Fine Original Rare



T his listing is for a VERY RARE SIGNED. EASTON PRESS LEATHER EDITION of. By the multiple Hugo, Nebula, and National Book Award Winning author. This book won the Nebula, Hugo, and the Locus awards - all three! This has been SIGNED by the author URSULA K.

LE GUIN - it has been signed in archival pen on a loose card that is laid in with only her signature (no n ames or pers onalizations)... Condition is as follows: FINE - BRAND NEW & UNREAD! This copy is in collector's condition and also has the page of collector's notes laid in. This is an Easton Press edition of Le Guin's masterpiece.

The Easton Press's books are known for their elegant covers and beautiful illustrations by well-known artists. Each book has the following features. Spine is accented with 22 kt gold. This Easton Press Signed Full Leather Hardback is really lovely - just a rare book with a great signature in wonderful condition! If you collect celebrated women's authors, Fantasy or Science Fiction, Young Adult books or just love the GENIUS of Ursula K.

Le Guin, then this will be a WELCOME addition to your collection! From Wikipedia, the free encyclopedia. The Dispossessed: An Ambiguous Utopia is a 1974 utopian science fiction novel by American writer Ursula K. Le Guin, set in the same fictional universe as that of The Left Hand of Darkness (the Hainish Cycle). The book won the Nebula Award for Best Novel in 1974, won both the Hugo and Locus Awards in 1975, and received a nomination for the John W. Campbell Memorial Award in 1975. It achieved a degree of literary recognition unusual for science fiction works due to its exploration of many themes, including anarchism and revolutionary societies, capitalism and individualism and collectivism.

It features the development of the mathematical theory underlying the fictional ansible, an instantaneous communications device that plays a critical role in Le Guin's Hainish Cycle. The invention of the ansible places the novel first in the internal chronology of the Hainish Cycle, although it was the fifth Hainish novel published.

In her new introduction to the Library of America reprint in 2017, the author wrote. The Dispossessed started as a very bad short story, which I didnt try to finish but couldnt quite let go.

There was a book in it, and I knew it, but the book had to wait for me to learn what I was writing about and how to write about it. I needed to understand my own passionate opposition to the war that we were, endlessly it seemed, waging in Vietnam, and endlessly protesting at home. If I had known then that my country would continue making aggressive wars for the rest of my life, I might have had less energy for protesting that one. But, knowing only that I didn't want to study war no more, I studied peace. I started by reading a whole mess of utopias and learning something about pacifism and Gandhi and nonviolent resistance. This led me to the nonviolent anarchist writers such as Peter Kropotkin and Paul Goodman. With them I felt a great, immediate affinity. They made sense to me in the way Lao Tzu did. They enabled me to think about war, peace, politics, how we govern one another and ourselves, the value of failure, and the strength of what is weak. So, when I realised that nobody had yet written an anarchist utopia, I finally began to see what my book might be. And I found that its principal character, whom Id first glimpsed in the original misbegotten story, was alive and wellmy guide to Anarres. Le Guin's parents, academic anthropologists Alfred and Theodora Kroeber, were friends with J. Robert Oppenheimer; Le Guin stated that Oppenheimer was the model for Shevek, the book's protagonist.

The Dispossessed is set on Anarres and Urras, the twin inhabited worlds of Tau Ceti. Urras is divided into several states and dominated by its two largest, the rivals A-Io and Thu.

The former has a capatalist economy and partiarchal system, and the latter is an authoritarian system that claims to rule in the name of the proletariat. A-Io has oppositional left-wing parties, one of which is closely linked to the rival society Thu. A revolution sparks in the major, yet undeveloped third area of Benbili. A-Io invades the Thu-supported revolutionary area, generating a proxy war. The other world, Anarres, represents a third ideological structure: anarcho-syndicalism. The Annaresti, who call themselves Odonians after the founder of their political philosophy, arrived on Anarres from Urras around 200 years ago. In order to forestall an anarcho-syndicalist rebellion, the major Urrasti states gave the revolutionaries the right to live on Anarres, along with a guarantee of non-interference the story is told in Le Guin's "The Day Before the Revolution". Before this, Anarres had had no permanent settlements, apart from some mining facilities. The economic and political situation of Anarres and its relation to Urras is ambiguous. The people of Anarres consider themselves as being free and independent, having broken off from the political and social influence of the old world. However, the powers of Urras consider Anarres as being essentially their mining colony, as the annual consignment of Anarres' precious metals and their distribution to major powers on Urras is a major economic event of the old world. The chapters alternate between the two planets and in time. The even-numbered chapters, which are set on Anarres, take place first chronologically and are followed by the odd-numbered chapters, which take place on Urras. The only exceptions occur in the first and last chapters, which take place in both worlds. Chapter numbers in chronological order. 2, 4, 6, 8, 10, 12, 1, 3, 5, 7, 9, 11, 13.

