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stories set on Werel and Yeowe describe a society that has the potential to build a "truly human community", and the possibility of utopia. This is made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom. Rochelle argues that "Old Music and the Slave Women" juxtaposes two ideas of utopia. For the slaves, utopia is freedom, the possibility of which is brought about by the revolution. For the masters, utopia is represented by the estate as it used to be, run by thousands of slaves: Rochelle compares this concept of utopia to the fictional titular city of Le Guin's fable "
123:
government. Rayaye tells him that the government is considering the use of a biological weapon to end the conflict, and that it wants the consent of the Ekumen to do so. After Rayaye leaves again, Esdan is locked indoors, leading him to guess that the liberation army of the slave rebellion is close. Later that day he hears sounds of fighting, and is released from his room by members of the liberation army, who have stormed the estate and killed the government soldiers holding it. He is cross-examined by the men who released him; he tells them that the government wanted him to express support for it on behalf of the Ekumen.
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interstellar distances involved. He worries that he may be caught up in a factional struggle within the liberation army. Esdan tries to persuade the officers to care for the slaves still in the estate, including the ones who cared for him. A rebel marshal, Metoy, promises to care for the slaves. Another of the rebel officers later demands that Esdan threaten the government on behalf of the rebels. Esdan replies that he considers himself a prisoner of war. That night, when Kamsa brings Esdan food, fighting breaks out outside the building. Kamsa leads Esdan to a bolthole where the other household slaves are also hiding.
179:
describes Esdan as Le Guin's "wisest, most compassionate protagonist." His insight into the deprivation experienced by the slave women also gives him insight into the process of cultural change. He realizes that he has to put aside his "pure idea of liberty" and take part in a slow process of shifting individual opinions to create cultural change. In his words, he seeks to "muddle the nobly simple structure of the hierarchy of caste by infecting it with the idea of justice. And then to confuse the nobly simple structure of the ideal of human equality by trying to make it real."
106:. By the events of "Old Music and the Slave Women", he has lived on Werel for 33 years. "Old Music and the Slave Women" is set after the four previous stories in the internal chronology of the universe, and tells of a civil war on Werel. Slavery is permitted on the lands held by the government, and seven eighths of the population is enslaved. "Old Music and the Slave Women" takes place three years after an uprising of slaves takes place. Le Guin stated that the story was inspired by a visit to a large plantation in
147:. Both their experiences bring them a better understanding of themselves and those around them. Esdan's development over the course of the story is similar to that of Havzhiva in "A Man of the People". Both protagonists undergo journeys through the "wilderness" over the course of the story; in Esdan's case, the wilderness is a planet he has lived on for a long while, that has been torn apart by war. As with Havzhiva, the isolation caused by this journey helps him find companionship among the people he meets.
68:"Old Music and the Slave Women" tells the story of Sohikelwenyanmurkeres Esdan, a native of Hain, nicknamed "Old Music", who appears as a peripheral character in three of the previous stories set in that system. Fed up with a civil war on Werel which has trapped him in the embassy of the Ekumen, he leaves to meet with the leaders of the revolution, but is captured and taken to an old slave estate. There, he is tortured by government agents, and befriends the few women slaves who remain.
119:
Ekumen to visit them. Esdan, bored by his isolation, volunteers to make the journey across the government lines. He is intercepted by government forces as he attempts to cross into rebel territory, roughed up, and imprisoned on a large slave estate, where he is tortured. He is nursed by an elderly woman slave, and his injuries later treated by another, named Gana. Rayaye, a minister of the government visits him, and offers him his freedom if he helps the government in the civil war.
171:
captivity realizes that his safety lies in silence and circumspection. The torture he undergoes is not meant to force him to reveal information, but to "silence him further through humiliation". Cadden writes that Esdan eventually finds a sense of community among the slaves, who are also victims of the war. Cadden described the story as sharing similarities with Le Guin's works set in
22:
187:
that they are caught in the "insanity, the stupidity, the meaningless brutality" of the actual liberation. Le Guin instead suggests that utopia or liberation is found equally in the small acts of kindness and comfort which Esdan and the slave women share. Thus according to
Rochelle, Le Guin's version of true community "is one of the heart, in which each person’s story is honoured."
