Martine's Reviews > The Earthsea Quartet
The Earthsea Quartet (Earthsea Cycle, #1-4)
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The Earthsea Quartet contains the first four of Ursula LeGuin's Earthsea novels (I believe there are five now, plus a collection of short stories). Earthsea is a large archipelago of islands, some of which are inhabited by dragons, but most of which are inhabited by humans. It's a fairly well-realised world which never gets bogged down in unnecessary details, unlike many other fantasy series. LeGuin sticks to basics, both in terms of world-building and in terms of style. Her writing is sparse and detached, which suits the philosophical themes she addresses. It is also nearly sexless, which gives the stories collected in this book a lovely archaic and Tolkienesque ring.
Apart from its detached tone, what most sets The Earthsea Quartet apart from other fantasy series is its concept of magic, which involves knowing the true names of things -- the names things were given back when they were first created, many of which are now forgotten. In LeGuin's universe, the way to power is to know lots of true names, be they of people, dragons or inanimate objects. So people who can divine true names, like the intrepid hero of the Earthsea Quartet, Ged, are potentially very powerful indeed.
Not that Ged cares about power. All he cares about is keeping Earthsea a safe place to be, which basically means preventing other wizards from using too much magic. You see, the central conceit of the Earthsea novels is not that it's cool to know magic and use it as often as possible, as in, say, the Harry Potter books. In Earthsea, the wise wizard uses his powers sparingly, so as not to upset the world's equilibrium. The general idea seems to be that the more magic you use, the more you'll end up disturbing the natural equilibrium, with potentially disastrous consequences. Thus, while great feats of magic are occasionally performed in the books (usually to vanquish those who willingly upset the equilibrium), they are few and far between, and not nearly as prominent as they are in other fantasy series. Ultimately, LeGuin says, the wizard's challenge is not to become powerful, but rather to understand the nature of things and act upon this knowledge in a manner which will help keep the world a safe place to be.
LeGuin has an interesting take on evil. In the first three books of the series (A Wizard of Earthsea, The Tombs of Atuan and The Farthest Shore), she doesn't really go in for great villains, but leaves her evil forces largely unspecified. Her evil is a nameless and faceless force whose ancient power can be felt but not readily understood. I like that; it adds a touch of mystery and otherworldly dread to the books which appeals to me. The fourth book, Tehanu, which was written much later than the preceding three books and is markedly different in both style and substance, does put a human face on evil, and moreover has a setting which will be more familiar to earthly readers than the settings of the earlier books. I'm sure some readers will appreciate this attempt at greater humanity and recognisability, but to me it constitutes a loss of the mythical quality and otherworldliness that make the first three books so special. It doesn't help, either, that the fourth book has a strong feminist slant, in the negative sense of that word. Apparently, Tehanu is considered a bit of a feminist classic in some quarters, but personally, I think it suffers badly from its men-deprecating stance. I much prefer the ideology-free earlier books, which I'd rate at four stars, five stars and three and a half stars, respectively.
If you can only read one book in the series, pick The Tombs of Atuan, which pits the hero, Ged, against a young priestess who doesn't really understand the powers she is serving. It's an excellent story, set largely in an underground labyrinth, which adds a tangible touch of claustrophobia to the proceedings. A life-and-death power struggle in a dark place from which there is no escape -- what's not to like?
More in-depth reviews of the individual books can be found here:
A Wizard of Earthsea
The Tombs of Atuan
The Farthest Shore
Tehanu
Apart from its detached tone, what most sets The Earthsea Quartet apart from other fantasy series is its concept of magic, which involves knowing the true names of things -- the names things were given back when they were first created, many of which are now forgotten. In LeGuin's universe, the way to power is to know lots of true names, be they of people, dragons or inanimate objects. So people who can divine true names, like the intrepid hero of the Earthsea Quartet, Ged, are potentially very powerful indeed.
Not that Ged cares about power. All he cares about is keeping Earthsea a safe place to be, which basically means preventing other wizards from using too much magic. You see, the central conceit of the Earthsea novels is not that it's cool to know magic and use it as often as possible, as in, say, the Harry Potter books. In Earthsea, the wise wizard uses his powers sparingly, so as not to upset the world's equilibrium. The general idea seems to be that the more magic you use, the more you'll end up disturbing the natural equilibrium, with potentially disastrous consequences. Thus, while great feats of magic are occasionally performed in the books (usually to vanquish those who willingly upset the equilibrium), they are few and far between, and not nearly as prominent as they are in other fantasy series. Ultimately, LeGuin says, the wizard's challenge is not to become powerful, but rather to understand the nature of things and act upon this knowledge in a manner which will help keep the world a safe place to be.
