The Telling (Hainish Series)

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From award-winning author Ursula K. Le Guin comes a highly anticipated addition to her acclaimed Hainish cycle, “a social anthropology of the future, fascinating and utterly believable.” (Peter S. Beagle)

Once a culturally rich world, the planet Aka has been utterly transformed by technology. Records of the past have been destroyed, and citizens are strictly monitored. But an official observer from Earth named Sutty has learned of a group of outcasts who live in the wilderness. ...

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Overview

From award-winning author Ursula K. Le Guin comes a highly anticipated addition to her acclaimed Hainish cycle, “a social anthropology of the future, fascinating and utterly believable.” (Peter S. Beagle)

Once a culturally rich world, the planet Aka has been utterly transformed by technology. Records of the past have been destroyed, and citizens are strictly monitored. But an official observer from Earth named Sutty has learned of a group of outcasts who live in the wilderness. They still believe in the ancient ways and still practice its lost religion—the Telling. Intrigued by their beliefs, Sutty joins them on a sacred pilgrimage into the mountains…and into the dangerous terrain of her own heart, mind, and soul.

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
September 2000

The Telling

Ursula K. Le Guin's The Telling is the latest in the series of independent, loosely connected novels known as the Hainish cycle. The cycle began in 1966 with Rocannon's World and includes at least two undisputed classics: The Left Hand of Darkness and The Dispossessed. The Telling manages to hold its own in this distinguished company, and I can't offer prospective readers a more meaningful recommendation than that.

The central figure of this idea-driven, gently didactic novel is Sutty, a young, Terran-born woman who works as an Observer for the Ekumen, a sort of benign, intergalactic League of Nations. Sutty came to maturity on an Earth dominated by Unists, religious fundamentalists whose totalitarian insistence on "one Word, one Book, one Belief" very nearly devastated the planet. In The Telling, Sutty has just been assigned to the planet Aka, an ironically similar world, wholly dedicated to scientific advancement — a world in which all belief systems not related to technological progress have been driven underground.

Aka, like the Earth of Sutty's childhood, is a place in which the past, with all its color and variety, has been buried, crushed beneath the weight of a drab, monolithic political system. This situation (which, Le Guin notes, directly reflects the repressive conditions of Communist China under Chairman Mao) provides the novel with its moral and intellectual framework, and serves as the basis for the spiritual quest which dominates the narrative.

Thisquest takes the form of Sutty's pursuit of a forbidden, centrally important Akan tradition: the Telling. The Telling is an ancient, all-inclusive method of cultural exchange that encompasses history, literature, philosophy, science, medicine, and myth. Sutty defines the act of Telling as "teaching whatever's known to whoever will listen," and it still survives through the clandestine efforts of renegade teachers and a buried cache of forbidden books that lie hidden in a cave in the provincial backwaters of Aka.

This primal conflict between the proponents of the Telling and the forces of cultural repression is classic Ursula Le Guin, and it is rendered with subtlety, passion, and understated eloquence. Le Guin's fiction has frequently concerned itself with conflicting ideologies and with the need for balance, harmony, and the peaceful reconciliation of opposites. The Telling offers, among many other things, a moving, memorable restatement of that recurring concern. It is one of those all too rare books in which fiction and philosophy, art and ideas come together in a seamlessly integrated whole.

—Bill Sheehan

Bill Sheehan reviews horror, suspense, and science fiction for Cemetery Dance, The New York Review of Science Fiction, and other publications. His book-length critical study of the fiction of Peter Straub, At the Foot of the Story Tree, has just been published by Subterranean Press (www.subterraneanpress.com).