307:
attractive man" and the culture of the slaves was "acutely anatomized", while "every sentence is balanced, laid out with high inconspicuous craft". He wrote that the "astonishing beauty" of the slave estate depicted by Le Guin raised "pertinent issues about the creation of great beauty out of great evil."
306:
collection, saying that it occupied "radically more space than it needed". He suggested that there was a "surfeit of sentences" that did not move the story forward, and referred to them as a "flag of inattention". He was more positive about Le Guin's writing, stating that Esdan was a "wise and deeply
178:
Scholar Sandra Lindow writes that "Old Music and the Slave Women" continued Le Guin's exploration of peaceful responses to violence and war. Through the story Le Guin suggests that during times of violence no one is immune to it, such as when Esdan states that "In war everybody is a prisoner". Lindow
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After waiting there for many hours, Esdan leaves their shelter and returns to the house, which he finds has been bombed. He comes across some slaves who work the fields, who tell him that everyone who was in the house is dead, but for one. Metoy has been seriously injured but is still alive. Most of
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The rebel officers tell him that they want him to warn the government not to use the biological weapon, and that if it did the Ekumen would send troops against the government. Esdan informs them that the Ekumen does not have an army, and even if it did it would take many years to arrive, due to the
88:
of this universe, human beings did not evolve on Earth, but on Hain. The people of Hain colonized many neighboring planetary systems, including Earth and Gethen, possibly a million years before the setting of the novels. "Old Music and the Slave Women" is set in a planetary system that includes two
294:
offered high praise to the collection, stating that it found "Le Guin at her most formidable." It praised the four stories set on Werel in particular, stating that the "richness of the culture Le Guin depicts is painfully real, at once beautiful and deplorable." The review concluded that Le Guin's
186:
on Le Guin's work. Scholar Alexis
Lothian wrote that in Le Guin's world, social change was a gradual process: despite the slave revolution, the ideology of the slave-owners was still a powerful force. Though the slaves wait for utopia in the form of the freedom brought by the revolution, they find
162:
described the four stories, clustered in the middle of the volume, as focusing on "different experience of a crumbling society", and as the "collection's clearest instance of Le Guin’s ongoing literary project of intersectional justice". Scholar Warren
Rochelle states that the five interconnected
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Sohikelwenyanmurkeres Esdan serves as the chief of intelligence for the embassy of the Ekumen to Werel. During a civil war on the planet, the government cuts the embassy off from access to the outside world. Esdan is clandestinely approached by messengers of the rebellion, asking officials of the
71:
As with the stories of the linked story suite, "Old Music and the Slave Women" examines themes related to revolution and reconstruction in slave society. It explores the consequences of war and responses to violence, and suggests that cultural change is a gradual process. The story was positively
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wrote that the setting and inspiration of "Old Music and the Slave Women" brought it "very close to home". Atwood stated that this story provided the strongest demonstration of Le Guin's belief that science fiction reflects the real world; according to Atwood, the story could have reflected any
170:
According to scholar Mike Cadden, silence is a recurring theme in the story. "Old Music and the Slave Women" begins with Esdan being cut off inside the embassy. When he attempts to escape in order to refute propaganda that the Ekumen has taken the side of the government, he is captured, and in
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Recovering from his injuries, Esdan is permitted to wander the gardens of the estate, which remind him of his home on Hain. He makes the acquaintance of Kamsa, a slave woman who has a son from being raped by an owner. He speaks with Rayaye again, and guesses that the war is going badly for the
143:, which together describe revolution and reconstruction in slave society. Le Guin herself described the story as a "fifth way to forgiveness". The torture undergone by Esdan is similar to the experiences of Solly in "Forgiveness Day", the first story of
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received. While the length of the story received some criticism, reviewers praised the character of Esdan and Le Guin's depiction of the culture of Werel, with one critic describing it as "painfully real, at once beautiful and deplorable."