Anarres (chapters 1,2,4,6,8,10,12,13). Chapter One begins in the middle of the story. The protagonist Shevek is an Anarresti physicist attempting to develop a General Temporal Theory.

The physics of the book describes time as having a much deeper, more complex structure than we understand it. It incorporates not only mathematics and physics, but also philosophy and ethics.

Shevek finds his work blocked by a jealous superior, as his theories conflict with the prevailing political philosophy and are thus distrusted by the society. His work is further disrupted by his obligation to perform manual labor during a drought in this anarchist society; in order to ensure survival in a harsh environment, the people of Anarres must put the needs of society ahead of their own personal desires, so Shevek performs hard agricultural labor in a dusty desert for four years instead of working on his research. After the drought, he arranges to go to Urras to finish and publish his theory. Urras (chapters 1,3,5,7,9,11,13). Arriving on Urras, Shevek is feted.

Shevek soon finds himself disgusted with the social, sexual and political conventions of the hierarchical capitalist society of Urras. Shevek escapes the university and joins in a labor protest that is violently suppressed. He flees to the Terran embassy, where he asks them to transmit his theory to all worlds instead of letting the Urrasti monopolize it. The Terrans provide him safe passage back to Anarres. The ambiguity of Anarres' economic and political situation in relation to Urras is symbolically manifested in the low wall surrounding Anarres' single spaceport. This wall is the only place on the anarchist planet where No Trespassing! Signs may be seen, and it is where the book begins and ends. The people of Anarres believe that the wall divides a free world from the corrupting influence of an oppressor's ships.

On the other hand, the wall could be a prison wall keeping the rest of the planet imprisoned and cut off. Shevek's life attempts to answer this question.

In addition to Shevek's journey to answer questions about his society's true level of freedom, the meaning of his theories themselves weave their way into the plot; they not only describe abstract physical concepts, but they also reflect ups and downs of the characters' lives, and the transformation of the Anarresti society. An oft-quoted saying in the book is true journey is return. The meaning of Shevek's theorieswhich deal with the nature of time and simultaneityhave been subject to interpretation. For example, there have been interpretations that the non-linear nature of the novel is a reproduction of Shevek's theory. Le Guin's foreword to the novel notes that her anarchism is closely akin to that of Peter Kropotkin, whose Mutual Aid closely assessed the influence of the natural world on competition and cooperation.

Many conflicts occur between the freedom of anarchism and the constraints imposed by authority and society, both on Anarres and Urras. These constraints are both physical and social. Physically, Odo was imprisoned in the Fort for nine years. Socially speaking,'time after time the question of who is being locked out or in, which side of the wall one is on, is the focus of the narrative.

Mark Tunik emphasises that the wall is the dominant metaphor for these social constraints. Shevek hits the wall of charm, courtesy, indifference.

He later notes that he let a wall be built around him that kept him from seeing the poor people on Urras. He had been co-opted, with walls of smiles of the rich, and he didnt know how to break them down. Shevek at one point speculates that the people on Urras are not truly free, precisely because they have so many walls built between people and are so possessive. He says, You are all in jail. Each alone, solitary, with a heap of what he owns.

You live in prison, die in prison. It is all I can see in your eyes the wall, the wall!

It is not just the state of mind of those inside the prisons that concerns Shevek, he also notes the effect on those outside the walls. Steve Grossi says, by building a physical wall to keep the bad in, we construct a mental wall keeping ourselves, our thoughts, and our empathy out, to the collective detriment of all. Shevek himself later says, those who build walls are their own prisoners. Le Guin makes this explicit in chapter two, when the schoolchildren construct their own prison and detain one of their own inside.