Faren Miller
This is humanist SF at its best, Le Guin in top form.
Locus
Polly Shulman
Her books may have become less surprising over the years as her readers have come to know her better, but her clear, simple voice has intensified, too: an American Blake, a Northwestern Willa Cather.
Newsday
Morrie Ruvinsky
In The Telling, Le Guin is at the top of her game. Her vision is clear and her observations precise. Her language, which sings true in every line, is simple and profound and her storytelling is sure...
Los Angeles Times
Publishers Weekly - Publisher's Weekly
In this virtually flawless new tale set in her Hainish universe, Le Guin (The Left Hand of Darkness; Four Ways to Forgiveness) sends a young woman from Earth on her first mission, to the planet Aka as an Observer for the Ekumen. Although well prepared for her role, Sutty has been horribly scarred by her past. She grew up gay in a North America badly damaged by ecological stupidity and the excesses of a fundamentalist state religion called Unism. Traveling to Aka, she expected (and had been trained) to deal with a peaceful, essentially static culture based on an ancient, all-encompassing belief system akin to Taoism and known as the Telling. When she arrived, however, she discovered that during the decades it took her to reach the planet, Aka's culture has been radically transformed. The Telling has been all but banned, replaced by a soulless form of corporate communism. It becomes Sutty's task to take a harrowing journey into the high mountains, searching for the last, priceless depository of Akan traditional culture before it can be destroyed. As Le Guin notes in her preface, similarities to China during the Great Leap Forward are not entirely coincidental. Although this is a political and philosophical novel of the purest sort, it is anything but dry. With an anthropologist's eye, Le Guin develops her Akan culture in great detail, as she does her characters. Sutty is an entirely successful viewpoint character, a quirky mixture of competence and intense emotion. The Monitor, her primary nemesis on Aka, is nearly as compelling. This is a novel that aficionados of morally serious SF won't want to miss. (Sept.) FYI: Le Guin is the winner of several Nebula and Hugo awards for outstanding SF, as well as of a National Book Award, a Pushcart Prize, a Newbery Honor and the World Fantasy Award for Life Achievement. Copyright 2000 Cahners Business Information.|
KLIATT
Ursula Le Guin brings a lifelong history of storytelling to this, her latest cautionary SF tale. The ironic spin is her imaginative invention of a technology-rich culture that bans history and storytelling. When Earthling Sutty goes to the planet Aka to observe, she finds the story behind the civilization only in the wilderness where the people are considered outcasts at best. Sutty's linguistic talent helps her decipher their legacy, and to support their beliefs. She also finds out how these now-illiterate people keep up their tradition: through "The Telling." Sutty knows that she and her work are becoming suspect along with these outsiders because they value the ancient ways, so she escapes with them to a sacred mountain. The question is, who will survive. LeGuin is never afraid to "push" her message, and she also never relinquishes a good story in the process. While this work is simpler than most of her other mature writing, The Telling reminds the 21st-century reader of the importance of the word and tradition. The past does shape humanity. (Hainish cycle) Category: Science Fiction, Fantasy & Horror. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2000, Berkley, Ace, 246p., Ages 16 to adult. Reviewer: Dr. Lesley S.J. Farmer; Lib. Media/Teacher Svcs., Cal. State Univ., Long B
Library Journal
As a member of the Ekumen's embassy on the planet Aka, Sutty undertakes a delicate mission that leads her to a mountain village reported to contain the last remnants of a dying culture. Following a trail of subtle clues concealed in stories and folk sayings, Sutty discovers the suppressed history of a planet willing to abandon its old ways in the name of progress. Le Guin's latest addition to her "Hainish" cycle (e.g., Rocannon's World) continues her exploration of human culture and society through the filter of the far future. (Le Guin was inspired by Chairman Mao's brutal suppression of Taoism in China.) This parable of the modern world's headlong rush toward monocultural sterility exemplifies the author's elegant simplicity and keen insight. A priority purchase for libraries. Copyright 2000 Cahners Business Information.
Kirkus Reviews
Le Guin's latest (Unlocking the Air, 1996, etc.) belongs to her Hainish cycle-Hain being the planet that originally seeded Earth, and many other worlds, with the human species; now the Hainish are revisiting lost worlds and drawing them into the benevolent Ekumene. Sutty, the envoy to planet Aka, grew up on an Earth ruled by a repressive religious dictatorship. Aka is run by a capitalist dictatorship, the Corporation. Sutty lives in Dovza City, full of good corporate citizens, but is not allowed to visit anywhere else. In its zeal to become a star-traveling civilization, the Corporation burns books and destroys vestiges of the planet's past-before unauthorized fanatics from Earth wrenched Aka's development onto its present path. Finally, Sutty receives permission to visit a remote mountain region, though she's dogged by a Monitor, a true believer and Corporation informer. From the mountain folk, who passively resist the Corporation, Sutty learns about the extraordinarily diverse, vital, integrated culture that once existed on Aka. Fascinated, she joins a spiritual pilgrimage to the sacred mountain, Silong, the secret repository of saved books and historical treasures. But can Sutty use her knowledge of the old and new Akan cultures to broker a deal to save Aka's treasures and moderate the worst excesses of its corporate state?
From the Publisher
"Like all great writers of fiction, Ursula K. Le Guin creates imaginary worlds that restore us, hearts eased, to our own.-The Boston Globe
"She can lift fiction to the level of poetry and compress it to the density of allegory-in The Telling, she does both, gorgeously."-Jonathan Lethem
"Everything that has been said about Le Guin-that she is a lush prose stylist, that she is a poet in every line, that her books make readers think and thinkers read-is here on display in her newest Hainish novel."-Jane Yolen two-time Nebula winner and author of The Books of Great Alta
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Product Details