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the slaves leave the compound to try and reach the liberation army sooner. The slaves from the house remain, afraid to undertake a journey with a baby. Esdan and Metoy remain with them, expecting the rebellion to reach them too.
102:
The story follows
Sohikelwenyanmurkeres Esdan, a native of Hain, nicknamed "Esdardon Aya", or "Old Music" in the local language. Esdardon Aya appears as a character in three of the four stories in
278:, Richard Grant was more circumspect about the story, stating "readers unfamiliar with oeuvre" may not have found the story "easily approachable." The science fiction magazine
252:
collection, Le Guin stated that she had been the subject of a critic's scorn for writing about slavery; in response, Le Guin asked "I wonder what planet he lives on?" Reviewing
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society in the midst of war. Referring to Le Guin as usually being a "a movingly lyrical writer", Atwood stated that the story didn't " away from necessary gore".
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295:"ability to make not only her outsider-protagonists at home in this degraded world, but her "enlightened" readers, is a feat that should not be overlooked."
110:, that had used slave labor. The garden, house, and haunted ground in the story were inspired by what Le Guin referred to as a "beautiful, terrible place."
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stated that "Old Music and the Slave Women" was a "middling" Le Guin story, which made it a "fine by most authors' standards." A review of
1114:
Lothian, Alexis (2006). "Grinding Axes and
Balancing Oppositions: The Transformation of Feminisms in Ursula K. Le Guin's Science Fiction".
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The fictional planet Werel featured in this story is different from the planet Werel used by Le Guin as the setting for her novel
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As with many other works by Le Guin, "Old Music and the Slave Women" has been described as demonstrating the influence of
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1955:
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233:, along with twelve other stories by Le Guin. The volume was marketed as "The Collected Novellas of Ursula K. Le Guin."
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65:, and during the period in which the stories are set, the society is experiencing upheaval and revolution.
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habitable planets, Werel and Yeowe, which were also the setting for Le Guin's 1995 story cycle
55:, created by Le Guin. That planetary system is also the setting for Le Guin's 1995 story suite
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209:. It was later collected along with five other stories of the Hainish Cycle, the short story "
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139:"Old Music and the Slave Women" shares both characters and thematic links with the stories of
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241:, a collection including the "Old Music and the Slave Women" and the four stories from
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Communities of the Heart: The
Rhetoric of Myth in the Fiction of Ursula K. Le Guin
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Le Guin has stated that this story may or may not be a part of the
Hainish Cycle.
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wrote that the story was less substantive than some of the other works of the
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195:"Old Music and the Slave Women" was first published in the 1999 collection
375:"Farsickness, Homesickness in The Found and the Lost by Ursula K. Le Guin"
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Ursula K. Le Guin Beyond Genre: Fiction for
Children and Adults
447:"The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle"
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792:
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80:"Old Music and the Slave Women" takes place in the fictional
1014:
Clute, John (24 November 2016). "The Voice of the
Captain".
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983:"In and Outside the Ekumen: Ursula K. Le Guin's
41:. It was first published in the 1999 collection
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229:. In 2016 it was published in the collection
8:
1009:
1007:
1097:The Birthday of the World and Other Stories
985:The Birthday of the World and Other Stories
746:"Paul Di Filippo Reviews Ursula K. Le Guin"
222:The Birthday of the World and Other Stories
158:alongside "Old Music and the Slave Women".
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1099:. New York City, New York: HarperCollins.
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95:. The economy of the system was based on
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1057:: University of South Carolina Press.
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911:Atwood, Margaret (26 September 2002).
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451:The New York Review of Science Fiction
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898:Library of America: See cover photo.
1824:Unlocking the Air and Other Stories
744:di Filippo, Paul (7 October 2016).
445:Lindow, Sandra J. (29 April 2018).
373:Nordling, Emily (28 October 2016).
