Ursula K. Le Guin - Revision history

JPbio: Le Guin rejected the idea that the Hainish books were anything more than loosely connected. The collected Hainish novels and stories (Library of America) makes no mention of a trilogy.

2024-11-20T13:15:26Z

Le Guin rejected the idea that the Hainish books were anything more than loosely connected. The collected Hainish novels and stories (Library of America) makes no mention of a trilogy.

← Previous revision		Revision as of 13:15, 20 November 2024
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	Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}}		Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}}

	[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more Hainish ~~novels~~, ''[[Planet of Exile]]'' and ''[[City of Illusions]]'' were published in 1966 and 1967, respectively~~, and the three books together would come to be known as the Hainish trilogy~~.~~{{sfn\|White\|1999\|pp=44–45}}~~ The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better known ~~later~~ works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}		[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more novels set in the Hainish universe, ''[[Planet of Exile]]'' and ''[[City of Illusions]],'' were published in 1966 and 1967, respectively. The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better-known works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}

	When publishing her story "Nine Lives" in 1968, ''[[Playboy]]'' magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.{{sfn\|Le Guin\|1978\|p=128}}		When publishing her story "Nine Lives" in 1968, ''[[Playboy]]'' magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.{{sfn\|Le Guin\|1978\|p=128}}

	=== Critical attention ===		=== Critical attention ===
	Le Guin's next two books brought her sudden and widespread critical acclaim. ''[[A Wizard of Earthsea]]'', published in 1968, was a fantasy novel written initially for teenagers.{{sfn\|White\|1999\|p=2}} Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.{{sfn\|White\|1999\|p=10}}{{sfn\|Cadden\|2005\|p=xi}} A [[Bildungsroman\|coming of age story]] set in the fictional archipelago of Earthsea, the book ~~received~~ a positive reception in both the U.S. and Britain.{{sfn\|White\|1999\|p=10}}{{sfn\|Cummins\|1990\|pp=8, 22}}		Le Guin's next two books brought her sudden and widespread critical acclaim. ''[[A Wizard of Earthsea]]'', published in 1968, was a fantasy novel written initially for teenagers.{{sfn\|White\|1999\|p=2}} Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.{{sfn\|White\|1999\|p=10}}{{sfn\|Cadden\|2005\|p=xi}} A [[Bildungsroman\|coming of age story]] set in the fictional archipelago of Earthsea, the book met a positive reception in both the U.S. and Britain.{{sfn\|White\|1999\|p=10}}{{sfn\|Cummins\|1990\|pp=8, 22}}

	[[File:Ursula Le Guin Harlan Ellison.jpg\|thumb\|right\|Le Guin with [[Harlan Ellison]] at [[Westercon]] in [[Portland, Oregon]] (1984)]]		[[File:Ursula Le Guin Harlan Ellison.jpg\|thumb\|right\|Le Guin with [[Harlan Ellison]] at [[Westercon]] in [[Portland, Oregon]] (1984)]]

JPbio: /* Early work */ Removed the sentence saying she'd written 5 novels, which was unsourced and untrue. Removed line about critical attention as irrelevant.

2024-11-20T13:02:25Z

Early work: Removed the sentence saying she'd written 5 novels, which was unsourced and untrue. Removed line about critical attention as irrelevant.

← Previous revision		Revision as of 13:02, 20 November 2024
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	== Chronology of writings ==		== Chronology of writings ==
	=== Early work ===		=== Early work ===
	Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} ~~Between 1951 and 1961 she also wrote five novels, all set in Orsinia, which were rejected by publishers on the grounds that they were inaccessible.~~ Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}} ~~These stories were largely ignored by critics.{{sfn\|White\|1999\|p=45}}~~		Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}}

	[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more Hainish novels, ''[[Planet of Exile]]'' and ''[[City of Illusions]]'' were published in 1966 and 1967, respectively, and the three books together would come to be known as the Hainish trilogy.{{sfn\|White\|1999\|pp=44–45}} The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better known later works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}		[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more Hainish novels, ''[[Planet of Exile]]'' and ''[[City of Illusions]]'' were published in 1966 and 1967, respectively, and the three books together would come to be known as the Hainish trilogy.{{sfn\|White\|1999\|pp=44–45}} The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better known later works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}

Jevansen: Removing from Category:American speculative fiction critics has subcat using Cat-a-lot

2024-11-16T06:40:21Z

Removing from Category:American speculative fiction critics has subcat using Cat-a-lot