The deleterious effect on the children outside parallels the effect on the guards in the Stanford Prison Experiment of 1971 (three years before The Dispossessed was published). The language spoken on Anarres also reflects anarchism. Pravic is a constructed language in the traition fo Esperanto. Pravic reflects many aspects of the philosophical foundations of utopian anarchism. For instance, the use of the possessive case is strongly discouraged, a feature that also is reflected by the novel's title.

Children are trained to speak only about matters that interest others; anything else is "egoizing" pp. There is no property ownership of any kind. Shevek's daughter, upon meeting him for the first time, tells him, "You can share the handkerchief I use" rather than "You may borrow my handkerchief", thus conveying the idea that the handkerchief is not owned by the girl, but is merely used by her. The work is sometimes said to represent one of the few modern revivals of the utopian genre. When first published, the book included the tagline: The magnificent epic of an ambiguous utopia!

" which was shortened by fans to "An ambiguous utopia and adopted as a subtitle in certain editions. There are also many characteristics of a utopian novel found in this book.

For example, Shevek is an outsider when he arrives on Urras, which capitalizes on the utopian and scientific fiction theme of the "estrangement-setting". Le Guin's utopianism, however, differs from the traditional anarchist commune.

" Whereas most utopian novels attempt to convey a society that is absolutely good, this world differs as it is portrayed only as "ambiguously good. There is some disagreement as to whether The Dispossessed should be considered a feminist utopia or a feminist science fiction novel. According to Mary Morrison of the State University of New York at Buffalo, the anarchist themes in this book help to promote feminist themes as well. Other critics, such as William Marcellino of SUNY Buffalo and Sarah Lefanu, writer of "Popular Writing and Feminist Intervention in Science Fiction, " argue that there are distinct anti-feminist undertones throughout the novel.

Morrison argues that Le Guin's portrayed ideals of Taoism, the celebration of labor and the body, and desire or sexual freedom in an anarchist society contribute greatly to the book's feminist message. Taoism, which rejects dualisms and divisions in favor of a Yin and Yang balance, brings attention to the balance between not only the two planets, but between the male and female inhabitants. The celebration of labor on Anarres stems from a celebration of a mother's labor, focusing on creating life rather than on building objects. The sexual freedom on Anarres also contributes to the book's feminist message. On the other hand, some critics believe that Le Guin's feminist themes are either weak or not present. Some believe that the Taoist interdependence between the genders actually weakens Le Guin's feminist message. Marcellino believes that the anarchist themes in the novel take precedence and dwarf any feminist themes. Lefanu adds that there is a difference between the feminist messages that the book explicitly presents and the anti-feminist undertones. For example, the book says that women created the society on Anarres.

However, female characters seem secondary to the male protagonist, who seems to be a traditional male hero; this subversion weakens any feminist message that Le Guin was trying to convey. It has been suggested that Le Guin's title is a reference to Dostoyevsky's novel about anarchists, Demons, Russian. Bésy , one popular English-language translation of which is titled The Possessed. Much of the philosophical underpinnings and ecological concepts came from Murray Bookchin's Post-Scarcity Anarchism (1971), according to a letter Le Guin sent to Bookchin. Anarres citizens are dispossessed not just by political choice, but by the very lack of actual resources to possess.

Here, again, Le Guin draws a contrast with the natural wealth of Urras, and the competitive behaviors this fosters. In the last chapter of The Dispossessed , we learn that the Hainish people arrived at Tau Ceti 60 years previously, which is more than 150 years after the secession of the Odonians from Urras and their exodus to Anarres.

Terrans are also there, and the novel occurs some time in the future, according to an elaborate chronology worked out by science fiction author Ian Watson in 1975: the baseline date of AD 2300 for The Dispossessed is taken from the description of Earth in that book (§11) as having passed through an ecological and social collapse with a population peak of 9 billion to a low-population but highly centralized recovery economy. " In the same article, Watson assigns a date of AD 4870 to The Left Hand of Darkness ; both dates are problematic as Watson says himself, they are contradicted by "Genly Ai's statement that Terrans'were ignorant until about three thousand years ago of the uses of zero'. The novel received generally positive reviews. Baird Searles characterized the novel as an "extraordinary work", saying Le Guin had "created a working society in exquisite detail" and "a fully realized hypothetical culture [as well as] living breathing characters who are inevitable products of that culture".