  • ISBN-13: 9780441008636
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 10/28/2001
  • Series: Hainish Series
  • Edition description: Reprint
  • Pages: 256
  • Product dimensions: 5.36 (w) x 8.30 (h) x 0.67 (d)

Meet the Author

Ursula K.  Le Guin
Ursula K. Le Guin lives in Portland, Oregon. Among her honors are a National Book Award, a World Fantasy Award, five Hugo and five Nebula Awards, the Kafka Award, a Pushcart Prize, and the Harold D. Vursell Memorial Award from the American Academy of Arts and Letters.

Biography

Speculative fiction, magic realism, "slipstream" fiction -- all these terms could apply to the works of Ursula K. Le Guin. Unfortunately, none was in common use when she started writing in the early 1960s. As a young writer, Le Guin weathered seven years of rejections from editors who praised her novels' elegant prose but were puzzled by their content. At a time when the only literary fiction was realistic fiction, as Le Guin later told an interviewer for The Register-Guard in Portland, Oregon, "There just wasn't a pigeonhole for what I write."

At long last, two of her stories were accepted for publication, one at a literary journal and one at a science-fiction magazine. The literary journal paid her in copies of the journal; the science-fiction magazine paid $30. She told The Register-Guard, "I thought: 'Oooohhh! They'll call what I write science fiction, will they? And they'll pay me for it? Well, here we go!' "

Le Guin continued to write and publish stories, but her breakthrough success came with the publication of The Left Hand of Darkness in 1969. The novel, which tells of a human ambassador's encounters with the gender-changing inhabitants of a distant planet, was unusual for science fiction in that it owed more to anthropology and sociology than to the hard sciences of physics or biology. The book was lauded for its intellectual and psychological depth, as well as for its fascinating premise. "What got to me was the quality of the story-telling," wrote Frank Herbert, the author of Dune. "She's taken the mythology, psychology -- the entire creative surround -- and woven it into a jewel of a story."

Since then, Le Guin has published many novels, several volumes of short stories, and numerous poems, essays, translations, and children's books. She's won an arm's-length list of awards, including both the Hugo and Nebula Awards for The Left Hand of Darkness and The Dispossessed, and a National Book Award for The Farthest Shore. Over the years, she has created and sustained two fictional universes, populating each with dozens of characters and stories. The first universe, Ekumen, more or less fits into the science-fiction mode, with its aliens and interplanetary travel; the second, Earthsea, is a fantasy world, complete with wizards and dragons. As Margaret Atwood wrote in The New York Review of Books, "Either one would have been sufficient to establish Le Guin's reputation as a mistress of its genre; both together make one suspect that the writer has the benefit of arcane drugs or creative double-jointedness or ambidexterity."