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	[[Category:American speculative fiction translators]]		[[Category:American speculative fiction translators]]
	[[Category:American Taoists]]		[[Category:American Taoists]]

Jevansen: Moving from Category:Science fiction critics to Category:American science fiction critics using Cat-a-lot

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Moving from Category:Science fiction critics to Category:American science fiction critics using Cat-a-lot

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	[[Category:Radcliffe College alumni]]		[[Category:Radcliffe College alumni]]
	[[Category:Rhysling Award for Best Long Poem winners]]		[[Category:Rhysling Award for Best Long Poem winners]]
	[[Category:~~Science~~ fiction critics]]		[[Category:American science fiction critics]]
	[[Category:Science Fiction Hall of Fame inductees]]		[[Category:Science Fiction Hall of Fame inductees]]
	[[Category:SFWA Grand Masters]]		[[Category:SFWA Grand Masters]]

Asilvering: wl Anarres

2024-11-13T19:41:13Z

wl Anarres

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	Alternative social and political systems are a recurring theme in Le Guin's writing.<ref name="Fellow Writers" />{{sfn\|White\|1999\|pp=81–83}} Critics have paid particular attention to ''The Dispossessed'' and ''Always Coming Home'',{{sfn\|White\|1999\|pp=81–83}} although Le Guin explores related themes in a number of her works,{{sfn\|White\|1999\|pp=81–83}} such as in "The Ones Who Walk Away From Omelas".{{sfn\|Rochelle\|2008\|pp=414–415}} ''The Dispossessed'' is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including [[Peter Kropotkin]], as well as from the counterculture of the 1960s and 1970s.<ref name="GuardianQ&A" /> Le Guin has been credited with {{nowrap\|"[rescuing]}} anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.<ref>{{Cite journal \|last=Call \|first=Lewis \|year=2007 \|title=Postmodern Anarchism in the Novels of Ursula K. Le Guin \|url=http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|url-status=live \|journal=SubStance \|volume=13 \|archive-url=https://web.archive.org/web/20130930094957/http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|archive-date=September 30, 2013 \|access-date=November 25, 2013 \|number=36}}</ref> Fellow author [[Kathleen Ann Goonan]] wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".<ref name="Fellow Writers" />		Alternative social and political systems are a recurring theme in Le Guin's writing.<ref name="Fellow Writers" />{{sfn\|White\|1999\|pp=81–83}} Critics have paid particular attention to ''The Dispossessed'' and ''Always Coming Home'',{{sfn\|White\|1999\|pp=81–83}} although Le Guin explores related themes in a number of her works,{{sfn\|White\|1999\|pp=81–83}} such as in "The Ones Who Walk Away From Omelas".{{sfn\|Rochelle\|2008\|pp=414–415}} ''The Dispossessed'' is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including [[Peter Kropotkin]], as well as from the counterculture of the 1960s and 1970s.<ref name="GuardianQ&A" /> Le Guin has been credited with {{nowrap\|"[rescuing]}} anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.<ref>{{Cite journal \|last=Call \|first=Lewis \|year=2007 \|title=Postmodern Anarchism in the Novels of Ursula K. Le Guin \|url=http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|url-status=live \|journal=SubStance \|volume=13 \|archive-url=https://web.archive.org/web/20130930094957/http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|archive-date=September 30, 2013 \|access-date=November 25, 2013 \|number=36}}</ref> Fellow author [[Kathleen Ann Goonan]] wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".<ref name="Fellow Writers" />

	''The Dispossessed'', set on the twin planets of Urras and Anarres, features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but more ethically and morally advanced.{{sfn\|White\|1999\|pp=86–89}} Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.{{sfn\|White\|1999\|pp=86–89}} ''The Eye of the Heron'', published a few years after ''The Dispossessed'', was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.{{sfn\|Rochelle\|2008\|p=415}}		''The Dispossessed'', set on the twin planets of Urras and [[Anarres]], features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but more ethically and morally advanced.{{sfn\|White\|1999\|pp=86–89}} Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.{{sfn\|White\|1999\|pp=86–89}} ''The Eye of the Heron'', published a few years after ''The Dispossessed'', was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.{{sfn\|Rochelle\|2008\|p=415}}

	''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}		''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}

JJMC89 bot III: Moving :Category:Hugo Award-winning writers to :Category:Hugo Award–winning writers per Wikipedia:Categories for discussion/Speedy

2024-11-02T20:16:10Z

Moving Category:Hugo Award-winning writers to Category:Hugo Award–winning writers per Wikipedia:Categories for discussion/Speedy

