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'''Ursula Kroeber Le Guin''' [{{AFI|'ɜrsələ ˈkroʊbər ləˈgwɪn}}]<ref>{{cita web |url=http://www.ursulakleguin.com/Note-HowToPronounceMe.html |título=How to pronounce me |fechaacceso=23 de enero de 2018 |autor=Le Guin, Ursula K. |año=2007 |urlarchivo=https://www.webcitation.org/6H2is8pc8?url=http://www.ursulakleguin.com/Note-HowToPronounceMe.html |fechaarchivo=1 de junio de 2013}}</ref> ([[Berkeley (California)|Berkeley]], [[California]]; [[21 de octubre]] de [[1929]]-[[Portland]], [[Oregón]]; [[22 de enero]] de [[2018]]) fue una autora [[Estados Unidos|estadounidense]] conocida sobre todo por sus obras de [[ficción especulativa]] y en especial por las obras de [[ciencia ficción]] ambientadas en el mundo ficticio de [[Terramar]] y la serie de [[Literatura fantástica|fantasía]] de la federación [[Ekumen]]. Su primer trabajo publicado fue en 1959 y su carrera literaria duró [[Anexo:Bibliografía de Ursula K. Le Guin|casi sesenta años]], con más de veinte novelas y más de cien relatos cortos publicados, además de [[poesía]], [[ensayo]], [[crítica literaria]], [[Traducción|traducciones]] y [[Literatura infantil|libros para niños]].

Era hija de la escritora [[Theodora Kroeber]] y el antropólogo [[Alfred Kroeber]]. Tras obtener una maestría en francés, inició sus estudios de doctorado, pero los abandonó tras su matrimonio en 1953 con el historiador Charles Le Guin. Comenzó a escribir a tiempo completo a finales de los años 1950 y alcanzó un gran éxito comercial y de crítica con ''[[Un mago de Terramar]]'' (''A Wizard of Earthsea'', 1968) y ''[[La mano izquierda de la oscuridad]]'' (''The Left Hand of Darkness'', 1969), descritas por el crítico estadounidense [[Harold Bloom]] como sus obras maestras.{{Harvnp|White|1999|p=2}} Con ''La mano izquierda de la oscuridad'' obtuvo el [[Premio Hugo a la mejor novela|premio Hugo]] y el [[Premio Nébula a la mejor novela|premio Nébula]] a la mejor novela, la primera mujer en conseguir ambos premios por una novela.


La [[antropología cultural]], el [[taoísmo]], el [[feminismo]] y los escritos de [[Carl Jung]] tuvieron una fuerte influencia en su obra. Muchas de sus historias utilizaron como protagonistas a antropólogos u observadores culturales y se han identificado las ideas taoístas sobre el equilibrio y la armonía en algunas de sus obras. A menudo subvirtió algunos clichés típicos de la ficción especulativa, como la utilización de protagonistas de piel oscura en Terramar, y también usó recursos estilísticos o estructurales poco habituales en algunos de sus libros, como la obra experimental ''El eterno regreso a casa'' (''Always Coming Home'', 1985). Los temas sociales y políticos, como el género, la sexualidad y la mayoría de edad ocuparon un lugar destacado en su obra y exploró estructuras políticas alternativas en muchos relatos, como en la parábola ''[[Los que se alejan de Omelas]]'' (''The Ones Who Walk Away from Omelas'', 1973) y la novela utópica ''[[Los desposeídos]]'' (''The Dispossessed'', 1974).
'''Ursula Kroeber Le Guin''' [{{IPA|'ɜrsələ ˈkroʊbər ləˈgwɪn}}]<ref>{{cita web|url=http://www.ursulakleguin.com/Note-HowToPronounceMe.html|título=How to pronounce me|fechaacceso=23 de enero de 2018|autor=Le Guin, Ursula K.|enlaceautor=|fecha=2007|sitioweb=|editorial=|idioma=|urlarchivo=https://www.webcitation.org/6H2is8pc8?url=http://www.ursulakleguin.com/Note-HowToPronounceMe.html|fechaarchivo=1 de junio de 2013}}</ref> ([[Berkeley (California)|Berkeley]], [[California]]; [[21 de octubre]] de [[1929]]-[[Portland]], [[Oregón]]; [[22 de enero]] de [[2018]])<ref>{{cita publicación |apellidos=Jonas|nombre= Gerald|enlaceautor= |año= 23 de enero de 2018 |título=Ursula K. Le Guin, Acclaimed for Her Fantasy Fiction, Is Dead at 88|publicación= |volumen= |número= |páginas= |ubicación= |editorial=The New York Times |issn= |url=
https://www.nytimes.com/2018/01/23/obituaries/ursula-k-le-guin-acclaimed-for-her-fantasy-fiction-is-dead-at-88.html |idioma =inglés |fechaacceso=23 de enero de 2018}}</ref> fue una escritora [[Estados Unidos|estadounidense]]. Publicó obras dentro de numerosos géneros, principalmente [[ciencia ficción]] y [[Literatura fantástica|fantasía]], aunque también escribió [[poesía]], libros infantiles y [[ensayo]]s, e incluso tradujo obras de otros autores del [[Idioma chino|chino]] y el [[Idioma español|español]] al [[Idioma inglés|inglés]].


