A Wizard of Earthsea: Annotated Bibliography.

“Only in silence the word, only in dark the light, only in dying life: bright the hawk’s flight on the empty sky.” –The Creation on Ea. Ursula K. Le Guin

A Wizard of Earthsea was my pick for The Back Left Group. This book was written by Ursula K. Le Guin and is about a young wizard named Ged and how he brought balance to the world; especially after he unleashed a deadly shadow. I felt that when compared to the other books our group read, which included The Catcher in the Rye, Girl on the Train, and Slaughterhouse Five, A Wizard of Earthsea was probably my favorite book. While reading this book The Back Left Group covered numerous topics, like audience, controlling value, submission to the text, the cultural codes, balance, and Ged’s character. Our group worked hard to shed light on these topics. Before I get to those topics however, I want to start this annotated bibliography by talking about the network of controlling values for A Wizard of Earthsea. The purpose of A Wizard of Earthsea is managing power correctly with others in mind means others in the world can flourish. However, the context of this book is the misuse of power leads to the loss of all power. The opposing purpose of A Wizard of Earthsea is using power only for yourself ensures your personal gain and allows you to thrive. However, the context of this book is arrogance and resistance leads to a lack of balance. Finally the premise is what happens when someone is given responsibility. Now that I’ve cover the controlling values for this book I will be talking about audience and the four types of audience that was described by Peter Rabinowitz.

When looking at the audience for this book it is important to look at the role of the reader. According to author Peter Rabinowitz: “In the proper reading of a novel, then, events which are portrayed must be treated as both ‘true’ and ‘untrue’ at the same time. Although there are many ways to understand this duality, I propose to analyze the four audiences which it generates” (Truth in Fiction: A Reexamination of Audience 125). This book fits in the fantasy genre, so this quote by Rabinowitz is even more relevant because the events that have taken place in this word have ‘happened’ within the context of the book. For example, if an event took place in the universe of A Wizard of Earthsea before the events of the book, then they have to be “true” and we as the audience have to believe it. Then there are the four audiences that are discussed in Rabinowitz’s reading, each one significant to the context of the book. This includes actual audience, authorial audience, narrative audience, and ideal narrative audience. The actual audience is based on who read the book. With that in mind I am the audience for this book because of my level of submission, which stems from the fact that I like fantasy.

The second audience is authorial audience, and this is the audience that the author has in mind when they write the books. Once again, I am the intended audience for this book because I like the fantasy genre, as well as the author. The third and fourth audiences are both similar, as both have to do with narrative audience. This is based on the narrator and how the narrator is familiar with the world of Earthsea as well as its history. A large part about being submissive means accepting mythical places like Earthsea. Larrisa brought up a great point about audience: “The book also provides a history of a great wizard from the land, so students and children from Earthsea may be the ones interested (or forced) to read this. I’m not from Earthsea and I didn’t just accept everything the writer said so I remained an outsider who was merely trying to get a glimpse into the world.” With that said there has to be some level of submission when reading a fantasy book. Even though the reader might not be familiar with the landscapes that are described you have to make yourself familiar with those unfamiliar landscapes.

A second aspect that was talked about significantly in A Wizard of Earthsea is balance; this includes personal balance and worldly balance. An example of balance is seen on page 44 when Ged is having a conversation about balance: “The World is in balance, in equilibrium. A wizard’s power of changing and of summoning can shake the balance of the world. It is dangerous, that power. It is most perilous. It must follow knowledge, and serve need. To light a candle is to cast a shadow.” (Le Guin 44). The final part of the quote is very significant because of how it relates to balance and Taoism; I’ll go more into detail about this quote and its significance to Taoism when I get to cultural code. In the world of Earthsea being a wizard means keeping the world at balance and if something were to counter that balance then the world will be displaced. In Earthsea there has to be a balance of both light and dark, good and evil, right and wrong, and if one thing were to overpower another then that balance would be displaced. The second type of balance that’s discussed in A Wizard of Eathsea is personal balance, especially in regards to Ged’s character. This is seen on page 66: “You have a great power inborn in you, and you used that power wrongly, to work a spell over which you have no control, not knowing how that spell affects the balance of light and dark, life and death, good and evil.” (66) Balance affects everything, especially in the regards to sorcery. To work a spell you have to know how it will affect everything around you. Like the previous quote said, ‘to light a candle is to cast a shadow.’ Ged’s personal balance is a huge character trait and one that affects his character- which brings me to Ged’s character.