Gerald Jonas, writing in The New York Times, said that "Le Guin's book, written in her solid, no-nonsense prose, is so persuasive that it ought to put a stop to the writing of prescriptive Utopias for at least 10 years". Theodore Sturgeon praised The Dispossessed as "a beautifully written, beautifully composed book", saying it performs one of [science fiction's] prime functions, which is to create another kind of social system to see how it would work.

Or if it would work. Lester del Rey, however, gave the novel a mixed review, citing the quality of Le Guin's writing but claiming that the ending "slips badly", a deus ex machina that "destroy[s] much of the strength of the novel".

Le Guin There is no better spirit in all of American letters than that of Ursula Le Guin. Choire Sicha, Slate As a deviser of worlds, as a literary stylist, as a social critic and as a storyteller, Le Guin has no peer.

From the time of her first published work in the mid-1960s, she began to push against the confines of science fiction, bringing to bear an anthropologist's acute eye for large social textures and mythic structures, a fierce egalitarianism and a remarkable gift of language, without ever renouncing the sense of wonder and the spirit of play inherent in her genre of origin. " Michael Chabon "One of the most original imaginations ever to grace American letters... She is brisk and funny, but unsparing when asked to comment on something which, in her mind, does not measure up... She shows that stories that stand the test of time can come from something as simple as fellowship: like a family, like an extraordinary body of work, like a house built from a kit, standing proudly on a hill, more than a hundred years later.

John Freeman, Boston Globe Le Guin, of course, has long been one of our most powerful writers of conscience. Ulin, Los Angeles Times Its hard to think of another living author who has written so well for so long in so many styles as Ursula K. Scott Timber, Salon She never loses touch with her reverence for the immense what is. Le Guins prose breathes light and intelligence.

She can lift fiction to the level of poetry and compress it to the density of allegory. Jonathan Lethem There is no writer with an imagination as forceful and delicate as Le Guins. Grace Paley Le Guin is a writer of enormous intelligence and wit, a master storyteller with the humor and force of a Twain.

She creates stories for everyone from New Yorker literati to the hardest audience, children. She remakes every genre she uses. Sarah Smith, Boston Globe [Le Guin] is frequently referred to as'the best of' for all manner of thingslike best fantasy writer, best science fiction writer, best female writerall of which is silly, as she both defies and accepts all categorization.

Her influence on generations of readers and writers, from George R. Martin to Jennifer Egan to David Mitchell, is as evident as it is impossible to overstate. Admired for her quiet daring, her structures, and her inventions, most of all she is revered for her sentences. The Unreal and the Real guns from the grim to the ecstatic, from the State to the Garden of Eden, with just one dragon between. Every collection needs one dragon.

In every good career-spanning collection, you can observe an author growing into her authority. Here, every story, in its own way and from its own universe, told in its own mode, explains that there is no better spirit in all of American letters than that of Ursula Le Guin. " â Slate "A century from now people will still be reading the fantasy stories of Ursula K Le Guin with joy and wonder.

Five centuries from now they might ask if their author ever really existed, or if Le Guin was an identity made from the work of many writers rolled into one. A millennium on and her stories will be so familiar, like myths and fairytales today, that only dedicated scholars will ask who wrote them. Such is the fate of the truly great writers, whose stories far outlive their names. Second of a two-volume set, this bare-bones collection focuses on SFWA Grand Master Le Guins overtly fantastic visions. Settings of 20 stories, all previously anthologized, include both the science fictional Ekumen, a community of worlds populated by humans shaped by the hubristic Hain of the distant past, to such fantastical realms as the West Reach, where dragons breed on the lava isles. Le Guins imagination ranges widely; the most interesting sequence involves the world Seggri, whose gender politics are charmingly different from ours but equally constrained.

This short collection, offering samples from across Le Guins career to date, shows why she has been a major voice in science fiction and fantasy since the 1960s, but it suffers from lack of a scholarly introduction and other materials that might draw the interest of fans who have encountered these stories elsewhere. Le Guin has published eleven short story collections, twenty-one novels, essays, poetry, translations, and books for children, and has received the PEN-Malamud and National Book Awards, among others.