Sin embargo, Le Guin debe su fama al numeroso caudal de libros y cuentos de ciencia ficción y fantasía publicados a lo largo de su dilatada carrera y fue galardonada con varios premios [[Premios Hugo|Hugo]] y [[Premios Nébula|Nébula]]. Fue la primera mujer galardonada con el título de [[Premio Gran Maestro Damon Knight Memorial|Gran Maestra]] por la [[Asociación de escritores de ciencia ficción y fantasía de Estados Unidos]] (SFWA). Se consideraba a sí misma como una mujer [[feminista]] y [[taoísta]]<ref>{{cita web|url=http://books.guardian.co.uk/departments/childrenandteens/story/0,,1669112,00.html|título=The magician|fechaacceso=2009|autor=Jagii, Maya|enlaceautor=|fecha=17 de diciembre de 2005|sitioweb=The Guardian International Edition|editorial=|idioma=}}</ref> y en sus novelas aparecen a menudo ideas [[anarquismo|anarquistas]].
Su obra tuvo una enorme influencia en el campo de la ficción especulativa y ha sido objeto de una gran atención por parte de la crítica literaria. Recibió numerosos premios y reconocimientos. Entre sus premios se encuentran ocho [[premios Hugo]], seis [[Premios Nébula|Nébula]] y veintidós [[Premios Locus|Locus]]. En 2003 se convirtió en la segunda mujer honrada como [[Premio Gran Maestro Damon Knight Memorial|Gran Maestra]] por la [[Asociación de escritores de ciencia ficción y fantasía de Estados Unidos]]. La [[Biblioteca del Congreso de Estados Unidos]] la nombró «Leyenda viva» en el año 2000 y en 2014 recibió la [[Premio Nacional del Libro|Medal for Distinguished Contribution to American Letters]]. Influyó en muchos autores, como [[Salman Rushdie]], [[David Mitchell]], [[Neil Gaiman]] o [[Iain Banks]]. Tras su muerte en 2018, el escritor y crítico [[John Clute]] escribió que Le Guin había «presidido la ciencia ficción estadounidense durante casi medio siglo», y el escritor [[Michael Chabon]] se refirió a ella como «la más grande escritora estadounidense de su generación».


== Biografía ==
== Biografía ==
=== Primeros años y educación ===
[[Archivo:Ursula_Le_Guin_Harlan_Ellison.jpg|miniaturadeimagen|izquierda|Ursula Le Guin y [[Harlan Ellison]].]]
Nació en Berkeley, [[California]] el 21 de octubre de 1929. Su padre fue el eminente [[antropología|antropólogo]] [[Alfred Kroeber]] y su madre la escritora [[Theodora Kroeber]]. Desde pequeña se educó en una atmósfera de interés académico por los mitos y leyendas de todos los pueblos de la tierra. Su interés por la literatura es temprano: ya a la edad de 11 años envió su primer relato a la reputada revista ''[[Astounding Science Fiction]]'' y, aunque rechazado, eso no le hizo desistir.