More impressive still is the way Le Guin's books have garnered such tremendous crossover appeal. Unlike many writers of science fiction, she is regularly reviewed in mainstream publications, where her work has been praised by the likes of John Updike and Harold Bloom. But then, Le Guin has never fit comfortably into a single genre. As she said in a Science Fiction Weekly interview, "I know that I'm always called 'the sci-fi writer.' Everybody wants to stick me into that one box, while I really live in several boxes. It's probably hurt the sales of my realistic books like Searoad, because it tended to get stuck into science fiction, where browsing readers that didn't read science fiction would never see it."

Le Guin has also published a translation of Lao Tzu's Tao Te Ching, a book that has influenced her life and writing since she was a teenager; she has translated fiction by Angelica Gorodischer and a volume of poems by Gabriela Mistral; and, perhaps most gratifyingly for her fans, she has returned to the imaginary realm of Earthsea. Tehanu, which appeared in 1990, was subtitled "The Last Book of Earthsea," but Le Guin found she had more to tell, and she continued with Tales from Earthsea and The Other Wind. "I thought after 'Tehanu' the story was finished, but I was wrong," she told Salon interviewer Faith L. Justice. "I've learned never to say 'never.' "

Good To Know

The "K" in Ursula K. Le Guin stands for Le Guin's maiden name, Kroeber. Her father was the anthropologist Alfred Kroeber; her mother, the writer Theodora Kroeber, is best known for the biography Ishi in Two Worlds.

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    1. Hometown:
      Portland, Oregon
    1. Date of Birth:
      October 21, 1929
    2. Place of Birth:
      Berkeley, California
    1. Education:
      B.A., Radcliffe College; M.A., Columbia University, 1952
    2. Website:

Read an Excerpt

Early in her stay, when she first met Tong Ov and the other two Observers presently in Dovza City, they had all discussed the massive monoculturalism of modern Aka in its large cities, the only places the very few offworlders permitted on the planet were allowed to live. They were all convinced that Akan society must have diversities and regional variations and frustrated that they had no way to find out.

"Sectarians, I suspect, rather than ethnic. A cult. Possibly remnants in hiding of a banned religion."

"Ah," she said, trying to preserve her expression of interest.

Tong was still searching his files. "I'm looking for the little I've gathered on the subject. Sociocultural Bureau reports on surviving criminal antiscientific cult activities. And also a few rumors and tales. Secret rites, walking on the wind, miraculous cures, predictions of the future. The usual."

To fall heir to a history of three million years was to find little in human behavior or invention that could be called unusual. Though the Hainish bore it lightly, it was a burden on their various descendants to know that they would have a hard time finding a new thing, even an imaginary new thing, under any sun.

Sutty said nothing.

"In the material the First Observers here sent to Terra," Tong pursued, "did anything concerning religions get through?"

"Well, since nothing but the language report came through undamaged, information about anything was pretty much only what we could infer from vocabulary."

"All that information from the only people ever allowed to study Aka freely-lost in a glitch," said Tong, sitting back and letting a search complete itself in his files. "What terrible luck! Or was it a glitch?"

Like all Chiffewarians, Tong was quite hairless-a chihuahua, in the slang of Valparafso. To minimize his outlandishness here, where baldness was very uncommon, he wore a hat; but since the Akans seldom wore hats, he looked perhaps more alien with it than without it. He was a gentle-mannered man, informal, straightforward, putting Sutty as much at her ease as she was capable of being; yet he was so uninvasive as to be, finally, aloof. Himself uninvadable, he offered no intimacy. She was grateful that he accepted her distance. Up to now, he had kept his. But she felt his question as disingenuous. He knew, surely, that the loss of the transmission had been no accident. Why should she have to explain it? She had made it clear that she was traveling without luggage, just as Observers and Mobiles who'd been in space for centuries did. She was not answerable for the place she had left sixty light-years behind her. She was not responsible for Terra and its holy terrorism.

But the silence went on, and she said at last, "The Beijing ansible was sabotaged."

"Sabotaged?"

She nodded.

"By the Unists?"

"Toward the end of the regime there were attacks on most of the Ekumenical installations and the treaty areas. The Pales."

"Were many of them destroyed?"

