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What we find is that how much hope we have for them has to do with the clarity of their respective gifts. These adolescents discover something in themselves, or have it validated, that enables them to achieve the escape velocities necessary to leave their respective dream worlds and domestic situations. The exception proves again to be Lebannen, who has no tension in his home life in Enland. There is tension with his father figure, however. He knew that until meeting with Ged most everything had come easily to him, but he treated it as a game—he had given himself over wholly to no one passion, But now the depths of him were wakened, not by a game or dream, but by honor, danger, wisdom, by a scarred face, and a quiet voice and a dark hand.

So the first step out of childhood is made all at once, without looking before or behind, without caution, and nothing left in reserve. However, Lebannen, unlike the others, must come home to his adopted father for guidance and forgiveness—for re-inte- gration into the faith and the system. Our other teens face problems at home, from mild and well-meant misun- derstanding to outright abuse. In small boats. I want to live with other people, Nat. Go back to Thorn and be a crazy hermit the rest of my life writing dumb stuff nobody reads?

You go to MIT and show them how good you are.

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It is the metonym in realism to complement the metaphor of Tembreabrezi Natalie challenges Owen to challenge his folks about it. Tenar in The Tombs of Atuan is given up by her parents and lives as an unloved priestess in a temple. In The Beginning Place, Hugh lives with a cruel and selfish mother and Irene with a helpless mother and a step-father who makes sexual advances. What abilities, gifts, and convictions are the adolescent characters given in order to get away from bad homes and dream worlds and to make us hopeful of their chances?

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Both Orrec and Ged are told that they are possessed of great power, though neither understands his power. Through ignorance, Ged misuses his and Orrec misrecognizes his. They each ignore advice and experience.

Once Orrec feels the true power of the gift in him, of storytelling, and recognizes it as his own special power, he has the courage to leave not only his self-imposed prison of blindness, but travel the road to the city. Orrec could stay, of course, in the safety of his own blindness simply by continuing the charade. But he and Gry take to the road.

Gry, who refuses to lend her own great gift to what she believes are bad uses, takes cour- age when Orrec offers to go to the city with her. If she stays she would be as impotent in the eyes of others as Orrec would be. They go, like Owen and Ged, from running away from something to running toward something. What recommends their respective futures, how- ever?

Tenar must make the brave decision to go with Ged in The Tombs of Atuan, to leave the bad dream of the labyrinth. She is in this position, we could argue, because of her gifts of empathy and curiosity—things certainly not natu- ral to her environment and so wholly her own. She allows Ged to survive and then becomes his friend because of these qualities, and we believe that they will help her when she reaches Havnor.

But perhaps the labyrinth was only the first of two static worlds she had to be freed from. Her parents served her up to the priestesses, and the wizard served her up to the courtiers. What we learn twenty years later is that she made a second escape. Hugh and Irene are perhaps more troubling regarding their fates.

I have always been a little worried for them. Neither can be said to have a clear gift. They, like Orrec and Gry, seem to give each other the courage to make their way to the city. They do make their escapes from their respective dysfunctional home lives, but unlike Orrec and Gry or Natalie and Owen, they seem much less to be running toward something than away from it.

Whether the young adult protagonists possess great gifts or simply hope, they do reject the dreamworld, unlike Cob and Bill Kopman, and head toward their respective cities with some burgeoning self-possession.

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The first half of the Earthsea series are young adult novels, and perhaps all three of the Western Shore books, though that remains to be seen. This is an interesting collection in terms of the young adult novel. The Lathe of Heaven has, in contrast, very little connection with the young adult novel, and is perhaps the ultimate example of the science fiction tale that features a static character responding to a society in flux.

Malafrena, however, part of the fantastic history of Orsinia, features a young adult protagonist, but his is a circular journey that amounts to little self-discovery. It is a circular adolescent narrative of successful reintegration back into the society; though, like The Eye of the Heron, it privileges the contrast of two societies one mature and the other adolescent perhaps more than the character herself.

Gifts seems to be the result of a great deal of experiment over the years with the novel about and for the young adult. It is a story of a young man contending with the gift of magic as he comes of age. The last of my childhood? It is a false power. The irony of his true gift being used to tell of his false one is powerful. He is a maker, not an unmaker. It is only at this point that he has the power to remove the blindfold—not just at the moment of recognition that he is a scarecrow, for that happens earlier in the story , but at the moment he has an identity apart from his reputation as loose cannon.

Immediately after remov- ing the blindfold he sees Gry, realizes what he has ignored, and plans with her to move to the city and begin again. Though theirs are both stories of young men contending with magical gifts as they come of age, one is a tale that moves the young adult from the mundane to the magical while the other moves us from the magical to the mundane. Both teens disappoint their fathers: Ged disappoints by not being worth anything in the mundane world; Orrec disappoints by being unsuccessful in the magical world.

But both for- sake their inheritance and bucolic lives for the power of language as a tool to make it in the Wide World.

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There is something important in that reversal. Ged moves into the world of epic that will have him come full circle in a world of magic. This is a powerful shift, this move from Earthsea to the Western Shore: it is a move from epic to novel, but yet it has the power of fantasy as well as some of the power of realism.

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But Gifts rejects The Beginning Place wherein there are desires but no real gifts evident. As a story of the use or misuse, denial or embrace of gifts, Gifts seems also to benefit from an even later story of adolescence. After discov- ering that he has magical gifts, he is apprenticed to a wizard, which also pleases the father since it is another means of power.

After a misunderstanding with Darkrose separates them, Diamond lies to his father, telling him that he left the wizard to return to work with him, which pleases the father. Ultimately, Diamond embraces his hidden and true gift in music another language at once magical and mundane , reconciles with Darkrose, and flees to another city. We see the extended expression of this pattern in Gifts. She gives the reader the moral force of fantasy yet ends her story with a protagonist entering a realistic world with a real world gift.

She con- structs characters gifted in ways both metaphorically and metonymically rel- evant to young adult readers, gifted in ways that give us hope for the next chapters in their lives, and paired with another character in a strong and sup- portive relationship. Lastly, she employs the character narration that is so ef- fective and common in young adult fiction, though so rare in her own fiction. Voices is due out in September of ; Powers in September of The Earthsea series was written because Le Guin was invited to write something for young adult readers.

The Beginning Place came out four years later when Theodore was sixteen and Caroline twenty-one. Warren Rochelle also revisits the cycle in Communities of the Heart Le Guin Beyond Genre. Please join us this Friday, Jan. Club Social This Friday, Jan. Posted by Renee Varella on Jan 14, Friday, Jan. Westport Drive p. Please contact Erika Skinner. Welcome, Jennifer and Patrick. Her sponsor is Jenalea Randall. Patrick is co-owner of Budget Blinds of Topeka. We're glad you've joined Topeka South Rotary! Holiday Party Pix Now Online.