Also due this year is Finding My Elegy, New and Selected Poems. She lives in Portland, OR. Ursula Kroeber Le Guin (born October 21, 1929) is an American author.

She has written novels, poetry, children's books, essays, and short stories, most notably in the fantasy and science fiction genres. She was first published in the 1960s. Her works explore Taoist, anarchist, ethnographic, feminist, psychological and sociological themes. She has received several Hugo and Nebula awards, and was awarded the Gandalf Grand Master award in 1979 and the Science Fiction and Fantasy Writers of America Grand Master Award in 2003.

She has received eighteen Locus Awards, more than any other author. Her novel The Farthest Shore won the National Book Award for Children's Books in 1973. Le Guin was the Professional Guest of Honor at the 1975 World Science Fiction Convention in Melbourne, Australia. She received the Library of Congress Living Legends award in the "Writers and Artists" category in April 2000 for her significant contributions to America's cultural heritage.

In 2004, Le Guin was the recipient of the Association for Library Service to Children's May Hill Arbuthnot Honor Lecture Award. She was honored by The Washington Center for the Book for her distinguished body of work with the Maxine Cushing Gray Fellowship for Writers on 18 October 2006. Robert Heinlein in part dedicated his 1982 novel Friday to Ursula.

Le Guin was born and raised in Berkeley, California, the daughter of the anthropologist Alfred L. Kroeber and the writer Theodora Kroeber.

Her father was granted the first Ph. In Anthropology in the United States in 1901 (Columbia University).

Her mother's biography of Alfred Kroeber, Alfred Kroeber: A Personal Configuration , is a good source for Le Guin's early years and for the biographical elements in her late works, especially her interest in social anthropology. (Phi Beta Kappa) from Radcliffe College in 1951, and M.

From Columbia University in 1952. She later studied in France, where she met her husband, historian Charles Le Guin. They were married in 1953. She became interested in literature when she was very young. At the age of eleven she submitted her first story to the magazine Astounding Science Fiction (it was rejected).

Her earliest writings (little published at the time, but some appeared in adapted form much later in Orsinian Tales and Malafrena), were non-fantastic stories of imaginary countries. She became famous after the publication of her 1969 novel The Left Hand of Darkness , which won the Hugo and Nebula awards. Le Guin has lived in Portland, Oregon since 1958. She has three children and four grandchildren. Much of Le Guin's science fiction places a strong emphasis on the social sciences, including sociology and anthropology, thus placing it in the subcategory known as soft science fiction.

Her writing often makes use of unusual alien cultures to convey a message about human culture in general, for example, the exploration of sexual identity through the hermaphroditic race in The Left Hand of Darkness. Such themes place her work in the canon of feminist science fiction.

Her works are also often concerned with ecological issues. For example in'Tehanu' it is central to the story that the main characters are concerned with the everyday business of looking after animals, tending gardens and doing domestic chores. Thus, her works can be seen as anthropological.

They examine what humans do â on Earth or off. She creates "un-Earthly" perspectives to explore political and cultural themes.

Le Guin has also written fiction set much closer to home; many of her short stories are set in our world in the present or the near future. A number of Le Guin's science fiction works, including her novels The Dispossessed and The Left Hand of Darkness , are set in a future, post-Imperial galactic civilization loosely connected by a co-operative body known as the Ekumen. Much of her science fiction work deals with the consequences of contact between different worlds and cultures and the Ekumen serves as a framework in which to stage these interactions. For example, the novels The Left Hand of Darkness and The Telling deal with the consequences of the arrival of Ekumen envoys (known as "mobiles") on remote planets and the culture shock that ensues.

A notable feature of her science fiction work that sets it apart from much of mainstream'hard' science fiction is that none of the civilizations she depicts possess reliable or useful faster-than-light travel. This comes into play in some of the stories and novels of the Ekumen. The protagonist of The Dispossessed is a physicist working on theories that could lead to faster-than-light communication. In other stories (some written earlier) we see the importance to the League of Worlds and the later Ekumen of a means of instantaneous interstellar communication, a device called the ansible. A remarkable thematic element to the Hainish Cycle novels and stories is in relation to the Ekumen's "Mobiles, " who give up their connections to their home planets in order to travel in time-dilation (a few days pass for them on board their space ships while decades pass on both the worlds they are leaving behind and on the worlds they are heading towards).

