From there the voyage to Iffish was not long. They came in to Ismay harbor on a still, dark evening before snow. They tied up the boat Lookfar that had borne them to the coasts of death’s kingdom and back, and went up through the narrow streets to the wizard’s house. Their hearts were very light as they entered into the firelight and warmth under that roof; and Yarrow ran to meet them, crying with joy.
IF ESTARRIOL OF IFFISH KEPT his promise and made a song of that first great deed of Ged’s, it has been lost. There is a tale told in the East Reach of a boat that ran aground, days out from any shore, over the abyss of ocean. In Iffish they say it was Estarriol who sailed that boat, but in Tok they say it was two fishermen blown by a storm far out on the Open Sea, and in Holp the tale is of a Holpish fisherman, and tells that he could not move his boat from the unseen sands it grounded on, and so wanders there yet. So of the song of the Shadow there remain only a few scraps of legend, carried like driftwood from isle to isle over the long years. But in the Deed of Ged nothing is told of that voyage nor of Ged’s meeting with the shadow, before ever he sailed the Dragons’ Run unscathed, or brought back the Ring of Erreth-Akbe from the Tombs of Atuan to Havnor, or came at last to Roke once more, as Archmage of all the islands of the world.
Afterword
ONCE UPON A TIME, A publisher asked me if I’d write a novel for teenagers. “Oh, no!” I said. “No, thanks very much, but I couldn’t!”
It was the idea of writing with a specific audience in mind or a specific age of reader that scared me off. I’d published fantasy and science fiction, but I was interested in the form itself, not in who read it or how old they were. But maybe my real problem was that I’d spent so many years writing novels, sending them to publishers, and having them come back with a dull thud on the doormat that I had trouble comprehending that an actual publisher had really asked me to write a book . . .
He was Herman Schein of Parnassus Press in Berkeley, the publisher of my mother’s books for children. He wanted to begin doing novels for older kids. When I said, “Oh, no!” he just said, “Well, think about it. Fantasy, maybe—whatever you like.”
I thought about it. Slowly the idea sank in. Would writing for older kids be so different from just writing? Why? Despite what some adults seem to think, teenagers are fully human. And some of them read as intensely and keenly as if their life depended on it. Sometimes maybe it does.
And fantasy—pure, old-fashioned fantasy, not mixed with science fiction—I liked the idea. All my life I’d been reading about wizards, dragons, magic spells . . .
Back then, in 1967, wizards were all, more or less, Merlin and Gandalf. Old men, peaked hats, white beards. But this was to be a book for young people. Well, Merlin and Gandalf must have been young once, right? And when they were young, when they were fool kids, how did they learn to be wizards?
And there was my book.
Well, not instantly, of course. A novel takes a while to write. This one went pretty quickly and easily, though. I didn’t have a plot outlined out when I started, but I knew what the story was. I knew who my Sparrowhawk was, and in a general way I knew where he was going—where he had to go, not only to learn to be a wizard, but to learn to be Ged. Then, as I wrote his story, what he did and said, where he went and the people he met, showed me and told me what he had to do and where he had to go next.
But where is as important in the realms of pure imagination as it is here in mundanity. Before I started to write the story, I got a big piece of posterboard and drew the map. I drew all the islands of Earthsea, the Archipelago, the Kargad Lands, the Reaches. And I named them: Havnor, the great island at the middle of the world; Selidor, far out in the west, and the Dragon’s Run, and Hur-at-Hur, and all the rest. But only as I sailed with Ged from Gont did I begin to know the islands, one by one. With him, I first came to Roke, and the Ninety Isles, and Osskil, and farther east even than Astowell. And with him I first went to the dark, dry country, the place across the wall where the dead must go. A voyage long enough, strange enough, great enough for one book.