He was trying to draw her out. To get her to talk about it. Anger flooded into her, rage. Her throat felt tight. She said nothing, because she was unable to say anything.

A considerable pause.

"Nothing but the language got through, then," Tong said.

"Almost nothing."

"Terrible luck!" he repeated energetically. "That the First Observers were Terran, so they sent their report to Terra instead of Hain-not unnaturally, but still, bad luck. And even worse, maybe, that ansible transmissions sent from Terra all got through. All the technical information the Akans asked for and Terra sent, without any question or restriction. . . . Why, why would the First Observers have agreed to such a massive cultural intervention?"

"Maybe they didn't. Maybe the Unists sent it."

"Why would the Unists start Aka marching to the stars?"

She shrugged. "Proselytising."

"You mean, persuading others to believe what they believed? Was industrial technological progress incorporated as an element of the Unist religion?"

She kept herself from shrugging.

"So during that period when the Unists refused ansible contact with the Stabiles on Hain, they were . . . converting the Akans? Sutty, do you think they may have sent, what do you call them, missionaries, here?"

"I don't know."

He was not probing her, not trapping her. Eagerly pursuing his own thoughts, he was only trying to get her, a Terran, to explain to him what the Terrans had done and why. But she would not and could not explain or speak for the Unists.

Picking up her refusal to speculate, he said, "Yes, yes, I'm sorry. Of course you were scarcely in the confidence of the Unist leaders! But I've just had an idea, you see- If they did send missionaries, and if they transgressed Akan codes in some way, you see?-that might explain the Limit Law." He meant the abrupt announcement, made fifty years ago and enforced ever since, that only four offworlders would be allowed on Aka at a time, and only in the cities. "And it could explain the banning of religion a few years later!" He was carried away by his theory. He beamed, and then asked her almost pleadingly, "You never heard of a second group sent here from Terra?"

"No."

He sighed, sat back. After a minute he dismissed his speculations with a little flip of his hand. "We've been here seventy years," he said, "and all we know is the vocabulary."

She relaxed. They were off Terra, back on Aka. She was safe. She spoke carefully, but with the fluency of relief. "In my last year in training, some facsimile artifacts were reconstituted from the damaged records. Pictures, a few fragments of books. But not enough to extrapolate any major cultural elements from. And since the Corporation State was in place when I arrived, I don't know anything about what it replaced. I don't even know when religion was outlawed here. About forty years ago?" She heard her voice: placating, false, forced. Wrong.

Tong nodded. "Thirty years after the first contact with the Ekumen. The Corporation put out the first decree declaring 'religious practice and teaching' unlawful. Within a few years they were announcing appalling penalties. . . . But what's odd about it, what made me think the impetus might have come from offworld, is the word they use for religion."

"Derived from Hainish," Sutty said, nodding.

"Was there no native word? Do you know one?"

"No," she said, after conscientiously going through not only her Dovzan vocabulary but several other Akan languages she had studied at Valparafso. "I don't."

A great deal of the recent vocabulary of Dovzan of course came from offworld, along with the industrial technologies; but that they should borrow a word for a native institution in order to outlaw it? Odd indeed. And she should have noticed it. She would have noticed it, if she had not tuned out the word, the thing, the subject, whenever it came up. Wrong. Wrong.

Tong had become a bit distracted; the item he had been searching for had turned up at last, and he set his noter to retrieve and decode. This took some time. "Akan microfiling leaves something to be desired," he said, poking a final key.

"'Everything breaks down on schedule,'" Sutty said. "That's the only Akan joke I know. The trouble with it is, it's true."

"But consider what they've accomplished in seventy years!" The Envoy sat back, warmly discursive, his hat slightly askew. "Rightly or wrongly, they were given the blueprint for a G86." G86 was Hainish historians' shorthand jargon for a society in fast-forward industrial technological mode. "And they devoured that information in one gulp. Remade their culture, established the Corporate worldstate, got a spaceship off to Hain-all in a single human lifetime! Amazing people, really. Amazing unity of discipline!"

Sutty nodded dutifully.

"But there must have been resistance along the way. This antireligious obsession. . . . Even if we triggered it along with the technological expansion. . . ."