Generations pass where they left and are traveling to as they travel, their loved ones long gone back home when they arrive. This dynamic of loneliness creates an incredible pathos for the author's characters (often the protagonist), as they deal with leaving behind all they know and cultures they often do not expect to arrive to. In this loose background scenario, the human species originated on the planet Hain in the distant past, near the galactic center. A Galactic Empire had expanded far across the galaxy over many millennia but, because it lacked faster-than-light (FTL) travel or communication, the Empire was finally stretched beyond its limits by the vast distances involved and it collapsed catastrophically.

Thousands of years passed, during which time the populations of many outlying planets became so isolated from the central galactic civilization that they lost all knowledge of their origins, reverting to more archaic forms of civilization and technology, and in some cases developing significant evolutionary differences. Some of the stories in A Fisherman of the Inland Sea describes "Churten" technology that provides travel faster than the speed of light that is impractical because it warps reality and the consciousnesses of travelers. A Wizard of Earthsea , 1968. The Tombs of Atuan , 1971.

The Farthest Shore , 1972 (Winner of the National Book Award). Tehanu: The Last Book of Earthsea , 1990 (Winner of the Nebula Award). Note : The short story "Dragonfly" from Tales from Earthsea is intended to fit in between Tehanu and The Other Wind and, according to Le Guin, is "an important bridge in the series as a whole".

"The Word of Unbinding", 1975 (in The Wind's Twelve Quarters ; originally published in the January 1964 issue of Fantastic). "The Rule of Names", 1975 (in The Wind's Twelve Quarters). Robert Silverberg; also in Tales from Earthsea. Tales from Earthsea , short story collection, 2001 (winner of Endeavour Award).

The Left Hand of Darkness , 1969 (winner of the Hugo Award and Nebula Award). The Dispossessed: An Ambiguous Utopia , 1974 (winner of the Hugo Award and Nebula Award). The Word for World is Forest , 1976 (winner of the Hugo Award). Four Ways to Forgiveness , 1995 (Four Stories of the Ekumen).

Worlds of Exile and Illusion , 1996 (omnibus of Rocannon's World , Planet of Exile and City of Illusions). The Telling , 2000 (winner of Endeavour Award). The Hainish Cycle short stories. "Dowry of the Angyar", 1964 (appears as "Semley's Necklace" in The Wind's Twelve Quarters ; also used as the prologue of Rocannon's World). "Winter's King", 1969 (in The Wind's Twelve Quarters). "Vaster Than Empires and More Slow", 1971 (in The Wind's Twelve Quarters). "The Day Before the Revolution", 1974 (in The Wind's Twelve Quarters ; winner of the Nebula Award and Locus Award).

"The Shobies' Story", 1990 (in A Fisherman of the Inland Sea). "Dancing to Ganam", 1993 (in A Fisherman of the Inland Sea).

"Another Story OR A Fisherman of the Inland Sea", 1994 (in A Fisherman of the Inland Sea). "The Matter of Seggri", 1994 in The Birthday of the World ; winner of the James Tiptree, Jr. "Unchosen Love", 1994 (in The Birthday of the World). "Solitude", 1994 (in The Birthday of the World ; winner of the Nebula Award).

"Coming of Age in Karhide", 1995 (in The Birthday of the World). "Mountain Ways", 1996 in The Birthday of the World ; winner of the James Tiptree, Jr.

"Old Music and the Slave Women", 1999 (in The Birthday of the World). Miscellaneous novels and story cycles. The Lathe of Heaven , 1971 (made into TV movies, 1980 and 2002). The Eye of the Heron , 1978 (first published in the anthology Millennial Women).

The Beginning Place , 1980 (also published as Threshold , 1986). Note: Le Guin has said that The Eye of the Heron might form part of the Hainish cycle. The other tales are unconnected with any of her other works, except that Malafrena takes place in the same realistic-but-imagined part of Europe as Orsinian Tales. The Wind's Twelve Quarters , 1975.