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Fue a la Escuela Radcliffe de la [[Universidad de Harvard]], donde se graduó en [[1951]], y luego pasó un año en la [[Universidad de Columbia]] donde hizo su postgrado en [[lenguas romances]]. Su tesis de maestría relacionaba diversos aspectos de la literatura romance de la [[Edad Media]] y el [[Renacimiento]]. Tras finalizar su curso de postgrado, obtuvo una [[beca Fulbright]] para estudiar en [[Francia]], donde conoció al que se convertiría en su marido, Charles Le Guin. Se casaron en [[1953]].
[[Archivo:Ishi.jpg|thumb|right|Ursula's father, [[Alfred Kroeber]], with [[Ishi]], the last of the Yahi people (1911)]]
Ursula K. Le Guin was born Ursula Kroeber in [[Berkeley, California]], on October 21, 1929. Her father, [[Alfred L. Kroeber|Alfred Louis Kroeber]], was an [[anthropologist]] at the [[University of California, Berkeley]].{{Harvnp|Spivack|1984a|p=1}}<ref name="NYT obit">{{Cita web |url=https://www.nytimes.com/2018/01/23/obituaries/ursula-k-le-guin-acclaimed-for-her-fantasy-fiction-is-dead-at-88.html |título=Ursula K. Le Guin, Acclaimed for Her Fantasy Fiction, Is Dead at 88 |apellido=Jonas |nombre=Gerald |date=January 23, 2018 |obra=[[The New York Times]] |fechaacceso=January 23, 2018}}</ref> Le Guin's mother, [[Theodora Kroeber]] (born Theodora Covel Kracaw), had a graduate degree in psychology, but turned to writing in her sixties, developing a successful career as an author who wrote ''[[Ishi in Two Worlds]]'' (1961), a biographical volume about [[Ishi]], an [[Indigenous peoples of the Americas|indigenous American]] who became the last known member of the [[Yahi]] tribe after the rest of its members were killed by white settlers.{{Harvnp|Spivack|1984a|p=1}}{{Harvnp|Cummins|1990|p=2}}<ref>{{Cita publicación |apellido=Hallowell |nombre=A. Irving |título=Theodora Kroeber. Ishi in Two Worlds: A Biography of the Last Wild Indian in North America |publicación=The Annals of the American Academy of Political and Social Science |date=1962 |volumen=340 |número=1 |páginas=164-165|doi=10.1177/000271626234000162}}</ref>


Ursula had three older brothers: [[Karl Kroeber|Karl]], who became a literary scholar, Theodore, and Clifton.<!-The name "Clifton" is taken from Theodora Kroeber's writing: "Clifford" is incorrectly used by Spivack.->{{Harvnp|Spivack|1984a|p=2}}<ref>{{Cita libro |nombre=Theodora |apellido=Kroeber|authorlink=Theodora Kroeber|título=Alfred Kroeber; a Personal Configuration|url=https://books.google.com/books?id=9biH8-HT6gcC |año=1970 |editorial=University of California Press|página=287|isbn=978-0-520-01598-2}}</ref> The family had a large book collection, and the siblings all became interested in reading while they were young.{{Harvnp|Spivack|1984a|p=2}} The Kroeber family had a number of visitors, including well-known academics such as [[Robert Oppenheimer]]; Le Guin would later use Oppenheimer as the model for Shevek, the physicist protagonist of ''[[The Dispossessed]]''.{{Harvnp|Cummins|1990|p=2}}{{Harvnp|Spivack|1984a|p=2}} The family divided its time between a summer home in the [[Napa valley]], and a house in Berkeley during the academic year.{{Harvnp|Cummins|1990|p=2}}
A su vuelta a [[Estados Unidos|EE.&nbsp;UU.]] enseñó [[Idioma francés|francés]] en varias universidades antes de dedicarse por completo a la [[literatura]]. Publicó seis libros de poesía, veinte novelas y más de un centenar de historias, cuatro colecciones de ensayos, once libros para niños y algunas traducciones (entre las que destaca el ''Tao Te Ching'' de [[Lao Tse]] y una selección de poemas de [[Gabriela Mistral]]). Desde 1958 vivió en Portland, Oregón, donde dio a luz a sus tres hijos. En 2003 fue galardonada como "Gran Maestra" de la [[SFWA]] (la primera mujer en obtener esta distinción).