61:. The economy of Werel is based on
1951:Short stories by Ursula K. Le Guin
1745:The Ones Who Walk Away from Omelas
165:The Ones Who Walk Away from Omelas
14:
1531:Vaster than Empires and More Slow
1897:Dancing at the Edge of the World
1686:Very Far Away from Anywhere Else
288:in the science fiction magazine
16:Short story by Ursula K. Le Guin
1049:Understanding Ursula K. Le Guin
1147:: Liverpool University Press.
955:Grant, Richard (30 May 1999).
915:. The New York Review of Books
1:
1946:Science fiction short stories
1816:A Fisherman of the Inland Sea
1581:Old Music and the Slave Women
1538:The Day Before the Revolution
981:Harvey, Colin (11 May 2003).
84:, created by Le Guin. In the
31:Old Music and the Slave Women
1482:The Word for World Is Forest
150:The 2016 Le Guin collection
1613:Annals of the Western Shore
1095:Le Guin, Ursula K. (2002).
1045:Cummins, Elizabeth (1990).
1972:
1784:The Wind's Twelve Quarters
883:"Five Ways to Forgiveness"
108:Charleston, South Carolina
1889:The Language of the Night
1832:The Birthday of the World
1466:The Left Hand of Darkness
1200:
1135:Rochelle, Warren (2001).
254:The Birthday of the World
250:The Birthday of the World
211:The Birthday of the World
191:Publication and reception
25:Ursula K. Le Guin in 2008
1567:Coming of Age in Karhide
1490:Four Ways to Forgiveness
1128:10.3828/extr.2006.47.3.4
1055:Columbia, South Carolina
258:New York Review of Books
243:Four Ways to Forgiveness
239:Five Ways to Forgiveness
156:Four Ways to Forgiveness
145:Four Ways to Forgiveness
141:Four Ways to Forgiveness
104:Four Ways to Forgiveness
92:Four Ways to Forgiveness
58:Four Ways to Forgiveness
1080:, New York: Routledge.
936:Cite magazine requires
913:"The Queen of Quinkdom"
298:Science fiction critic
245:, as an eBook in 2017.
219:in the 2002 collection
286:The Found and the Lost
231:The Found and the Lost
152:The Found and the Lost
26:
1905:Lao Tzu: Tao Te Ching
1752:The Diary of the Rose
1341:The Books of Earthsea
1308:The Daughter of Odren
1280:The Word of Unbinding
1072:Cadden, Mike (2005).
304:Birthday of the World
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1862:(series) (1988–1999)
1694:The Eye of the Heron
1553:The Matter of Seggri
1301:Darkrose and Diamond
1229:A Wizard of Earthsea
311:Notes and references
235:Penguin Random House
1956:Works about slavery
1710:The Beginning Place
1678:The Lathe of Heaven
1560:A Man of the People
1517:The Dowry of Angyar
1406:Earthsea Revisioned
1369:Tales from Earthsea
1333:Tales from Earthsea
818:, pp. 168–169.
799:, pp. 159–160.
729:, pp. 208–210.
717:, pp. 205–207.
705:, pp. 200–202.
693:, pp. 198–200.
681:, pp. 196–198.
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657:, pp. 192–194.
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633:, pp. 182–183.
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597:, pp. 172–173.
585:, pp. 167–169.
549:, pp. 161–162.
534:, pp. 155–156.
522:, pp. 153–154.
256:collection for the
248:In the foreword to
205:, and published by
86:alternative history
1936:1999 short stories
1913:Steering the Craft
1718:Always Coming Home
1545:The Shobies' Story
1245:The Farthest Shore
1237:The Tombs of Atuan
260:, Canadian author
213:" and the novella
27:
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1458:City of Illusions
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1287:The Rule of Names
1194:Ursula K. Le Guin
1154:978-0-85323-876-8
1064:978-0-87249-687-3
1027:978-1-4732-1980-9
957:"Science Fiction"
486:, p. x, 153.
401:, pp. 66–67.