Buffalo Gals, and Other Animal Presences , 1987. A Fisherman of the Inland Sea , 1994. Unlocking the Air and Other Stories , 1996.

The Birthday of the World , 2002. The Unreal and the Real: Volume One - Where on Earth, 2012.

The Unreal and the Real: Volume Two - Outer Space, Inner Lands, 2012. Books for children and young adults. Wonderful Alexander and the Catwings , 1994. Jane on her Own , 1999.

Annals of the Western Shore. Other books for children and young adults. Very Far Away from Anywhere Else , 1976, ISBN 0-15-205208-9. The Language of the Night , 1979, revised edition 1992. Dancing at the Edge of the World , 1989.

Revisioning Earthsea , 1992 (a published lecture - essay). Steering the Craft , 1998 (about writing). The Wave in the Mind , 2004. Hard Words and Other Poems , 1981. Wild Oats and Fireweed , 1988.

Going Out with Peacocks and Other Poems , 1994. Sixty Odd: New Poems , 1999.

Lao Tzu : Tao Te Ching, a Book about the Way & the Power of the Way , 1997 (a rendition and commentary) ISBN 1-57062-333-3. Selected Poems of Gabriela Mistral , from Gabriela Mistral's Spanish originals. See also: "The Ones Who Walk Away From Omelas". Le Guin is a prolific author and has published many works that are not listed here.

Many works were originally published in science fiction literary magazines. Those that have not since been anthologized have fallen into obscurity. Adaptations to film and television. Despite her many awards and her considerable popularity, Le Guin's major SF and Fantasy works have not as yet been widely adapted for film or television.

For television, The Lathe of Heaven has been adapted twice, in 1980 by thirteen/WNET New York, with her own participation, and in 2002 by the A&E Network; while the first two books of the Earthsea trilogy were adapted into the miniseries Legend of Earthsea in 2004 by the Sci Fi Channel. This adaptation was extremely poorly received by both readers of the books and Le Guin herself, who reports that she was "cut out of the process" and that the miniseries was [a] far cry from the Earthsea I envisioned. The animated feature film Tales from Earthsea based on characters and events from the 3rd and 4th Earthsea books, was produced by Studio Ghibli in 2005 under the direction of GorÅ Miyazaki. Le Guin was generally disappointed with the film, if not as outrightly disapproving as she been of the Sci Fi Channel miniseries, as both adaptations added major characters and events which she felt were unfaithful to her work in terms of both content and spirit.

Most of all, she was saddened that Goro's father Hayao Miyazaki missed his chance to direct an Earthsea film. The elder Miyazaki had asked permission to create an Earthsea adaptation back in the early 1980s, but Le Guin, not knowing his work, or indeed anime in general, turned him down. After viewing My Neighbour Totoro , she then came to the idea that if anyone should be allowed to direct an Earthsea film, it should be Hayao Miyazaki. Le Guin is the author of more than one hundred short stories, two collections of essays, four volumes of poetry, and nineteen novels.

Her first major work of science fiction, The Left Hand of Darkness , is considered epochmaking in the field because of its radical investigation of gender roles and its moral and literary complexity. Three of Le Guin's books have been finalists for the American Book Award and the Pulitzer Prize, and among the many honors her writing has received are the National Book Award, five Hugo Awards, five Nebula Awards, the Kafka Prize, a Pushcart Prize, and the Harold D.

Vursell Award of the American Academy and Institute of Arts and Letters. She lives in Portland, Oregon. Keywords: Leguin Autograph Autographed flatsigned flat signed.

The item "Rare SIGNED Ursula K Le Guin THE DISPOSSESSED Full Leather EASTON PRESS New FINE" is in sale since Thursday, April 11, 2019. This item is in the category "Books\Antiquarian & Collectible". The seller is "richinfiber" and is located in Portland, Oregon. This item can be shipped worldwide.

  • Country/Region of Manufacture: United States
  • Binding: Hardcover with Dust Jacket
  • Author: Ursula Le Guin
  • Subject: Science Fiction & Fantasy
  • Original/Facsimile: Original
  • Language: English
  • Publisher: Easton Press
  • Special Attributes: Signed