***
FANTASY IS NOW A BRANCH of the publishing industry, with many titles, many sequels, great expectations of monster successes and movie tie-ins. In 1967 it was pretty much nowhere. Kid stuff. The only adult fantasy novel most people had even heard of was The Lord of the Rings. There were others, some of them wonderful, but they mostly lurked in small secondhand bookshops smelling of cats and mildew. I miss those bookshops now, the cats, the mildew, the thrill of discovery. Fantasy as an assembly-line commodity leaves me cold.
But I rejoice when I see it written as what it always was—literature—and recognized as such.
When A Wizard of Earthsea came out, there had not been a book like it. It was original—something new. Yet it was also conventional enough not to frighten reviewers. It was well received. The Boston Globe–Horn Book Award helped it. And the fact that fantasy isn’t “for” a certain age but is a literature accessible to anybody who reads—that helped too. My wizard never got on the bestseller lists, but he kept on finding readers, year after year. The book has never been out of print.
The conventionality of the story, and its originality, reflect its existence within and partial subversion of an accepted, recognized tradition, one I grew up with. That is the tradition of fantastic tales and hero stories, which comes down to us like a great river from sources high in the mountains of Myth—a confluence of folk and fairy tale, classical epic, medieval and Renaissance and Eastern romance, romantic ballad, Victorian imaginative tale, and twentieth-century book of fantastic adventure such as T. H. White’s Arthurian cycle and Tolkien’s great book.
Most of this marvelous flood of literature was written for adults, but modernist literary ideology shunted it all to children. And kids could and did swim in it happily as in their native element, at least until some teacher or professor told them they had to come out, dry off, and breathe modernism ever after.
The part of the tradition that I knew best was mostly written (or rewritten for children) in England and northern Europe. The principal characters were men. If the story was heroic, the hero was a white man; most dark-skinned people were inferior or evil. If there was a woman in the story, she was a passive object of desire and rescue (a beautiful blond princess); active women (dark, witches) usually caused destruction or tragedy. Anyway, the stories weren’t about the women. They were about men, what men did, and what was important to men.
It’s in this sense that A Wizard was perfectly conventional. The hero does what a man is supposed to do: he uses his strength, wits, and courage to rise from humble beginnings to great fame and power, in a world where women are secondary, a man’s world.
In other ways my story didn’t follow the tradition. Its subversive elements attracted little attention, no doubt because I was deliberately sneaky about them. A great many white readers in 1967 were not ready to accept a brown-skinned hero. But they weren’t expecting one. I didn’t make an issue of it, and you have to be well into the book before you realize that Ged, like most of the characters, isn’t white.
His people, the Archipelagans, are various shades of copper and brown, shading into black in the South and East Reaches. The light-skinned people among them have far-northern or Kargish ancestors. The Kargish raiders in the first chapter are white. Serret, who both as girl and woman betrays Ged, is white. Ged is copper-brown and his friend Vetch is black. I was bucking the racist tradition, “making a statement”—but I made it quietly, and it went almost unnoticed.
Alas, I had no power, at that time, to combat the flat refusal of many cover departments to put people of color on a book jacket. So, through many later, lily-white Geds, Ruth Robbins’s painting for the first edition—the fine, strong profile of a young man with copper-brown skin—was, to me, the book’s one true cover.
My story took off in its own direction, away from the tradition, also in the whole matter of what makes heroes and villains. Hero tales and adventure fantasies tradition
ally put the righteous hero in a war against unrighteous enemies, which he (usually) wins. This convention was and still is so dominant that it’s taken for granted—“of course” a heroic fantasy is good guys fighting bad guys, the War of Good Against Evil.
But there are no wars in Earthsea. No soldiers, no armies, no battles. None of the militarism that came from the Arthurian saga and other sources and that by now, under the influence of fantasy war games, has become almost obligatory.
I didn’t and don’t think this way; my mind doesn’t work in terms of war. My imagination refuses to limit all the elements that make an adventure story and make it exciting—danger, risk, challenge, courage—to battlefields. A hero whose heroism consists of killing people is uninteresting to me, and I detest the hormonal war orgies of our visual media, the mechanical slaughter of endless battalions of black-clad, yellow-toothed, red-eyed demons.