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	[[Category:Kroeber family]]		[[Category:Kroeber family]]
	[[Category:Margaret A. Edwards Award winners]]		[[Category:Margaret A. Edwards Award winners]]

JJMC89 bot III: Moving :Category:World Fantasy Award-winning writers to :Category:World Fantasy Award–winning writers per Wikipedia:Categories for discussion/Speedy

2024-11-02T19:55:57Z

Moving Category:World Fantasy Award-winning writers to Category:World Fantasy Award–winning writers per Wikipedia:Categories for discussion/Speedy

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	[[Category:Writers from Berkeley, California]]		[[Category:Writers from Berkeley, California]]
	[[Category:Writers from Portland, Oregon]]		[[Category:Writers from Portland, Oregon]]

JJMC89: Removing from Category:Fulbright alumni Wikipedia:Categories for discussion/Log/2021 June 28#Category:Fulbright Scholars using Cat-a-lot

2024-09-22T02:57:01Z

Removing from Category:Fulbright alumni Wikipedia:Categories for discussion/Log/2021 June 28#Category:Fulbright Scholars using Cat-a-lot

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	[[Category:Kroeber family]]		[[Category:Kroeber family]]

TheCatCollective: /* Political systems */ Spacing wrt refs

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Political systems: Spacing wrt refs

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	''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}		''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}

	Other social structures are examined in works such as the story cycle ''Four Ways to Forgiveness'', and the short story "Old Music and the Slave Women", occasionally described as a "fifth way to forgiveness". {{sfn\|Cadden\|2005\|p=38}} Set in the Hainish universe, the five stories together examine revolution and reconstruction in a slave-owning society.<ref>{{Cite journal \|last=Lindow \|first=Sandra J. \|date=April 29, 2018 \|title=The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle \|url=http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html \|journal=The New York Review of Science Fiction \|issue=346 \|access-date=May 8, 2018 \|archive-date=September 28, 2018 \|archive-url=https://web.archive.org/web/20180928044519/http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html \|url-status=live }}</ref>{{sfn\|Rochelle\|2001\|p=153}} According to Rochelle, the stories examine a society that has the potential to build a "truly human community", made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom and the possibility of utopia, brought about through revolution.{{sfn\|Rochelle\|2001\|pp=159–160}} [[Slavery]], justice, and the role of women in society are also explored in ''Annals of the Western Shore''.<ref>{{Cite journal \|last=Oziewicz \|first=Marek C. \|date=2011 \|title=Restorative Justice Scripts in Ursula K. Le Guin's Voices \|journal=Children's Literature in Education \|volume=42 \|pages=33–43 \|doi=10.1007/s10583-010-9118-8\|s2cid=145122571 }}</ref><ref>{{Cite journal \|last=Nordling \|first=Em \|date=October 28, 2016 \|title=Farsickness, Homesickness in The Found and the Lost by Ursula K. Le Guin \|url=http://www.tor.com/2016/10/28/book-reviews-the-found-and-the-lost-by-ursula-k-le-guin/ \|website=Tor.com \|access-date=January 2, 2017 \|archive-date=January 21, 2017 \|archive-url=https://web.archive.org/web/20170121074851/https://www.tor.com/2016/10/28/book-reviews-the-found-and-the-lost-by-ursula-k-le-guin/ \|url-status=live }}</ref>		Other social structures are examined in works such as the story cycle ''Four Ways to Forgiveness'', and the short story "Old Music and the Slave Women", occasionally described as a "fifth way to forgiveness".{{sfn\|Cadden\|2005\|p=38}} Set in the Hainish universe, the five stories together examine revolution and reconstruction in a slave-owning society.<ref>{{Cite journal \|last=Lindow \|first=Sandra J. \|date=April 29, 2018 \|title=The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle \|url=http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html \|journal=The New York Review of Science Fiction \|issue=346 \|access-date=May 8, 2018 \|archive-date=September 28, 2018 \|archive-url=https://web.archive.org/web/20180928044519/http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html \|url-status=live }}</ref>{{sfn\|Rochelle\|2001\|p=153}} According to Rochelle, the stories examine a society that has the potential to build a "truly human community", made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom and the possibility of utopia, brought about through revolution.{{sfn\|Rochelle\|2001\|pp=159–160}} [[Slavery]], justice, and the role of women in society are also explored in ''Annals of the Western Shore''.<ref>{{Cite journal \|last=Oziewicz \|first=Marek C. \|date=2011 \|title=Restorative Justice Scripts in Ursula K. Le Guin's Voices \|journal=Children's Literature in Education \|volume=42 \|pages=33–43 \|doi=10.1007/s10583-010-9118-8\|s2cid=145122571 }}</ref><ref>{{Cite journal \|last=Nordling \|first=Em \|date=October 28, 2016 \|title=Farsickness, Homesickness in The Found and the Lost by Ursula K. Le Guin \|url=http://www.tor.com/2016/10/28/book-reviews-the-found-and-the-lost-by-ursula-k-le-guin/ \|website=Tor.com \|access-date=January 2, 2017 \|archive-date=January 21, 2017 \|archive-url=https://web.archive.org/web/20170121074851/https://www.tor.com/2016/10/28/book-reviews-the-found-and-the-lost-by-ursula-k-le-guin/ \|url-status=live }}</ref>