Le Guin's reading included science fiction and fantasy: she and her siblings frequently read issues of ''[[Thrilling Wonder Stories]]'' and ''[[Astounding Science Fiction]]''. She was fond of myths and legends, particularly [[Norse mythology]], and of Native American legends that her father would narrate. Other authors she enjoyed were [[Lord Dunsany]] and [[Lewis Padgett]].{{Harvnp|Spivack|1984a|p=2}} Le Guin also developed an early interest in writing; she wrote a short story when she was nine, and submitted her first short story to ''Astounding Science Fiction'' when she was eleven. The piece was rejected, and she did not submit anything else for another ten years.{{Harvnp|White|1999|p=2}}{{Harvnp|Spivack|1984a|pp=2-3}}<ref name="Vice Interview">{{Cita publicación |url=https://www.vice.com/en_us/article/jmdq48/ursula-k-le-guin-440-v15n12|título=Ursula K. Le Guin |apellido=Lafreniere |nombre=Steve|date=December 2008 |publicación=[[Vice (magazine)|Vice]]|fechaacceso=April 22, 2010|archiveurl=https://web.archive.org/web/20110709072611/http://www.viceland.com/int/v15n12/htdocs/ursula-k-le-guin-440.php|archivedate=July 9, 2011}}</ref>
La autora falleció el lunes 22 de enero de 2018, a los 88 años, en su casa de Portland (Oregón, EE.&nbsp;UU).<ref>{{Cita noticia|apellidos=Antón|nombre=Jacinto|título=Muere la escritora Ursula K. Le Guin, maestra de la ciencia ficción|url=https://elpais.com/cultura/2018/01/23/actualidad/1516748346_070257.html|fecha=24 de enero de 2018|fechaacceso=24 de enero de 2018|periódico=El País|issn=1134-6582|idioma=es}}</ref>


Le Guin attended [[Berkeley High School (California)|Berkeley High School]].{{Harvnp|Cummins|1990|p=3}} She received her [[Bachelor of Arts]] degree in Renaissance French and Italian literature from [[Radcliffe College]] in 1951, and graduated as a member of the [[Phi Beta Kappa]] honor society.{{Harvnp|Reid|1997|p=5}} As a child she had been interested in biology and poetry, but had been limited in her choice of career by her difficulties with mathematics.{{Harvnp|Reid|1997|p=5}} Le Guin undertook graduate studies at [[Columbia University]], and earned a [[Master of Arts]] degree in French in 1952.{{Harvnp|Spivack|1984a|p=3}} Soon after, she began working towards a [[PhD]], and won a [[Fulbright Program|Fulbright]] grant to continue her studies in France from 1953 to 1954.{{Harvnp|Cummins|1990|p=2}}{{Harvnp|Spivack|1984a|p=3}}
== Obra ==
=== Primeras publicaciones y el ciclo Ekumen ===
Su primera publicación fue un cuento de fantasía en la revista ''Amazing'' en 1962, y debutó como novelista en 1966 con ''[[El mundo de Rocannon]]''. La historia de Rocannon cuenta el viaje de un científico a un mundo poblado por tres especies inteligentes diferentes en un ambiente más propio de la fantasía que de la ciencia ficción. En realidad, esta historia se enmarcaba ya en las bases de lo que sería su propio universo de creación: el [[Ekumen|universo Hainish]] o [[Ekumen]], en el que conviven diferentes razas humanoides descendientes de una única civilización ancestral proveniente del planeta Hain y cuya diversidad psicológica y sociológica permiten explorar una gran diversidad de facetas y valores de nuestra propia cultura.