The third aspect that our group talked about had to do with Ged’s character. Ged is the main character for this book and in a way he’s both the antagonist and protagonist. He unleashes a deadly shadow and because of that he has to confront it in order to bring balance. Then there’s the fact that Ged has all this great power but gets so easily angered when somebody thinks less of him. From the beginning of the book it’s clear that Ged has potential to be a great sorcerer, as evident by the first chapter when he saved his village from attackers, however his character flaws become evident from chapter 2 onwards and completely hinder his ability to be a great sorcerer. An example of this is on page 17: “When will my apprenticeship begin, sir?” “It has begun,” said Ogion. “But I haven’t learned anything yet!” “Because you haven’t found out what I am teaching.” (17). This dialogue takes place between Ged and his former master Ogion and you can tell that Ged is arrogant and all he cares about is using his powers; which leads me to his second character flaw, his irresponsibility and how he wants to prove himself to everyone. An example of this is when Ged encounters a girl who doubts his sorcery skills: “Maybe you are too young.” That he would not endure. He did not say much, but he resolved that he would prove himself to her.” (22) This quote provides evidence that Ged has an ego about himself and if somebody were to think that he can’t do it then he would have to prove them wrong- this is especially true when he tries to prove his powers to the character Jasper. An example of this is on page 61: “Standing there with rage in his heart, looking after Jasper, Ged swore to himself to outdo his rival, and not in some mere illusion-match but in a test of power” (61). Ged has so much of an ego about himself that he feels like he needs to prove himself to everyone around him. However, this test of power ends up backfiring and leads Ged to unleashing a dark shadow- which goes on to attack him. The repercussions of his egotistical recklessness got him hurt and even sidetracked for a good amount of time. However, after this attack we see a different side to Ged’s character, because during the second half of the book he’s reserved, wise, and modest; the reason being because he was able to see the errors of his ways.

I previously talked about audience and how the audience should be submissive to a text like this. At this point, I will be talking about my own level submission, as well as some examples of the Back Left Groups level of submission. When reading A Wizard of Earthsea I would say that I submitted to this book more than the other books we’ve read for this class. In fact out of the three books we’ve read for this class this book was by far the easiest for me to submit to; especially when compared to books like Girl on a Train or Slaughterhouse Five. I would say that largely had to do with my familiarity with the fantasy genre and how I’m not exactly that familiar with the mystery genre—which explains my resistance to Girl on a Train. However, my level of submission was different for Slaughterhouse Five because that book was written in a way that was difficult for me to read and because of that I was a bit more resistant. Level of submission is important to remember, especially for a fantasy book. In the beginning of the book you have the author explaining the setting in a way that makes it seem like you’re already familiar with this land: “He was born in a lonely village called Ten Adlers, high on the mountain at the head of the Northward Vale.” (1) So right off the bat you have the author telling the reader about places like Ten Adlers and the Northward Vale in such a nonchalant way and because of that if you’re not as familiar with fantasy genre you might be resistant due to the unfamiliarity. However, if you’re familiar with fantasy, like I am, then you would know that there needs to be submission from the start. The reader has to understand that this is a world unlike their own and because of that you just have to accept these unfamiliar landscapes that the author describes.

However, when looking at my group’s level of submission it’s clear that they were not quite as willing to submit to the text at first. For example, here’s Amanda Spadel describing her level of submission: “Right from the very first page, the narrator brings the reader into this make-believe world of “Earthsea,” and it throws out all these fictional names and places that are hard for me to grasp. For example, the narration starts out as the following: “The island of Gont, a single mountain that lifts its peak a mile above the storm-racked Northeast Sea, is a land famous for wizards. From the towns in its high valleys and the ports on its dark narrow bays many a Gontishman has gone forth to serve the Lords of the Archipelago in their cities as wizard or mage, or, looking for adventure, to wonder working magic from isle to isle of all Earthsea” (1).  So, right away the text is very intimidating for readers who are not frequent fantasy-seekers. In order to read this book as it is, one has to truly submit to its fantasy aspects and truly believe it for what’s written on the pages. This is extremely hard for me to do, but I’ve been trying to push through all the nouns and places that don’t make sense to me.” However, Larissa’s level of submission was different: “I also came into this text as a very resistant reader. When I think about fantasy I think about books like The Lord of The Rings. Although I’ve never read the book I’ve been cautioned away from it because of its lengthy descriptions. I went into The Wizard of Earthsea preparing to be bored. Thankfully, as I read further I find myself becoming more comfortable within the genre. When Ged describes traveling to his school and all the places he passes, I’m just like sure I’ve heard of such and such. “…they left Havnor astern and sailed between two fair islands Ark and Ilien” (39). I have no idea where these places are or what they’re like but part of submitting to the fantasy genre is submitting to the entire new world.” So you have almost three different levels of submission while reading this book; there was total submission, partial submission and no submission.

