In deed, Arha is powerless, her office filled merely for the ritual of it. She has no real dominion over those who in theory serve her, neither over Kossil of the Godking nor over Thar of the Twin Gods. Indeed, her very name is no name at all, for it was ritualistically taken, rendering her nameless as the Nameless Ones. Le Guin calls this loss of personal identity, this being folded into the belief that the young girl is the First Priestess eternally reborn, “eaten” and so Arha is the Eaten One. The name reminds me so much of Lily Myers’s poem “ Shrinking Women ” and it gets at the heart of Le Guin’s critique, namely that, in a patriarchal world, women with power hold power only insofar as they are made (by holders of actual power) to believe they are powerful. a b c Walton, Jo. "Let Her be Eaten!: Ursula K. Le Guin's The Tombs of Atuan". Tor.com . Retrieved November 17, 2014. Arha's routine is disrupted by her discovery of the wizard Ged (the protagonist of A Wizard of Earthsea) in the undertomb. She traps him in the labyrinth by slamming the door on him, and through a peephole sees him unsuccessfully attempt to open the door with a spell. [29] Trapped in the labyrinth, Ged eventually collapses out of exhaustion, and Arha has him chained up while debating what to do with him. After questioning him, she learns that he has come to the Tombs for the long-lost half of the ring of Erreth-Akbe, a magical talisman broken centuries before, necessary for peace in Earthsea. [14] The other half had come into his possession by pure chance, and a dragon later told him what it was. Arha is drawn to him as he tells her of the outside world, and keeps him prisoner in the tombs, bringing him food and water. [30] However, Kossil learns of Ged's existence, forcing Arha to promise that Ged will be sacrificed to the Nameless Ones; however, she realizes that she cannot go through with it. She instructs Manan to dig a false grave underground, while she herself takes Ged to hide in the treasury of the Tombs. The hold that the darkness has over her does not disappear when she escapes and the Tombs are brought down in an earthquake by the nameless ones. She contemplates killing Ged, blaming him for her pain, but eventually learns to accept her guilt over her actions, realizing that though she had no choice in her actions as a priestess, she now has a choice to move away from them; but this "freedom is a heavy load". [51] [29] Le Guin ends the novel with the reassuring sentence "Gravely she walked beside [Ged] up the white streets of Havnor, holding his hand, like a child coming home", suggesting that she has been successful in finding new connections in her life. [52] The conclusion of the novel represents the successful end of a quest that Ged undertook as a mature wizard, part of the story arc that traces his character development across the first three Earthsea books; thus The Tombs of Atuan has been described as part of Ged's coming-of-age as well. [53] Faith and belief [ edit ]

To take Le Guin’s genius—please permit me this one, unironic usage—further, Tombs suggests another type of power, that of the bond. After all, in the story of Sparrowhawk’s life, the Tomb of Atuan is the setting of his great adventure to reunite the broken halves of the lost Ring of Erreth-Akbe and the novel itself ends with the ring being held aloft by Tenar as Lookfar glides into the harbors of Havnor to triumphant cheers. It is a Tolkienian scene, perhaps the only one in all of the Earthsea novels, but the ring is important. (Sadly, Le Guin does not explain how this vision of power-sharing fits with the very idea of kings and princes, still very much active in her pseudo-medieval fantasy world, but genius isn’t all-encompassing.) Whether or not Erreth-Akbe’s ring is a ring of power in the sense of Tolkien’s rings, it symbolizes (and supposedly aids) the ability of leaders to bind together the people of Earthsea not under the autocratic submission of tyrants and princes, but in peace. The ring of Erreth-Akbe is sought once lost because the broken rune, the Bond-Rune, was lost. Tenar and Ged reunite the runes through an act of solidarity and trust. Ged survives the Labyrinth because he trusts Tenar; she escapes the Tombs and her ideological enthrallment because she trusts Ged.Set in the fictional world of Earthsea, The Tombs of Atuan follows the story of Tenar, a young girl born in the Kargish empire, who is taken while still a child to be the high priestess to the "Nameless Ones" at the Tombs of Atuan. Her existence at the Tombs is a lonely one, deepened by the isolation of being the highest ranking priestess. Her world is disrupted by the arrival of Ged, the protagonist of A Wizard of Earthsea, who seeks to steal the half of a talisman buried in the treasury of the Tombs. Tenar traps him in the labyrinth under the Tombs, but then rebels against her teaching and keeps him alive. Through him she learns more of the outside world, and begins to question her faith in the Nameless Ones and her place at the Tombs. A biweekly series, The Ursula K. Le Guin Reread explores anew the transformative writing, exciting worlds, and radical stories that changed countless lives. This week we’ll be covering The Tombs of Atuan , first published by Atheneum in 1970. My edition is Atheneum 2012, and this installment of the reread covers the entire novel. Butler, Catherine (2012). "Modern Children's Fantasy" (PDF). In James, Edward; Mendlesohn, Farah (eds.). The Cambridge Companion to Fantasy Literature. Cambridge University Press. pp.224–235. doi: 10.1017/CCOL9780521429597.021. ISBN 9781139014625. The tombs of Atuan are an underground set of tunnels and labyrinths, all occupied by the High Priestesses, who are there to serve the Nameless Ones.