It was decent of him, Sutty thought, to keep saying "we," as if the Ekumen had been responsible for Terra's intervention in Aka. That was the underlying Hainish element in Ekumenical thinking: Take responsibility.

The Envoy was pursuing his thought. "The mechanisms of control are so pervasive and effective, they must have been set up in response to something powerful, don't you think? If resistance to the Corporate State centered in a religion-a well-established, widespread religion-that would explain the Corporation's suppression of religious practices. And the attempt to set up national theism as a replacement. God as Reason, the Hammer of Pure Science, all that. In the name of which to destroy the temples, ban the preachings. What do you think?"

"I think it understandable," Sutty said.

It was perhaps not the response he had expected. They were silent for a minute.

"The old writing, the ideograms," Tong said, "you can read them fluently?"

"It was all there was to learn when I was in training. It was the only writing on Aka, seventy years ago."

"Of course," he said, with the disarming Chiffewarian gesture that signified Please forgive the idiot. "Coming from only twelve years' distance, you see, I learned only the modern script."

"Sometimes I've wondered if I'm the only person on Aka who can read the ideograms. A foreigner, an offworlder. Surely not."

"Surely not. Although the Dovzans are a systematic people. So systematic that when they banned the old script, they also systematically destroyed whatever was written in it-poems, plays, history, philosophy. Everything, you think?"

She remembered the increasing bewilderment of her early weeks in Dovza City: her incredulity at the scant and vapid contents of what they called libraries, the blank wall that met all her attempts at research, when she had still believed there had to be some remnants, somewhere, of the literature of an entire world.

"If they find any books or texts, even now, they destroy them," she said. "One of the principal bureaus of the Ministry of Poetry is the Office of Book Location. They find books, confiscate them, and send them to be pulped for building material. Insulating material. The old books are referred to as pulpables. A woman there told me that she was going to be sent to another bureau because there were no more pulpables in Dovza. It was clean, she said. Cleansed."

She heard her voice getting edgy. She looked away, tried to ease the tension in her shoulders.

Tong Ov remained calm. "An entire history lost, wiped out, as if by a terrible disaster," he said. "Extraordinary!"

"Not that unusual," she said, very edgily- Wrong. She rearranged her shoulders again, breathed in once and out once, and spoke with conscious quietness. "The few Akan poems and drawings that were reconstructed at the Terran Ansible Center would be illegal here. I had copies with me in my noter. I erased them."

"Yes. Yes, quite right. We can't introduce anything that they don't want to have lying about."

"I hated to do it. I felt I was colluding."

"The margin between collusion and respect can be narrow," Tong said. "Unfortunately, we exist in that margin, here."

For a moment she felt a dark gravity in him. He was looking away, looking far away. Then he was back with her, genial and serene.

"But then," he said, "there are a good many scraps of the old calligraphy painted up here and there around the city, aren't there? No doubt it's considered harmless since no one now can read it. . . . And things tend to survive in out-of-the-way places. I was down in the river district one evening-it's quite disreputable, I shouldn't have been there, but now and then one can wander about in a city this size without one's hosts knowing it. At least I pretend they don't. At any rate, I heard some unusual music. Wooden instruments. Illegal intervals."

She looked her question.

"Composers are required by the Corporation State to use what I know as the Terran octave."

Sutty looked stupid.

Tong sang an octave.

Sutty tried to look intelligent.

"They call it the Scientific Scale of Intervals, here," Tong said. And still seeing no great sign of understanding, he asked, smiling, "Does Akan music sound rather more familiar to you than you had expected?"

"I hadn't thought about it-I don't know. I can't carry a tune. I don't know what keys are." Tong's smile grew broad. "To my ear Akan music sounds as if none of them knew what a key is. Well, what I heard down in the river district wasn't like the music on the loudspeakers at all. Different intervals. Very subtle harmonies. 'Drug music,' the people there called it. I gathered that drug music is played by faith healers, witch doctors. So one way and another I managed eventually to arrange a chat with one of these doctors. He said, 'We know some of the old songs and medicines. We don't know the stories. We can't tell them. The people who told the stories are gone.' I pressed him a little, and he said, 'Maybe some of them are still up the river there. In the mountains.'" Tong Ov smiled again, but wistfully. "I longed for more, but of course my presence there put him at risk." He made rather a long pause. "One has this sense, sometimes, that . . ."