The fourth thing that our group talked about had to do with cultural code. Something that Sarah, our group leader, mentioned that was really interesting was the treatment of women. While wizards are pretty revered in their society witches are looked down upon; as witches are seen as weak and cunning. In fact, almost every female character in this book is seen as either weak or cunning; either that or they’re just seen as object of affections. The first instance of this was on page 7 and was about Ged’s aunt, who was also his first teacher: “an ignorant woman among ignorant folk, she often used her crafts to foolish and dubious ends. She knew nothing of the Balance and the Pattern which the true wizard knows.” (7) This is the first female character in the book and her characteristics are that she’s ignorant and that she uses her powers for mischief. Also it’s mentioned that witches powers are weaker and apparently don’t compare to a wizards, as evident by this quote on page 45: “it was only a witch’s charm.” (45) Both of these quotes are example of how women are seen as weak and cunning, however, the following quote describes how women are seen as objects of affection for the male characters: “Ged thought her very ugly, but he had a desire to please her, to win her admiration,” (27). So the first thing that is mentioned about this woman is her looks and how Ged doesn’t find her attractive; but he still wants to please her-which goes back to Ged’s desire to constantly prove himself to others. Ged tries to impress this girl using magic but takes his magic too far and messes up. But then he blames the girl for what happened- as does his master Ogion. So this girl is blamed for Ged’s negative actions. The cultural code behind this comes from when it was written. This book was published in the 60s and because of that you can almost say that it’s making a commentary about how wrong it is to look down on women. But that’s only because it’s written by Ursula K. Le Guin – a woman who is very progressive. However, if you didn’t know that about the author then the way female characters are talked about might come off as sexist.

A second example of cultural code that’s found within this book has to do with race. There are countless descriptions about how Ged, as well as countless other characters, are people of color. An example of this is seen on page 39: “He had the accent of the East Reach, and was very dark of skin, not red brown like Ged and Jasper and most folks of the Archipelago, but black-brown.” (39). However the ‘savage’ people in this book are described as white skinned, as mentioned on page 7: “They are a savage people, white skinned, yellow haired, and fierce.” (7) I find it interesting that the main character Ged is a person of color because that is such a rarity in most fantasy books. In books like The Chronicles of Narnia, Lord of the Rings, and The Golden Compass the main characters are predominantly white skinned, however, in A Wizard of Eathsea almost every character is a person of color and the “savages” are describes as being white. So it’s an interesting twist on fantasy characterization; as well as historical characterization.
Another theme that’s prominently features in this book is Taoist philosophy. Taoism follows the guidelines of connecting to the world and nature as well as balance. In A Wizard of Eathsea the theme of worldly balance is an example of repetitive form. A repetitive form is an idea that is constantly repeated by the author, and often times there’s a reason as to why it’s mentioned so many times. The reason why balance is brought up so much in this book is because the author is familiar with Taoist philosophy and integrates this philosophy into her books. I would like go back to the quote that was on page 44: “The World is in balance, in equilibrium. A wizard’s power of changing and of summoning can shake the balance of the world. It is dangerous, that power. It is most perilous. It must follow knowledge, and serve need. To light a candle is to cast a shadow.” (44) Once again referring to the last part of that quote, “To light a candle is to cast a shadow,” This part of the quote described balance and how in wizardry it’s important to keep that balance.

This book emphasizes how spell casting has more to do with balance than anything else; and if you were to cast a spell you would have to know how it affects those around you. Balance and equilibrium is also mentioned within the epilogue of the book, which is called The Creation on Ea: “Only in silence the word, only in dark the light, only in dying life: bright the hawk’s flight on the empty sky.” This quote serves as the first instance of balance that’s seen within this book and probably the most important. At first I didn’t understand what this quote was talking about, but when thinking about this quote within the context of Taoism it began to make sense. The entire quote has to do with equilibrium and how there needs to be a balance between all forces, like how there needs to be silence as well as noise, or how there needs to be darkness as well as light. It’s interesting that this western fantasy book integrates Taoist Philosophy so heavily and really makes the book stand out.

A Wizard of Eathsea is a fantastic book and one that I would greatly recommend, and I’m certainly glad that this class gave me the opportunity to read this book. However, the big thing that I take away from this class would be my understanding of reading. Before starting this class I had no idea about submission to the text, form and genre, the intertextual codes or the narrator and addressee. When starting this class I was fuzzy and didn’t really get it. However, at this point in the semester I feel like I have a much better understanding of everything. I feel like I can look at the text and relate it to form and genre or my level of submission. So I’m thankful that this class gave me those necessary tools to further myself as a reader; and with that further myself as a writer.