	== Reception and legacy ==		== Reception and legacy ==

QoulA: missed update

2024-08-27T16:33:02Z

missed update

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	[[Cultural anthropology]], [[Taoism]], [[feminism]], and the writings of [[Carl Jung]] all had a strong influence on Le Guin's work. Many of her stories used anthropologists or cultural observers as protagonists, and Taoist ideas about balance and equilibrium have been identified in several writings. Le Guin often subverted typical speculative fiction tropes, such as through her use of [[People of color\|dark-skinned]] protagonists in Earthsea, and also used unusual stylistic or structural devices in books such as the experimental work ''[[Always Coming Home]]'' (1985). Social and political themes, including race, gender, sexuality, and [[coming of age]] were prominent in her writing. She explored alternative political structures in many stories, such as in the [[Philosophical fiction\|philosophical short story]] "[[The Ones Who Walk Away from Omelas]]" (1973) and the anarchist utopian novel ''[[The Dispossessed]]'' (1974).		[[Cultural anthropology]], [[Taoism]], [[feminism]], and the writings of [[Carl Jung]] all had a strong influence on Le Guin's work. Many of her stories used anthropologists or cultural observers as protagonists, and Taoist ideas about balance and equilibrium have been identified in several writings. Le Guin often subverted typical speculative fiction tropes, such as through her use of [[People of color\|dark-skinned]] protagonists in Earthsea, and also used unusual stylistic or structural devices in books such as the experimental work ''[[Always Coming Home]]'' (1985). Social and political themes, including race, gender, sexuality, and [[coming of age]] were prominent in her writing. She explored alternative political structures in many stories, such as in the [[Philosophical fiction\|philosophical short story]] "[[The Ones Who Walk Away from Omelas]]" (1973) and the anarchist utopian novel ''[[The Dispossessed]]'' (1974).

	Le Guin's writing was enormously influential in the field of speculative fiction, and has been the subject of intense critical attention. She received numerous accolades, including eight [[Hugo Award\|Hugos]], six [[Nebula Award\|Nebulas]], and twenty-~~four~~ [[Locus Award for Best Novel\|Locus Awards]], and in 2003 became the second woman honored as a [[SFWA Grand Master\|Grand Master]] of the [[Science Fiction and Fantasy Writers of America]]. The U.S. [[Library of Congress]] named her a [[Library of Congress Living Legend\|Living Legend]] in 2000, and in 2014, she won the [[National Book Award\|National Book Foundation Medal for Distinguished Contribution to American Letters]]. Le Guin influenced many other authors, including [[Booker Prize]] winner [[Salman Rushdie]], [[David Mitchell (author)\|David Mitchell]], [[Neil Gaiman]], and [[Iain Banks]]. After her death in 2018, critic [[John Clute]] wrote that Le Guin had "presided over American science fiction for nearly half a century",<ref name="Clute Guardian Obit" /> while author [[Michael Chabon]] referred to her as the "greatest American writer of her generation".<ref name="Fellow Writers" /><ref name=":0">{{Cite web \|last=Chabon \|first=Michael \|date=November 20, 2019 \|title=Le Guin's Subversive Imagination \|url=https://www.theparisreview.org/blog/2019/11/20/leguins-subversive-imagination/ \|access-date=November 24, 2019 \|website=The Paris Review \|language=en \|archive-date=December 24, 2019 \|archive-url=https://web.archive.org/web/20191224023023/https://www.theparisreview.org/blog/2019/11/20/leguins-subversive-imagination/ \|url-status=live }}</ref>		Le Guin's writing was enormously influential in the field of speculative fiction, and has been the subject of intense critical attention. She received numerous accolades, including eight [[Hugo Award\|Hugos]], six [[Nebula Award\|Nebulas]], and twenty-five [[Locus Award for Best Novel\|Locus Awards]], and in 2003 became the second woman honored as a [[SFWA Grand Master\|Grand Master]] of the [[Science Fiction and Fantasy Writers of America]]. The U.S. [[Library of Congress]] named her a [[Library of Congress Living Legend\|Living Legend]] in 2000, and in 2014, she won the [[National Book Award\|National Book Foundation Medal for Distinguished Contribution to American Letters]]. Le Guin influenced many other authors, including [[Booker Prize]] winner [[Salman Rushdie]], [[David Mitchell (author)\|David Mitchell]], [[Neil Gaiman]], and [[Iain Banks]]. After her death in 2018, critic [[John Clute]] wrote that Le Guin had "presided over American science fiction for nearly half a century",<ref name="Clute Guardian Obit" /> while author [[Michael Chabon]] referred to her as the "greatest American writer of her generation".<ref name="Fellow Writers" /><ref name=":0">{{Cite web \|last=Chabon \|first=Michael \|date=November 20, 2019 \|title=Le Guin's Subversive Imagination \|url=https://www.theparisreview.org/blog/2019/11/20/leguins-subversive-imagination/ \|access-date=November 24, 2019 \|website=The Paris Review \|language=en \|archive-date=December 24, 2019 \|archive-url=https://web.archive.org/web/20191224023023/https://www.theparisreview.org/blog/2019/11/20/leguins-subversive-imagination/ \|url-status=live }}</ref>