LeGuin has an interesting take on evil. In the first three books of the series (A Wizard of Earthsea, The Tombs of Atuan and The Farthest Shore), she doesn't really go in for great villains, but leaves her evil forces largely unspecified. Her evil is a nameless and faceless force whose ancient power can be felt but not readily understood. I like that; it adds a touch of mystery and otherworldly dread to the books which appeals to me. The fourth book, Tehanu, which was written much later than the preceding three books and is markedly different in both style and substance, does put a human face on evil, and moreover has a setting which will be more familiar to earthly readers than the settings of the earlier books. I'm sure some readers will appreciate this attempt at greater humanity and recognisability, but to me it constitutes a loss of the mythical quality and otherworldliness that make the first three books so special. It doesn't help, either, that the fourth book has a strong feminist slant, in the negative sense of that word. Apparently, Tehanu is considered a bit of a feminist classic in some quarters, but personally, I think it suffers badly from its men-deprecating stance. I much prefer the ideology-free earlier books, which I'd rate at four stars, five stars and three and a half stars, respectively.
If you can only read one book in the series, pick The Tombs of Atuan, which pits the hero, Ged, against a young priestess who doesn't really understand the powers she is serving. It's an excellent story, set largely in an underground labyrinth, which adds a tangible touch of claustrophobia to the proceedings. A life-and-death power struggle in a dark place from which there is no escape -- what's not to like?
More in-depth reviews of the individual books can be found here:
A Wizard of Earthsea
The Tombs of Atuan
The Farthest Shore
Tehanu
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Reading Progress
Started Reading
October 1, 2005
–
Finished Reading
September 12, 2008
– Shelved
September 12, 2008
– Shelved as:
fantasy
September 12, 2008
– Shelved as:
modern-fiction
September 12, 2008
– Shelved as:
north-american
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Regarding my feminism remark, I'll just repeat here what I said in my review of Tehanu: 'Literally every female character in the book is worthy (even dirty, batty Aunty Moss), whereas all the men in the book are weak and ineffective at best and downright obnoxious at worst. There are so many scathing remarks about men in the book that it made me groan at times.'
For what it's worth, I don't object to female authors advocating equality. Not at all. Nor do I object to female authors holding up a mirror to men who still treat women like they did a hundred years ago. However, what LeGuin does in Tehanu (and also, from what I've heard, in The Other Wind) is replace misogyny with misandry, which is just as bad, in my opinion. And on top of that she is frightfully unsubtle about it, which is always a no-no in my book.
I do agree that there is still a lot of sex inequality in the world, and I generally applaud authors for addressing such issues. I can also see why LeGuin felt the need to address the position of women in Earthsea in Tehanu; they barely got a mention in her previous books, which, with the exception of The Tombs of Atuan, are largely peopled with male characters (shades of The Lord of the Rings there). Obviously, LeGuin felt she needed to redress a wrong, which is commendable. However, as far as I'm concerned, she went about it the wrong way. Both her idealisation of all the female characters and her repeated put-downs of all the male characters are off-putting to me. It's a pity she felt she had to resort to such measures in Tehanu, for the story itself is excellent; it could have been a brilliant book if she hadn't ruined it with her preachy tone. But alas, she did. To me, anyway.

Tombs of Atuan remains my favourite book in the whole series (and a top favourite of Le Guin's works, period) and I was always sad she didn't write more about Tenar.

The thing that really got to me about Tehanu was it felt deliberately ugly - sort of like (pop culture reference alert!) the sixth season of Buffy. This is what real life is like, kiddies, and it sucks. It's not just high school that's hell, but all the rest of adult life as well. Le Guin seems to absolutely bend over backwards to correct the rather deliberately gendered, archaic, Jungian/Tolkien/Campbellian earlier world of Earthsea, and like most of her fiction when she gets really didactic (The Telling, parts of the Dispossessed, a lot of her sort of later-middle* work) the story and characters really suffer. It felt like the ugliness wasn't in service of the story, but the story was there to point up the absolute ugliness.
I actually thought her later trilogy, the Annals of the Western Shore books, was a much better 'rewriting' or 'answering back' to the earlier Earthsea books in terms of power, and magic, and slavery, and other thematic issues. The first was pretty hard slogging, the second picked up a lot and the third's my favourite (okay, the hero is basically an ion,** or bard even, and I'm a sucker for those guys). The story and characters felt much more organic, and a lot less punishing to read.
*For me there's several Le Guin periods: early to early-middle, where she's traditional but gaining strength; middle period, probably her best technically but not as political; late-middle period where it was ALL POLITICS ALL THE TIME and I despaired of ever enjoying anything by her again (this was when she rewrote her earlier quasi-infamous essay about the Gethenians and gender); and later-middle to middle-of-the-late? what? where she's producing some astonishing stuff: Lavinia and the Annals of the Western Shore books were lovely surprises. Of course looking over her actual bibliography this is very flawed, but it's still basically how I experienced reading her books more or less as they came out.
**No, not a particle. Blame SJC.
I bought books Nos. 5 and 6 a while ago, and hope to have a chance to read them before the end of the year. Book No. 5 (a short story collection called Tales from Earthsea) is supposedly rather forgettable, but Book No. 6 (a novel called The Other Wind) is said to be quite good, although it does seem to suffer from the same problems as Tehanu. I can't wait to find out how Tehanu's story ends...