=== Married life and death ===
La serie, que nos traslada a 2500 años en el futuro, continuó durante el final de los [[años 1960|años 60]] con otras novelas como ''[[Planeta de exilio]]'' en [[1966]], ''[[La ciudad de las ilusiones]]'' un año después, y una de sus obras maestras, ''[[La mano izquierda de la oscuridad]]'' en [[1969]], novela premiada tanto con un Hugo como con un Nébula y que la catapultó a la fama.<ref>{{Cita libro|apellidos=Barceló|nombre=Miquel|enlaceautor=|título=Ciencia ficción: nueva guía de lectura|url=|fechaacceso=|año=2015|editorial=Ediciones B|isbn=978-84-666-5735-8|editor=|ubicación=Barcelona|página=325-326|idioma=|capítulo=}}</ref>
In 1953, while traveling to France aboard the ''[[RMS Queen Mary|Queen Mary]]'', Ursula met historian Charles Le Guin.{{Harvnp|Spivack|1984a|p=3}} They married in Paris in December 1953.{{Harvnp|Reid|1997|pp=5-7}} According to Le Guin, the marriage signaled the "end of the doctorate" for her.{{Harvnp|Spivack|1984a|p=3}} While her husband finished his doctorate at [[Emory University]] in Georgia, and later at the [[University of Idaho]], Le Guin taught French and worked as a secretary until the birth of her daughter Elisabeth in 1957.{{Harvnp|Reid|1997|pp=5-7}} A second daughter, Caroline, was born in 1959.<ref>{{Cita libro |nombre=Jeremy K. |apellido=Brown|título=Ursula K. Le Guin|url=https://books.google.com/books?id=xgNcAgAAQBAJ|date=November 2013 |editorial=Infobase Learning|section=Timeline|isbn=978-1-4381-4937-0}}</ref> Also in that year, Charles became an instructor in history at [[Portland State University]], and the couple moved to [[Portland, Oregon]], where their son Theodore was born in 1964.{{Harvnp|Spivack|1984a|p=3}} They would live in Portland for the rest of their lives,<ref name="Locus Obituary">{{Cita publicación |título=Ursula K. Le Guin (1929-2018) |publicación=Locus Magazine |date=January 23, 2018 |url=https://locusmag.com/2018/01/ursula-k-le-guin-1929-2018/ |fechaacceso=September 17, 2018}}</ref> although Le Guin received further Fulbright grants to travel to London in 1968 and 1975.{{Harvnp|Cummins|1990|p=2}}