War as a moral metaphor is limited, limiting, and dangerous. By reducing the choices of action to “a war against” whatever-it-is, you divide the world into Me or Us (good) and Them or It (bad) and reduce the ethical complexity and moral richness of our life to Yes/No, On/Off. This is puerile, misleading, and degrading. In stories, it evades any solution but violence and offers the reader mere infantile reassurance. All too often the heroes of such fantasies behave exactly as the villains do, acting with mindless violence, but the hero is on the “right” side and therefore will win. Right makes might.
Or does might make right?
If war is the only game going, yes. Might makes right. Which is why I don’t play war games.
To be the man he can be, Ged has to find out who and what his real enemy is. He has to find out what it means to be himself. That requires not a war but a search and a discovery. The search takes him through mortal danger, loss, and suffering. The discovery brings him victory, the kind of victory that isn’t the end of a battle but the beginning of a life.
TURN THE PAGE FOR A SNEAK PEEK AT THE TOMBS OF ATUAN, THE NEXT ADVENTURE IN THE CYCLE BY URSULA K. LE GUIN!
Prologue
“COME HOME, TENAR! COME HOME!”
In the deep valley, in the twilight, the apple trees were on the eve of blossoming; here and there among the shadowed boughs one flower had opened early, rose and white, like a faint star. Down the orchard aisles, in the thick, new, wet grass, the little girl ran for the joy of running; hearing the call she did not come at once, but made a long circle before she turned her face toward home. The mother waiting in the doorway of the hut, with the firelight behind her, watched the tiny figure running and bobbing like a bit of thistledown blown over the darkening grass beneath the trees.
By the corner of the hut, scraping clean an earth-clotted hoe, the father said, “Why do you let your heart hang on the child? They’re coming to take her away next month. For good. Might as well bury her and be done with it. What’s the good of clinging to one you’re bound to lose? She’s no good to us. If they’d pay for her when they took her, which would be something, but they won’t. They’ll take her and that’s an end of it.”
The mother said nothing, watching the child who had stopped to look up through the trees. Over the high hills, above the orchards, the evening star shone piercing clear.
“She isn’t ours, she never was since they came here and said she must be the Priestess at the Tombs. Why can’t you see that?” The man’s voice was harsh with complaint and bitterness. “You have four others. They’ll stay here, and this one won’t. So, don’t set your heart on her. Let her go!”
“When the time comes,” the woman said, “I will let her go.” She bent to meet the child who came running on little, bare, white feet across the muddy ground, and gathered her up in her arms. As she turned to enter the hut she bent her head to kiss the child’s hair, which was black; but her own hair, in the flicker of firelight from the hearth, was fair.
The man stood outside, his own feet bare and cold on the ground, the clear sky of spring darkening above him. His face in the dusk was full of grief, a dull, heavy, angry grief that he would never find the words to say. At last he shrugged, and followed his wife into the firelit room that rang with children’s voices.
Chapter 1
The Eaten One
ONE HIGH HORN SHRILLED AND ceased. The silence that followed was shaken only by the sound of many footsteps keeping time with a drum struck softly at a slow heart-pace. Through cracks in the roof of the Hall of the Throne, gaps between columns where a whole section of masonry and tile had collapsed, unsteady sunlight shone aslant. It was an hour after sunrise. The air was still and cold. Dead leaves of weeds that had forced up between marble pavement-tiles were outlined with frost, and crackled, catching on the long black robes of the priestesses.
They came, four by four, down the vast hall between double rows of columns. The drum beat dully. No voice spoke, no eye watched. Torches carried by black-clad girls burned reddish in the shafts of sunlight, brighter in the dusk between. Outside, on the steps of the Hall of the Throne, the men stood, guards, trumpeters, drummers; within the great doors only women had come, dark-robed and hooded, walking slowly four by four toward the empty throne.
