additional reading are necessary to fully understand how Le Guin's worldview contrasts with traditional Christianity. Discussing Le Guin's religious concepts can lead to engaging and thought-provoking conversations.

A Wizard of Earthsea is the first installment in the Earthsea trilogy, where Ged plays a prominent role in each book. However, The Tombs of Atuan is narrated from the perspective of a young girl on the brink of adulthood. All three books have been recognized with significant literary awards and are equally engaging, thoughtful, and skillfully crafted.

The Tombs of Atuan chronicles the growth of Tenar, a young woman groomed to be a priestess in a society that has grown increasingly patriarchal. Although gender issues are subtly woven into the narrative, they are crucial for understanding Tenar's predicament. Men are strictly linked with existence, while women are associated with nonexistence. Thus, a female priestess is trained to serve the forces of darkness, requiring her to completely relinquish her identity. She becomes "the eaten one," taking on the name Arha, and is taught to dwell in darkness. Ged arrives at the tombs she inhabits, seeking the other half of a magical ring bestowed upon him by an elderly couple he encountered after being shipwrecked by the Shadow in the first book. He brings forbidden light into the dark tombs, leading Arha to a pivotal decision between darkness and light.

In The Farthest Shore, Ged mentors Arren, a prince destined to unite Earthsea under the power of the magical ring restored in the second book. This mentorship unfolds as a quest to confront and halt an evil magician who has found a way to achieve immortality. His actions are gradually disrupting the balance of existence by erasing the syllables of the great word of creation. The central theme of this novel emphasizes the necessity of death and nonexistence for maintaining the dynamic order of the universe. To reject death is to reject existence, just as denying the Shadow results in one's own obliteration.

Eighteen years after concluding the trilogy, Le Guin revisited Earthsea in Tehanu: The Last Book of Earthsea. This narrative, told from Tenar's perspective, explores how the balance of power in Earthsea begins to shift after Ged vanquishes the villainous magician in The Farthest Shore. Ged learns to cope with the loss of his magical abilities, while Tenar starts to understand and assert the significance of feminine power. These changes signify Earthsea's transition from an era of conflict and chaos dominated by masculine power to an age of harmony and prosperity, where male and female forces must find equilibrium. This feminist theme is woven into the poignant and skillfully narrated story of Tenar's journey through widowhood and the implications of adopting a severely mistreated child.

Besides the sequels, Le Guin has included three stories in The Wind's Twelve Quarters that connect to the Earthsea series. "The Word of Unbinding" continues from the conclusion of The Farthest Shore, featuring a battle between good and evil wizards that culminates in the realm of death. "The Rule of Names" is a humorous story about a wizard duel where knowing true names is essential. Although "Darkness Box" isn't set in Earthsea, it explores the themes of balancing light and dark, existence and nonexistence.

Each of these stories immerses the reader in an enchanting and beautiful world. Le Guin is a skilled and insightful author. Her stories inspire deep reflection on the universal challenges of growing up, all while maintaining the joy of wonder and adventure.

Beacham, Walton, ed. Popular Fiction in America. Vol. 3. Washington, DC: Beacham Publishing, 1986. This essay offers a concise exploration of the Earthsea trilogy.

Bittner, James W. Approaches to the Fiction of Ursula K. Le Guin. Ann Arbor: University of Michigan Press, 1984. This book examines Le Guin's thematic elements and writing style.

Bucknall, Barbara. Ursula K. Le Guin. New York: Frederick Ungar, 1981. This is a succinct yet informative overview of Le Guin's work, focusing on her life and key themes, and includes a comprehensive bibliography.

Cowart, David, and Thomas Wymer, eds. Dictionary of Literary Biography. Vol. 8. Detroit: Gale Research, 1981. The article on Le Guin summarizes her professional journey and discusses her significant contributions to science fiction.

Estes, Glenn, ed. Dictionary of Literary Biography. Vol. 52. Detroit: Gale Research, 1986. This article explores Le Guin's writing for young audiences, with particular emphasis on the Earthsea trilogy.

Heller, Terry. "Ursula K. Le Guin." In Critical Survey of Short Fiction: Supplement, edited by Frank Magill. Englewood Cliffs, NJ: Salem Press, 1987. Includes a brief essay that examines Le Guin's worldview as depicted in her short fiction.

Le Guin, Ursula K. The Language of the Night. Edited by Susan Wood. New York: Berkely, 1979. This collection of essays is valuable for gaining insight into Le Guin's philosophical perspectives and the objectives of her writing.

Spivack, Charlotte. Ursula K. Le Guin. Boston: Twayne, 1984. Spivack covers all of Le Guin's fiction, essays, and poetry published up until 1984.