A Wizard of Earthsea Download ç 104

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A Wizard of Earthsea Download ç 104 Ò Ged the greatest sorcerer in all Earthsea was called Sparrowhawk in his reckless youth Hungry for power and knowledge Sparrowhawk tampered with long held secrets and loosed a terrible shadow upon the world This is the tale of his testing how he mastered the mighty words of power tamed an ancient dragon and cGed the greatest sorcerer in all Earthsea was called Sparrowhawk in his reckless youth Hungry for power and knowledge. If there were ever a time I'd curse my constant reading of Urban Fantasy Paranormal Romance or YA lit it would be nowBecause clearly CLEARLY this is a fantastic book that deserved to be finished Ursula K Le Guin is a phenomenal writer and whilst this book up to what I read wasn't absolutely perfect it was enchanting It was different it was UALITYYet I didn't finish it because thanks to the aforementioned reading habits my ability to concentrate and enjoy uality literature has slipped to the point that I am unable to focus on a book unless one of the following is occurring or about to occur1 Somebody uses their super awesome powers to take down five bad guys with Kung Fu or a huge sword Preferably a glowing sword Preforably also throwing out witty one liners while doing so2 Somebody is boning3 Somebody is thinking about boning but can't yet until the sexual tension is properly built4 There's some mysterious creature literally murdering someone in a sickeningly violent wayWhat A Wizard of Earthsea has shown me is that if my rate of decline continues then I will uickly morph from a semi respectable semi intelligent semi uality individual into this Don't move It can't see you if you don't moveWhat's measurably worse is that I will be proud of my decay and revel in it like a pig wallows in mud Like this only far less appealing to frat boys and those with strange mud fetishesClearly this descent must be stopped If it isn't the worst could occur We could all be sucked into a blackhole fuelled by fangirl suees and not nearly enough shame Pictured Not nearly enough shameSo feel free to help me Goodreaders It's obvious I need help A Wizard of Earthsea deserved a better run on my reading shelf than it got Even if we have to shoot a Rocky esue montage to get me back into reading shape I'm sure it will be worth it I can use big words again

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Sparrowhawk tampered with long held secrets and loosed a terrible shadow upon the world This is the tale of his testin. Do you ever re read books that your long ago self loved Do they stand up to timeThis one definitely does I know it doesn't need another five star review from anyone but if you are looking for a book to introduce a youngster to fantast this is an excellent one It has stood the test of time very well The language is lovely the challenges our young magic user must meet are solid ones and while it hints of adventures to come it stands very well on its ownRecommended

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A Wizard of EarthseaG how he mastered the mighty words of power tamed an ancient dragon and crossed death's threshold to restore the balan. As a reader of Fantasy this book felt like a return home even though I had never read it before The tale of this young wizard and his hardships and coming to terms with his own darkness is one that has been redone again and again from Rowling to Jordan to Goodkind and so far despite adding gobs of length and endless details no one has managed to improve upon itThough she isn't the first to explore the Bildungsroman as Fantasy Mervyn Peake precedes her he was an author who eschewed symbolic magic and so has been duly ignored by most authors and readers in the genre Le Guin's approach is much familiar able comfortably to abide alongside Moorcock Tolkien and CS LewisYet her work has none of the condescension or moralizing that mark the last two nor the wild pulp sentiment of the first Her world unfolds before us calmly and confidently as we might expect from the daughter of noted anthropologistsAs is often the case in her work we get poignant asides on human nature but overall her depiction here is less novel than in for example the Hainish cycle There is something flat in the plot progression and as has been the case with every Le Guin book I have read I found myself longing for her to take things a little further to expand and do something risky Often she seems just on the cusp but rarely takes the stepPart of the flatness is the depiction of the characters who fall victim to the 'show don't tell' problem Again and again we are told of conversations characters had of how they reacted of whether they were clever or unsettling but we never actually see these conversations take place Many times the conversations would not have taken any longer to read than the descriptions of them so why Le Guin chose to leave so much of her story as an outline of action is puzzling and disappointingFundamentally what characters do is not interesting What they do does not differentiate them What is most important is how they do it their emotional response their choice of words the little pauses and moments of doubt At the end of the day the four musketeers are all men in the same uniform with mustaches dueling and warring and seducing women but they each go about these things in such distinct ways that we could never mistake one for the otherThe import of personality is also shown in Greek tragedy where we know what is going to befall the character the plot but we have no idea how they will react when it happens All the tension lies within the character's response not with the various external events that inspire itSo I found it very frustrating that again and again Le Guin didn't let the characters do their own talking and so I often felt estranged from them that I didn't know them or understand their motivations or interrelationships because the fundamental signs were missing As we near the end of the story and is revealed in conversation and interaction but that's the reverse of the ideal once you have established a character we can take some of their actions for granted but it's important in the beginning to let their idiosyncrasies reveal themAs others have pointed out Le Guin covers a lot of ground in a short span and perhaps it was a desire to make things brief and straightforward that caused her to take the words from her characters' mouths but again it seems backwards to me I would rather see a story shortened by taking out specifics and leaving promising implications instead of the other way around A single well written action or turn of phrase can reveal about a character than paragraphs of narrationIn her influential essay on fantasy From Elfland to Poughkeepsie she talks about how Dunsany does not really use dialogue the way other authors do that indeed she finds it difficult to locate any sustained conversations in The King of Elfland's Daughter Perhaps on some level she was trying to imitate his style But while it works brilliantly for him it does not serve her as wellThe main reason for this is that Le Guin is much a modern psychological realist author than Dunsany Her fantasy setting is sensible physical it feels like a different place a world like our world Her characters are inhabitants of that world the product of its cultures and history So when she removes their discourse and means of expression she closes the reader's window onto the character's inner lifeDunsany on the author hand takes a different approach his worlds are dreamlike the worlds of fairy tale His story takes place in the clash between the possible and the impossible the real and the dream His characters are not self contained psychological portraits of individuals but symbols appendages of the dreamland he weaves So it makes sense that they do not express themselves through the dialogue of psychoanalysis but through the instinctual pre knowledge of the dreamerIndeed Le Guin herself in that same essay talks about the danger of imitating Dunsany's style that it is so uniue and his pen a master's so that any attempt to recreate what we has done is bound to end in embarrassing failure Yet she also remarks it's a stage most fantasists seem to go through attempting to produce that sort of natural lovely false archaism She managed to leave that behind but now I wonder whether she didn't simply end up imitating another of Dunsany's stylistic modes without realizing it one just as problematic to a thoroughly modern anthropological writerWhat is most interesting about her story is how small and personal the central conflict is Many authors in fantasy have tried to tackle the conflict of the 'Shadow Self' from Tolkien's Gollum to the twin alter egos of Anderson's The Broken Sword but none have used it as a representation of the internal conflict of the adolescent which must be overcome in order to transition to adulthoodBy so perfectly aligning the symbolic magical conflict in her story with the central theme Le Guin creates a rare example of narrative unity in fantasy Most authors would have made it a subplot of the grand overblown good vs evil story and thus buried its importance beneath a massive conflict that is symbolic only of the fact that books have climaxes Once again I am struck with the notion that modern authors of fantasy epics have added nothing to the genre but details and lengthIf only Le Guin had given her lovely little story the strong characters and interrelationships it deserved it would have been truly transformative As it is it is sweet and thoughtful and sometimes haunting the scenes of stranding on the little island had a particularly unearthly tone and it lays out an intriguing picture of a young Merlin but in the end it felt like an incomplete visionMy List of Suggested Fantasy Books