Two came, tall women looming in their black, one of them thin and rigid, the other heavy, swaying with the planting of her feet. Between these two walked a child of about six. She wore a straight white shift. Her head and arms and legs were bare, and she was barefoot. She looked extremely small. At the foot of the steps leading up to the throne, where the others now waited in dark rows, the two tall women halted. They pushed the child forward a little.
The throne on its high platform seemed to be curtained on each side with great webs of blackness dropping from the gloom of the roof; whether these were curtains, or only denser shadows, the eye could not make certain. The throne itself was black, with a dull glimmer of precious stones or gold on the arms and back, and it was huge. A man sitting in it would have been dwarfed; it was not of human dimensions. It was empty. Nothing sat in it but shadows.
Alone, the child climbed up four of the seven steps of red-veined marble. They were so broad and high that she had to get both feet onto one step before attempting the next. On the middle step, directly in front of the throne, stood a large, rough block of wood, hollowed out on top. The child knelt on both knees and fitted her head into the hollow, turning it a little sideways. She knelt there without moving.
A figure in a belted gown of white wool stepped suddenly out of the shadows at the right of the throne and strode down the steps to the child. His face was masked with white. He held a sword of polished steel five feet long. Without word or hesitation he swung the sword, held in both hands, up over the little girl’s neck. The drum stopped beating.
As the blade swung to its highest point and poised, a figure in black darted out from the left side of the throne, leapt down the stairs, and stayed the sacrificer’s arms with slenderer arms. The sharp edge of the sword glittered in midair. So they balanced for a moment, the white figure and the black, both faceless, dancer-like above the motionless child whose white neck was bared by the parting of her black hair.
In silence each leapt aside and up the stairs again, vanishing in the darkness behind the enormous throne. A priestess came forward and poured out a bowl of some liquid on the steps beside the kneeling child. The stain looked black in the dimness of the hall.
The child got up and descended the four stairs laboriously. When she stood at the bottom, the two tall priestesses put on her a black robe and hood and mantle, and turned her around again to face the steps, the dark stain, the throne.
“O let the Nameless Ones behold the girl given to them, who is verily the one born ever nameless. Let them accept her life and the years of her life until her death, which is also theirs. Let them find her acceptable. Let her be eaten!”
Other voices, shrill and harsh as trumpets, replied: “She is eaten! She is eaten!”
The little girl stood looking from under her black cowl up at the throne. The jewels inse
t in the huge clawed arms and the back were glazed with dust, and on the carven back were cobwebs and whitish stains of owl droppings. The three highest steps directly before the throne, above the step on which she had knelt, had never been climbed by mortal feet. They were so thick with dust that they looked like one slant of grey soil, the planes of the red-veined marble wholly hidden by the unstirred, untrodden siftings of how many years, how many centuries.
“She is eaten! She is eaten!”
Now the drum, abrupt, began to sound again, beating a quicker pace.
Silent and shuffling, the procession formed and moved away from the throne, eastward toward the bright, distant square of the doorway. On either side, the thick double columns, like the calves of immense pale legs, went up to the dusk under the ceiling. Among the priestesses, and now all in black like them, the child walked, her small bare feet treading solemnly over the frozen weeds, the icy stones. When sunlight slanting through the ruined roof flashed across her way, she did not look up.
Guards held the great doors wide. The black procession came out into the thin, cold light and wind of early morning. The sun dazzled, swimming above the eastern vastness. Westward, the mountains caught its yellow light, as did the facade of the Hall of the Throne. The other buildings, lower on the hill, still lay in purplish shadow, except for the Temple of the God-Brothers across the way on a little knoll: its roof, newly gilt, flashed the day back in glory. The black line of priestesses, four by four, wound down the Hill of the Tombs, and as they went they began softly to chant. The tune was on three notes only, and the word that was repeated over and over was a word so old it had lost its meaning, like a signpost still standing when the road is gone. Over and over they chanted the empty word. All that day of the Remaking of the Priestess was filled with the low chanting of women’s voices, a dry unceasing drone.
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