At dusk, they reach the beach and spend the night. Tenar listens to the crashing waves, feeling alienated. In the morning, they wait for high tide. Tenar contemplates killing Ged but confesses her evil deeds instead. Ged reassures her and promises to take her to Gont. They sail to Havnor Great Port, where a crowd awaits them. Tenar proudly displays the Ring, and they are greeted with cheers. Ged invites Tenar to come with him, and she accepts. The book ends with their arrival in Havnor, leaving the celebrations and their future voyage to Ogion to our imagination. Some of the North-eastern islands are populated by the white-skinned Kargish people, who see the Hardic folk as evil sorcerers: the Kargish, in turn, are viewed by the Hardic as barbarians. [5] The Kargish peoples have a distinct culture and geography: for example, they do not use written language, as they consider it an evil practice. [24] [25] The Kargish people have been described by scholars as being the analog of people in the United States; similarities include an organized religion, and a class system. [26] [24] This society does not believe in the equilibrium that the rest of the archipelago believes in, and does not believe in magic either. The Kargad empire is a theocracy; its monarch, the God-king, claims to represent the power of the Nameless Ones, described as the "powers of the dark, of ruin, of madness". [24] [27] The society is depicted as militant, and patriarchal. Le Guin suggests that though the God-king relies upon the Nameless Ones and their high priestess to maintain his authority, he no longer believes in them. [27] Plot summary [ edit ] I read this and A Wizard of Earthsea after watching the TV adaption. As I stated in my review of the previous book, I was not expecting such a well written and engaging book as this one is. Like A Wizard of Earthsea before it, Le Guin’s The Tombs of Atuan was meant for kids. Now we call it a YA novel, though recent marketing schemes for the Earthsea series seem to be aiming more for the 8-11 year old crowd (I cannot stand my books’ covers!). Of course, the novels weren’t written solely for children but for anyone, even if they happen to be quite marketable as children’s fiction. But Le Guin certainly did right by her publishers’ intended audience when she chose the setting, an underground tomb and labyrinth complex both frightening and exhilarating, an extension of Earthsea all the more exciting because it is so unspeakably mundane and exotic at once: the darkness. And, what’s more, it’s about those who dwell in the darkness, the Nameless Ones, embodiments of the great Powers we imagine and fear are there. True, we’ve no proof, but we have heard stories and would rather not chance it—so we run, we shut the door tight, we turn the lights on, we pull the covers over our heads. Kids are primed to experience the Tombs.

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The relationship between Sparrowhawk and Arha is well developed in such a short story, and it’s interesting to see the further development of Sparrowhawk through the eyes of a different character. He has clearly learned much since the first book, and has become both more powerful and more wise. The character or Arha was a bit annoying early on, but by the end her hero’s journey is as believable as it was nuanced. Wolk, Anthony (March 1990). "Challenge the Boundaries: An Overview of Science Fiction and Fantasy". The English Journal. 79 (3): 26–31. doi: 10.2307/819230. JSTOR 819230.

I also appreciate the theme of seeking truth versus believing what you are told, and the value of seeking the wisdom of expertise, a through-line theme of the series. It today’s modern age of “my ignorance is a good as your knowledge” it’s nice to return to a world where education is revered. a b Dooley, Patricia (1980). "Magic and Art in Ursula Le Guin's Earthsea Trilogy". Children's Literature. 8: 103–110. doi: 10.1353/chl.0.0319.Le Guin let down a lot of folks when she couldn’t imagine a girl-wizard becoming a powerful wizardess in her first Earthsea novel. She then made the rather startling decision to write a sequel in which Ged appears only halfway through and in which he is not, in fact, the protagonist. True, Tombs ’s Arha is not a wizard and even lives in a land where wizards are barely more than a legend, but Arha is a priestess, the High Priestess of the Tombs, born into her office as First Priestess, raised believing in her continued rebirth since time began, and brought into service of the Nameless Ones who dwell below the Tombs of Atuan, who in her and the Kargs’ beliefs have dwelt so since the beginning of time. Arha, in short, is powerful beyond measure. At least in word. What she had begun to learn was the weight of liberty. Freedom is a heavy load, a great and strange burden for the spirit to undertake. It is not easy. It is not a gift given, but a choice made, and the choice may be a hard one. The road goes upward towards the light; but the laden traveler may never reach the end of it. a b c Griffin, Jan M. (Spring 1996). "Ursula LeGuin's Magical World of Earthsea". The ALAN Review. 23 (3). doi: 10.21061/alan.v23i3.a.5. After dinner in the Big House and nightly religious rituals, the other girls would go upstairs for games and chat into the night while Arha set off to the Small House. She meets Manan and informs him that she wasn't punished since, "I am Arha" and bursts into tears. He comforts her and carries her to the doorway of the Small House where she sleeps alone. The Godking ceases sending prisoners to the Tombs, and gradually, Arha's nightmares stop. Determined to know her domain, she explores the Undertomb section of the Labyrinth except the Iron Door tunnel. Thar gives Arha directions to the other rooms in the greater Labyrinth. She also points out spy holes into the Labyrinth from aboveground areas. Thar has never entered the Labyrinth herself. She only recites memorized directions from the previous Arha. In fact, most people don't even know the underground Labyrinth exists.