203:Robert Silverberg
49:Robert Silverberg
39:Ursula K. Le Guin
1963:
1851:Children's books
1800:The Compass Rose
1759:The Wife's Story
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1474:The Dispossessed
1442:Rocannon's World
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1319:
1318:
1311:
1304:
1297:
1290:
1283:
1275:
1273:
1269:
1268:
1266:
1265:
1261:The Other Wind
1257:
1249:
1241:
1233:
1224:
1222:
1215:
1207:
1206:
1201:
1198:
1197:
1191:
1189:
1188:
1181:
1174:
1166:
1160:
1159:
1153:
1132:
1122:(3): 380–395.
1111:
1105:
1092:
1086:
1069:
1063:
1040:
1037:
1034:
1033:
1026:
1003:
973:
947:
900:
874:
872:, p. 376.
862:
850:
835:
820:
801:
786:
774:
762:
731:
719:
707:
695:
683:
671:
659:
647:
635:
623:
611:
599:
587:
575:
573:, p. 166.
563:
561:, p. 167.
551:
536:
524:
512:
510:, p. 159.
500:
498:, p. 157.
488:
476:
474:, p. 153.
464:
426:
403:
391:
355:
354:
352:
349:
346:
345:
336:
320:
319:
317:
314:
312:
309:
216:Paradises Lost
192:
189:
136:
133:
115:
112:
77:
74:
15:
13:
10:
9:
6:
4:
3:
2:
1968:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1941:Hainish Cycle
1939:
1937:
1934:
1933:
1931:
1915:
1914:
1910:
1907:
1906:
1902:
1899:
1898:
1894:
1891:
1890:
1886:
1885:
1883:
1879:
1869:
1868:
1864:
1861:
1860:
1856:
1855:
1853:
1849:
1842:
1841:
1837:
1834:
1833:
1829:
1826:
1825:
1821:
1818:
1817:
1813:
1810:
1809:
1805:
1802:
1801:
1797:
1794:
1793:
1789:
1786:
1785:
1781:
1780:
1778:
1774:
1767:
1763:
1760:
1756:
1753:
1749:
1746:
1742:
1741:
1739:
1737:Short stories
1735:
1728:
1727:
1723:
1720:
1719:
1715:
1712:
1711:
1707:
1704:
1703:
1699:
1696:
1695:
1691:
1688:
1687:
1683:
1680:
1679:
1675:
1674:
1672:
1668:
1665:
1659:
1648:
1647:
1643:
1640:
1639:
1635:
1632:
1631:
1627:
1626:
1624:
1620:
1617:
1615:
1614:
1609:
1599:
1596:
1595:
1593:
1589:
1582:
1578:
1575:
1574:Mountain Ways
1571:
1568:
1564:
1561:
1557:
1554:
1550:
1547:
1546:
1542:
1539:
1535:
1532:
1528:
1525:
1524:Winter's King
1521:
1518:
1514:
1513:
1511:
1509:Short stories
1507:
1500:
1499:
1495:
1492:
1491:
1487:
1484:
1483:
1479:
1476:
1475:
1471:
1468:
1467:
1463:
1460:
1459:
1455:
1452:
1451:
1447:
1444:
1443:
1439:
1438:
1436:
1432:
1429:
1427:
1426:
1419:
1408:
1407:
1403:
1399:
1396:
1395:
1394:
1391:
1389:
1386:
1385:
1383:
1379:
1372:
1370:
1366:
1363:
1361:
1357:
1356:
1354:
1350:
1343:
1342:
1338:
1335:
1334:
1330:
1329:
1327:
1323:
1316:
1312:
1309:
1305:
1302:
1298:
1295:
1291:
1288:
1284:
1281:
1277:
1276:
1274:
1272:Short stories
1270:
1263:
1262:
1258:
1255:
1254:
1250:
1247:
1246:
1242:
1239:
1238:
1234:
1231:
1230:
1226:
1225:
1223:
1219:
1216:
1214:
1213:
1208:
1204:
1199:
1195:
1187:
1182:
1180:
1175:
1173:
1168:
1167:
1164:
1156:
1150:
1146:
1141:
1140:
1133:
1129:
1125:
1121:
1117:
1116:Extrapolation
1112:
1108:
1106:0-06-008535-5
1102:
1098:
1093:
1089:
1087:0-415-99527-2
1083:
1079:
1078:New York City
1075:
1070:
1066:
1060:
1056:
1051:
1050:
1043:
1042:
1038:
1029:
1023:
1019:
1018:
1010:
1008:
1004:
992:
988:
986:
977:
974:
962:
958:
951:
948:
943:
930:
929:cite magazine
914:
907:
905:
901:
888:
884:
878:
875:
871:
866:
863:
859:
854:
851:
848:, p. 43.