"That it's all our fault."

After a moment he said, "Yes. It is. But since we're here, we have to try to keep our presence light." Chiffewarians took responsibility, but did not cultivate guilt the way Terrans did. She knew she had misinterpreted him. She knew he was surprised by what she had said. But she could not keep anything light. She said nothing.

"What do you think the witch doctor meant, about stories and the people who told them?"

She tried to get her mind around the question but couldn't. She could not follow him any further. She knew what the saying meant: to come to the end of your tether. Her tether choked her, tight around her throat.

—From The Telling by Ursula K. Le Guin, Copyright (c) October 2001, Ace Books, a division of Penguin Putnam Inc., used by permission"

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Table of Contents

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Introduction

September 2000

Legendary science fiction writer Ursula K. Le Guin returns with The Telling, the latest breathtaking novel in the Hainish cycle. Sutty, an observer from Earth for the interstellar Ekumen, has been assigned to the new world of Aka -- a world where a stern monolithic state, the Corporation, has embraced sophisticated technology, outlawing the past and becoming a world of secular terrorism. But does the outlawed past of the Akans -- and their old faith, the Telling -- truly lie dormant? With her intricate creation of an alien world, Le Guin compels us to reflect on our own recent history, and a world that might not be so far away.
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Customer Reviews

Average Rating 3.5
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Sort by: Showing all of 9 Customer Reviews
  • Anonymous

    Posted August 16, 2006

    subtle, very powerful

    I've read a lot of online reviews about how bad this book is... The Telling was my introduction to Ursula K. Le Guin, and it made me an instant fan. Most people's complaint is that it lacks plot, or moves too slowly. I guess it helps to be interested in anthropology and philosophy, but I'd recommend this book to just about anyone. The society it's set in has parallels in societies on Earth that have been sucked into Western modernity and unwittingly sacrificed valuable aspects of their native culture, and the book itself is a powerful illustration of the importance of storytelling--how just the act of telling a story is somehow holy, even in the modern world. Not a fast-paced sci-fi adventure, but a subtle, sophisticated--but very readable--fable about the role of a simple, nontheistic religion in one hypothetical society.

    1 out of 1 people found this review helpful.

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  • Posted July 10, 2011

    Science Fiction

    Le Guin is a master story teller and she does not disappoint. once more she creates a world that the reader can taste and hear.

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  • Posted April 21, 2010

    I thought it to be introspective ..

    As someone who has been studying the thought process of nonduality, this book was extremely interesting and educational. I also found the similarities between the Aka capitisit system to our own problems with Capitalism here to be enlightening and a bit scary too. Overall, Le Guin has never disapointed.

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  • Anonymous

    Posted January 2, 2003

    A disappointment

    I grabbed 'The Telling' on a recent trip to the bookstore as a quick read, and for a pleasurable experience. I have read all of Le Guin's Earthsea series, and several of her other excellent books. This one fails to produce however, and I finished feeling very unsatisfied. There isn't much to the actual story, and what is there is very forced. You get the feeling this 'novel' was a quick dabble of a side project that was 'rediscovered' and then printed. I would avoid this even if you are a Le Guin fan. Read 'The Dispossessed' or the Earthsea series instead.

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  • Anonymous

    Posted May 14, 2002

    Not up to standard

    I am extremely sorry to say that this book bored me. In general, I am a great admirer of LeGuin's work. 'Tehanu', 'The Beginning Place', and 'The Dispossed' are among my 'desert island' books. But this one was just not up to her usual standard. It was too thin -- like water pretending to be soup. The point she wanted to make got in the way of the story, and there wasn't enough story to hold it up. As a short story, it would have been fine, but there just isn't enough material there for a novel.

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    Posted January 13, 2012

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    Posted July 2, 2011

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    Posted July 19, 2010

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