	== Life ==		== Life ==

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	Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}}		Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cite web \|last=Attebery \|first=Brian \|author-link=Brian Attebery \|title=Ursula K. Le Guin: The Complete Orsinia \|url=https://www.loa.org/books/513-the-complete-orsinia \|access-date=February 12, 2018 \|publisher=Library of America \|archive-date=January 27, 2020 \|archive-url=https://web.archive.org/web/20200127093118/https://loa.org/books/513-the-complete-orsinia \|url-status=live }}</ref>{{sfn\|Nicholls\|Clute\|2019}} Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{sfn\|Reid\|1997\|p=6}} Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{sfn\|White\|1999\|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{sfn\|Erlich\|2009\|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{sfn\|White\|1999\|pp=45, 123}} Among them were "[[The Dowry of Angyar]]", which introduced the fictional [[Hainish universe]],{{sfn\|Cummins\|1990\|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{sfn\|Cadden\|2005\|pp=80–81}}

	[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more Hainish ~~novels~~, ''[[Planet of Exile]]'' and ''[[City of Illusions]]'' were published in 1966 and 1967, respectively~~, and the three books together would come to be known as the Hainish trilogy~~.~~{{sfn\|White\|1999\|pp=44–45}}~~ The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better known ~~later~~ works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}		[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more novels set in the Hainish universe, ''[[Planet of Exile]]'' and ''[[City of Illusions]],'' were published in 1966 and 1967, respectively. The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{sfn\|White\|1999\|pp=44–45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{sfn\|White\|1999\|pp=44–45}} The books contained many themes and ideas also present in Le Guin's better-known works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{sfn\|Spivack\|1984\|p=9}}

	When publishing her story "Nine Lives" in 1968, ''[[Playboy]]'' magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.{{sfn\|Le Guin\|1978\|p=128}}		When publishing her story "Nine Lives" in 1968, ''[[Playboy]]'' magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.{{sfn\|Le Guin\|1978\|p=128}}

	=== Critical attention ===		=== Critical attention ===
	Le Guin's next two books brought her sudden and widespread critical acclaim. ''[[A Wizard of Earthsea]]'', published in 1968, was a fantasy novel written initially for teenagers.{{sfn\|White\|1999\|p=2}} Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.{{sfn\|White\|1999\|p=10}}{{sfn\|Cadden\|2005\|p=xi}} A [[Bildungsroman\|coming of age story]] set in the fictional archipelago of Earthsea, the book ~~received~~ a positive reception in both the U.S. and Britain.{{sfn\|White\|1999\|p=10}}{{sfn\|Cummins\|1990\|pp=8, 22}}		Le Guin's next two books brought her sudden and widespread critical acclaim. ''[[A Wizard of Earthsea]]'', published in 1968, was a fantasy novel written initially for teenagers.{{sfn\|White\|1999\|p=2}} Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.{{sfn\|White\|1999\|p=10}}{{sfn\|Cadden\|2005\|p=xi}} A [[Bildungsroman\|coming of age story]] set in the fictional archipelago of Earthsea, the book met a positive reception in both the U.S. and Britain.{{sfn\|White\|1999\|p=10}}{{sfn\|Cummins\|1990\|pp=8, 22}}