847:
842:
840:
836:
833:, p. 42.
832:
827:
825:
821:
817:
816:Rochelle 2001
812:
810:
808:
806:
802:
798:
797:Rochelle 2001
793:
791:
787:
784:, p. 65.
783:
778:
775:
772:, p. 38.
771:
766:
763:
751:
747:
740:
738:
736:
732:
728:
723:
720:
716:
711:
708:
704:
699:
696:
692:
687:
684:
680:
675:
672:
668:
663:
660:
656:
651:
648:
644:
639:
636:
632:
627:
624:
620:
615:
612:
608:
603:
600:
596:
591:
588:
584:
579:
576:
572:
567:
564:
560:
555:
552:
548:
543:
541:
537:
533:
528:
525:
521:
516:
513:
509:
504:
501:
497:
492:
489:
485:
480:
477:
473:
472:Rochelle 2001
468:
465:
452:
448:
441:
439:
437:
435:
433:
431:
427:
423:
418:
416:
414:
412:
410:
408:
404:
400:
395:
392:
380:
376:
369:
367:
365:
363:
361:
357:
350:
340:
337:
333:
332:
325:
322:
315:
310:
308:
305:
301:
296:
293:
292:
287:
283:
282:
277:
276:
271:
266:
263:
259:
255:
251:
246:
244:
240:
236:
232:
228:
227:HarperCollins
224:
223:
218:
217:
212:
208:
204:
200:
199:
190:
188:
185:
180:
176:
174:
168:
166:
161:
157:
153:
148:
146:
142:
134:
132:
128:
124:
120:
113:
111:
109:
105:
100:
98:
94:
93:
87:
83:
75:
73:
69:
66:
64:
60:
59:
54:
50:
46:
45:
40:
36:
32:
23:
19:
1911:
1903:
1895:
1887:
1865:
1857:
1838:
1830:
1822:
1814:
1806:
1798:
1790:
1782:
1724:
1716:
1708:
1700:
1692:
1684:
1676:
1644:
1636:
1628:
1611:
1580:
1543:
1496:
1488:
1480:
1472:
1464:
1456:
1448:
1440:
1421:
1404:
1368:
1362:(miniseries)
1359:
1339:
1331:
1259:
1251:
1243:
1235:
1227:
1210:
1203:Bibliography
1138:
1119:
1115:
1096:
1073:
1048:
1016:
994:. Retrieved
990:
984:
976:
964:. Retrieved
960:
950:
917:. Retrieved
890:. Retrieved
887:Kobo Rakuten
886:
877:
870:Le Guin 2002
865:
858:Lothian 2006
853:
777:
765:
753:. Retrieved
727:Le Guin 2002
722:
715:Le Guin 2002
710:
703:Le Guin 2002
698:
691:Le Guin 2002
686:
679:Le Guin 2002
674:
667:Le Guin 2002
662:
655:Le Guin 2002
650:
643:Le Guin 2002
638:
631:Le Guin 2002
626:
619:Le Guin 2002
614:
607:Le Guin 2002
602:
595:Le Guin 2002
590:
583:Le Guin 2002
578:
571:Le Guin 2002
566:
559:Le Guin 2002
554:
547:Le Guin 2002
532:Le Guin 2002
527:
520:Le Guin 2002
515:
508:Le Guin 2002
503:
496:Le Guin 2002
491:
484:Le Guin 2002
479:
467:
455:. Retrieved
450:
424:, p. x.
