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Book Title: En el otro viento|
Date of issue: December 1st 2003
ISBN 13: 9788445074732
The author of the book: Ursula K. Le Guin
Format files: PDF
The size of the: 636 KB
Read full description of the books En el otro viento:The short version:
Plot schmot, do you really think it’s accidental that The Other Wind is more contemplative than adventuresome? Ursula Le Guin is a very deliberate writer.
The long version:
Reading the Earthsea cycle in order will do more for you than simply get you up to speed on who’s who and what went before: so don’t start with this, the final book to date, if you want to really appreciate what Le Guin is doing. She created Earthsea in 1964, introduced Ged in 1968, and finally ended the series (?) in 2001 with The Other Wind. After 37 years, it’s a testament to her writing skill that Earthsea, and Ged within it, have the coherence to support a generation’s-worth of changing focus without losing their own integrity or internal logic. Just as Ged, in his old age, is “done with doing,” by now Le Guin is far less interested in plot or character than in the implications of the one-sided world she created a generation earlier. Early on, she’s still essentially working out the technical, practical details of how Earthsea and its cultures, creatures and magic work--and the fast-paced action of A Wizard of Earthsea gives us exposition without making it dry. We as readers learn about Earthsea, and wizardry, and dragons, as Sparrowhawk does, in typical bildungsroman fashion. As time goes on, however, Le Guin realizes there’s a lot more to be said about Earthsea than What, Who and How, but Why. The story of Earthsea as told in the first three books is fascinating, exciting, and fun--but also superficial.
At this point Le Guin’s emphasis on balance stops being a preoccupation of her characters’ magical theory and turns into her own task as a writer. In Tehanu and “Dragonfly” she opens up several flip sides to her early subjects: women rather than men, ordinary people instead of wizards and kings, everyday concerns like chores and crime rather than magical catastrophes, and the simple behavior and merits of dumb animals rather than dragons. Sleeper agent Tenar opens a window for us into the effects of the one on the other within the structure and society of Earthsea, and everyone severally ties up the loose ends in The Other Wind.
What good is it to be a wizard in an ordinary world, or an ordinary man or woman in a magical world? Does magic solve problems or create them, or both? What is the source of power, and what makes sentience? How can magic that conquers death in one society be reconciled with a non-magical society of humans in the same world? In The Other Wind Ursula Le Guin has the guts to examine her world for its flaws and inconsistencies and successfully address them within its own myth. Earthsea is still recognizably Earthsea, but more soundly so.
Collaboration, understanding, wisdom, labor, and everyday virtues like kindness, open-mindedness, and patience achieve as much as any single hero, noble deed or spell when all is said and done--and this is why more is said than done this time around. As a standalone book, it’s merely okay--but having seen the arc of Le Guin’s preoccupations played out across the years lends it a depth and satisfaction you won’t get if you haven’t read the other books first. Ged the wise old cabbage-grower, plum-picker, and other-people’s-kittens-lender becomes much more interesting--the answer to a question you didn’t know was asked--if you’ve also experienced him as a young, almost all-powerful wizard.
Read information about the authorAs of 2013, Ursula K. Le Guin has published twenty-two novels, eleven volumes of short stories, four collections of essays, twelve books for children, six volumes of poetry and four of translation, and has received many awards: Hugo, Nebula, National Book Award, PEN-Malamud, etc. Her recent publications include the novel Lavinia, an essay collection, Cheek by Jowl, and The Wild Girls. Forthcoming in 2012, Finding My Elegy, New and Selected Poems. She lives in Portland, Oregon.
She is known for her treatment of gender (The Left Hand of Darkness, The Matter of Seggri), political systems (The Telling, The Dispossessed) and difference/otherness in any other form. Her interest in non-Western philosophies is reflected in works such as 'Solitude' and 'The Telling' but even more interesting are her imagined societies, often mixing traits extracted from her profound knowledge of anthropology acquired from growing up with her father, the famous anthropologist, Alfred Krober. The Hainish Cycle reflects the anthropologist's experience of immersing themselves in new strange cultures since most of their main characters and narrators (Le Guin favours the first person narration) are envoys from a humanitarian organization, the Ekumen, sent to investigate or ally themselves with the people of a different world and learn their ways.
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