	[[File:Ursula Le Guin Harlan Ellison.jpg\|thumb\|right\|Le Guin with [[Harlan Ellison]] at [[Westercon]] in [[Portland, Oregon]] (1984)]]		[[File:Ursula Le Guin Harlan Ellison.jpg\|thumb\|right\|Le Guin with [[Harlan Ellison]] at [[Westercon]] in [[Portland, Oregon]] (1984)]]

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	Alternative social and political systems are a recurring theme in Le Guin's writing.<ref name="Fellow Writers" />{{sfn\|White\|1999\|pp=81–83}} Critics have paid particular attention to ''The Dispossessed'' and ''Always Coming Home'',{{sfn\|White\|1999\|pp=81–83}} although Le Guin explores related themes in a number of her works,{{sfn\|White\|1999\|pp=81–83}} such as in "The Ones Who Walk Away From Omelas".{{sfn\|Rochelle\|2008\|pp=414–415}} ''The Dispossessed'' is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including [[Peter Kropotkin]], as well as from the counterculture of the 1960s and 1970s.<ref name="GuardianQ&A" /> Le Guin has been credited with {{nowrap\|"[rescuing]}} anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.<ref>{{Cite journal \|last=Call \|first=Lewis \|year=2007 \|title=Postmodern Anarchism in the Novels of Ursula K. Le Guin \|url=http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|url-status=live \|journal=SubStance \|volume=13 \|archive-url=https://web.archive.org/web/20130930094957/http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|archive-date=September 30, 2013 \|access-date=November 25, 2013 \|number=36}}</ref> Fellow author [[Kathleen Ann Goonan]] wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".<ref name="Fellow Writers" />		Alternative social and political systems are a recurring theme in Le Guin's writing.<ref name="Fellow Writers" />{{sfn\|White\|1999\|pp=81–83}} Critics have paid particular attention to ''The Dispossessed'' and ''Always Coming Home'',{{sfn\|White\|1999\|pp=81–83}} although Le Guin explores related themes in a number of her works,{{sfn\|White\|1999\|pp=81–83}} such as in "The Ones Who Walk Away From Omelas".{{sfn\|Rochelle\|2008\|pp=414–415}} ''The Dispossessed'' is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including [[Peter Kropotkin]], as well as from the counterculture of the 1960s and 1970s.<ref name="GuardianQ&A" /> Le Guin has been credited with {{nowrap\|"[rescuing]}} anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.<ref>{{Cite journal \|last=Call \|first=Lewis \|year=2007 \|title=Postmodern Anarchism in the Novels of Ursula K. Le Guin \|url=http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|url-status=live \|journal=SubStance \|volume=13 \|archive-url=https://web.archive.org/web/20130930094957/http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin \|archive-date=September 30, 2013 \|access-date=November 25, 2013 \|number=36}}</ref> Fellow author [[Kathleen Ann Goonan]] wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".<ref name="Fellow Writers" />

	''The Dispossessed'', set on the twin planets of Urras and Anarres, features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but more ethically and morally advanced.{{sfn\|White\|1999\|pp=86–89}} Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.{{sfn\|White\|1999\|pp=86–89}} ''The Eye of the Heron'', published a few years after ''The Dispossessed'', was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.{{sfn\|Rochelle\|2008\|p=415}}		''The Dispossessed'', set on the twin planets of Urras and [[Anarres]], features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but more ethically and morally advanced.{{sfn\|White\|1999\|pp=86–89}} Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.{{sfn\|White\|1999\|pp=86–89}} ''The Eye of the Heron'', published a few years after ''The Dispossessed'', was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.{{sfn\|Rochelle\|2008\|p=415}}

	''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}		''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{sfn\|White\|1999\|pp=96–100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{sfn\|Rochelle\|2008\|pp=415–416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{sfn\|Spivack\|1984\|p=159}}{{sfn\|Rochelle\|2008\|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{sfn\|Cummins\|1990\|pp=87–90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and [[imperialism]], driven partly by her disapproval for U.S. intervention in the [[Vietnam War]].{{sfn\|Spivack\|1984\|pp=70–71}}{{sfn\|Cummins\|1990\|pp=87–90}}{{sfn\|Reid\|1997\|pp=58–60}}