422:Le Guin 2002
399:Cummins 1990
394:
382:. Retrieved
339:
329:
324:
303:
297:
289:
285:
279:
273:
270:Far Horizons
269:
267:
257:
253:
249:
247:
242:
238:
230:
220:
214:
201:, edited by
198:Far Horizons
196:
194:
181:
177:
169:
159:
155:
151:
149:
144:
140:
138:
129:
125:
121:
117:
114:Plot summary
103:
101:
90:
79:
70:
67:
56:
47:, edited by
44:Far Horizons
42:
30:
28:
18:
1881:Non-fiction
1776:Collections
1498:The Telling
1352:Adaptations
1325:Collections
846:Cadden 2005
831:Cadden 2005
782:Cadden 2005
770:Cadden 2005
1930:Categories
1867:Cat Dreams
1393:Characters
892:24 January
351:References
300:John Clute
268:Reviewing
237:published
1702:Malafrena
1315:Firelight
1294:Dragonfly
1192:Works by
1145:Liverpool
1020:. Orion.
919:2 January
755:2 January
384:2 January
37:story by
1859:Catwings
1768:" (2002)
1761:" (1982)
1754:" (1976)
1747:" (1973)
1583:" (1999)
1576:" (1996)
1569:" (1995)
1555:" (1994)
1540:" (1974)
1533:" (1971)
1526:" (1969)
1519:" (1964)
1423:Hainish
1388:Universe
1360:Earthsea
1317:" (2018)
1310:" (2014)
1303:" (1999)
1296:" (1997)
1289:" (1964)
1282:" (1964)
1212:Earthsea
272:for the
207:Avon Eos
1726:Lavinia
1663:fiction
1598:Ansible
1591:Related
1381:Related
1039:Sources
379:Tor.com
291:Tor.com
173:Orsinia
160:Tor.com
97:slavery
76:Setting
63:slavery
33:" is a
1916:(1998)
1908:(1997)
1900:(1982)
1892:(1979)
1843:(2003)
1835:(2002)
1827:(1996)
1819:(1994)
1811:(1987)
1803:(1982)
1795:(1976)
1787:(1975)
1729:(2008)
1721:(1985)
1713:(1980)
1705:(1979)
1697:(1978)
1689:(1976)
1681:(1971)
1670:Novels
1661:Other
1649:(2007)
1646:Powers
1641:(2006)
1638:Voices
1633:(2004)
1622:Novels
1548:(1990)
1501:(2000)
1493:(1995)
1485:(1976)
1477:(1974)
1469:(1969)
1461:(1967)
1453:(1966)
1445:(1966)
1434:Novels
1409:(1993)
1373:(2006)
1371:(film)
1364:(2004)
1344:(2018)
1336:(2001)
1264:(2001)
1256:(1990)
1253:Tehanu
1248:(1972)
1240:(1971)
1232:(1968)
1221:Novels
1151:
1103:
1084:
1061:
1024:
1017:Scores
996:11 May
184:Taoism
135:Themes
1630:Gifts
1425:Cycle
966:8 May
750:Locus
457:8 May
453:(346)
316:Notes
1149:ISBN
1101:ISBN
1082:ISBN
1059:ISBN
1022:ISBN
998:2018
968:2018
942:help
921:2017
894:2018
757:2017
459:2018
386:2017
1398:Ged
1124:doi
167:".
1932::
1143:.
1120:47
1118:.
1076:.
1053:.
1006:^
989:.
959:.
933::
931:}}
927:{{
903:^
885:.
838:^
823:^
804:^
789:^
748:.
734:^
539:^
449:.
429:^
406:^
377:.
359:^
175:.
1764:"
1757:"
1750:"
1743:"
1579:"
1572:"
1565:"
1562:"
1558:"
1551:"
1536:"
1529:"
1522:"
1515:"
1313:"
1306:"
1299:"
1292:"
1285:"
1278:"
1185:e
1178:t
1171:v
1157:.
1130:.
1126::
1109:.
1090:.
1067:.
1030:.
1000:.
987:"
970:.
944:)
940:(
923:.
896:.
860:.
759:.
461:.
388:.
334:.
29:"
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