Interestingly, this story also flips the LOTR conception of a “ring of power” on its head. Sparrowhawks’ mission to find a certain ring of power that will restore peace is in stark contrast to the One Rings ability to increase the power of the user. This books ring is like the anti-One Ring. Bernardo, Susan M.; Murphy, Graham J. (2006). Ursula K. Le Guin: A Critical Companion (1sted.). Westport, CT: Greenwood Press. ISBN 0-313-33225-8. The notion of faith and deep belief is a large part of the novel, and is related to the book's other theme of identity. Throughout the story there is a tension between faith in the Nameless Ones and their power, and human curiosity and the tendency to question. [38] The importance of tradition and belief in Kargish culture is emphasized when Tenar is taken from her family, and chosen to be the high priestess of the Tombs. However, Tenar's mother unsuccessfully tries to dupe the priestesses into believing the child has a skin disease. Commentators state that this episode suggests certain universal impulses can lead to resistance against "cultural imperatives"; Tenar's mother is willing to bend the rules to keep her child. [17] Unlike the rest of Earthsea, which relies on the "Old Speech" for its magic and rituals, the Kargish lands use their own tongue, and rituals are conducted with meaningless babble; thus from the moment the chanting of the priestesses is described, Le Guin suggests that the Kargish faith is one of meaningless words and ritual. [24] The Kargish deities are revered as the "Nameless Ones"; thus Ged's statement to Arha that all things have names also works to undermine her faith. [24] It’s at this point in drafting that I would usually begin to write the “great reveal,” the thesis statement that binds together what follows: “But it is also…” I would then attempt to describe to you how Tombs of Atuan is so much more than this, how it goes above and beyond the familiar conventions of children’s fiction. How it is true Literature, it is Art, a heartbreaking work of staggering blahblahblah. But why? Tombs need not be more. We need not call it by another name to see it as offering important insights into the world, as bringing forward the deep truths about power and mystery and religion and belief that it does. It is enough to say that Tombs does what children’s literature—and much other writing and meaning-making—does, and it does it very damn well. Finally, Arha decides to explore the greater Labyrinth beyond the Iron Door. Believing the Nameless Ones guide her steps, she makes many trips to the various inner rooms. One day, Thar reveals that the Labyrinth was created to hide treasure while trapping thieves. Only Arha can enter the Treasury to avoid the wrath of the Nameless Ones and facing death. The previous Arha told Thar to reveal the Treasury's path only after the current Arha asked. Curiously, Arha postpones her visit to the Treasury.The novels of the Earthsea cycle differ notably from Le Guin's early Hainish cycle works, written during the same period. [59] Fantasy scholar George Slusser described them as providing a counterweight to the "excessive pessimism" of the Hainish novels. He saw the former as depicting individual action in a favorable light, in contrast to works such as " Vaster than Empires and More Slow". [59] The trilogy shares a thematic similarity in that each volume is a bildungsroman for a different character; the first for Ged, the second for Tenar, and the third for Arren. [40] The story follows a girl named Tenar, born on the Kargish island of Atuan. Born on the day that the high priestess of the Tombs of Atuan died, she is believed to be her reincarnation. Tenar is taken from her family when five years old and goes to the Tombs. [14] Her name is taken from her in a ceremony, and she is referred to as "Arha", or the "eaten one", [24] after being consecrated to the service of the "Nameless Ones" at the age of six with a ceremony involving a symbolic sacrifice. [28] She moves into her own tiny house, and is given a eunuch servant, Manan, with whom she develops a bond of affection. Earthsea is an archipelago, or group of islands. In the fictional history of this world, the islands were raised from the ocean by Segoy, an ancient deity or hero. The world is inhabited by both humans and dragons, and several among the humans are sorcerers or wizards. [20] Influenced strongly by Le Guin's interest in Taoism, the world is shown as being based on a delicate balance, which most of its inhabitants are aware of, but which is disrupted by somebody in each of the original trilogy of novels. [21] [22] Magic in the societies of Earthsea is depicted as a force for both good and evil. [21] The setting of Earthsea is preindustrial, and has many cultures within the widespread archipelago. Most of the characters of the story are of the Hardic peoples, who are dark-skinned, and who populate most of the islands. [5] The internal universe of Earthsea has not remained constant across Le Guin's various works set in it, but has been continually adjusted and revised. [23]