Le Guin's writing career began in the late 1950s, but the time she spent caring for her children constrained her writing schedule.{{Harvnp|Spivack|1984a|p=3}} She would continue writing and publishing for nearly 60 years.<ref name="Locus Obituary" /> She also worked as an editor, and taught undergraduate classes. She served on the editorial boards of the journals ''Paradoxa'' and ''[[Science Fiction Studies]]'', in addition to writing literary criticism herself.{{Harvnp|White|1999|pp=1-3}} She taught courses at [[Tulane University]], [[Bennington College]], and [[Stanford University]], among others.<ref name="Locus Obituary" /><ref>{{Cita publicación |apellido=Walsh |nombre=William |apellido2=Le Guin |nombre2=Ursula K. |título=I Am a Woman Writer; I Am a Western Writer: An Interview with Ursula Le Guin |publicación=The Kenyon Review |date=Summer 1995 |volumen=17 |número=3 |páginas=192-205}}</ref> In May 1983 she delivered a [[commencement speech]] entitled "A Left-handed Commencement Address" at [[Mills College]] in [[Oakland, California]].<ref>{{Cita web |url=https://www.americanrhetoric.com/speeches/ursulakleguinlefthandedcommencementspeech.htm |nombre=Ursula K. |apellido=Le Guin |título=A Left-Handed Commencement Address |website=American Rhetoric |date=May 22, 1983|fechaacceso=October 27, 2015 }}</ref> It is listed as {{thinspace|No.|82}} in ''American Rhetoric''{{'}}s Top 100 Speeches of the 20th Century,<ref>{{Cita web |nombre=Michael E. |apellido=Eidenmuller |url=https://www.americanrhetoric.com/top100speechesall.html |título=Top 100 Speeches of the 20th Century by Rank |website=American Rhetoric |date=February 13, 2009 |fechaacceso=October 27, 2015 }}</ref> and was included in her nonfiction collection ''[[Dancing at the Edge of the World]]''.<ref>{{Cita libro |url=https://books.google.com/books?id=QK6TYg32CocC|título=Dancing at the Edge of the World |nombre=Ursula K. |apellido=Le Guin |año=1989 |editorial=Grove Press |página=v |isbn=978-0-8021-3529-2}}</ref>
Más tarde Le Guin regresó a los mundos Hainish; y lo hizo para volver a ganar el [[Premio Hugo a la mejor novela corta|premio Hugo]] gracias a la novela ''[[El nombre del mundo es Bosque]]'' (1972), donde nos propone el impresionante encuentro entre la especie humana y otra especie, más inteligente y más desarrollada éticamente, que ha resultado de la evolución, a lo largo de muchos miles de años, de la propia especie humana en otro planeta. Los polémicos temas del ecologismo y del pacifismo laten constantemente a lo largo de toda la historia. Le Guin recibió dos años después tanto el Hugo como el [[Premio Nébula a la mejor novela|premio Nébula]] por la novela considerada su otra obra maestra: ''[[Los desposeídos|Los desposeídos: una utopía ambigua]]'' (1974).<ref>{{Cita libro|apellidos=Barceló|nombre=Miquel|enlaceautor=|título=Ciencia ficción: nueva guía de lectura|url=|fechaacceso=|año=2015|editorial=Ediciones B|isbn=|editor=|ubicación=Barcelona|página=332-333|idioma=|capítulo=}}</ref> En ella aborda el tema del anarquismo, y el de la manipulación de la vida de los individuos en un sistema totalitario, y profundiza en las dificultades de conjugar la vivencia de un amor auténtico con un total servicio desinteresado a la sociedad. La autora la denominó como "una utopía ambigua".<ref>{{Cita publicación|url=https://dialnet.unirioja.es/descarga/articulo/5475998.pdf|título=Los desposeídos, de Ursula K. Le Guin: ¿una utopía?|apellidos=Castro Méndez|nombre=Silvia|fecha=2014|publicación=Letras|número=55|páginas=87-111|fechaacceso=24 de enero de 2018|doi=|pmid=}}</ref> En 1975 volvió a ser considerada tanto por la [[Sociedad mundial de ciencia ficción]] como por la [[SFWA]] como la mejor escritora de ciencia ficción del año. Ese mismo año apareció una recopilación de cuentos llamada ''[[Las doce moradas del viento]]'', en el que se recogen algunas historias difíciles de encontrar hasta la fecha, a pesar de que algunas habían ganado los premios más importantes de su género.<ref>{{Cita libro|apellidos=Barceló|nombre=Miquel|enlaceautor=|título=Ciencia ficción: nueva guía de lectura|url=|fechaacceso=|año=2015|editorial=Ediciones B|isbn=|editor=|ubicación=Barcelona|página=336-337|idioma=|capítulo=}}</ref>


Le Guin died on January 22, 2018, at her home in Portland, at the age of 88. Her son said that she had been in poor health for several months, and stated that it was likely she had had a [[heart attack]]. Private memorial services for her were held in Portland.<ref name="NYT obit" /><ref>{{Cita web |apellido=Woodall |nombre=Bernie |título=U.S. author Ursula K. Le Guin dies at 88: family |url=https://www.reuters.com/article/us-people-le-guin/u-s-author-ursula-k-le-guin-dies-at-88-family-idUSKBN1FD022 |fechaacceso=September 16, 2018 |editorial=[[Reuters]] |date=January 23, 2018}}</ref> A public memorial service, which included speeches by the writers [[Margaret Atwood]], [[Molly Gloss]], and [[Walidah Imarisha]], was held in Portland in June 2018.<ref>{{Cita publicación |título=Ursula K. Le Guin Tribute |publicación=Locus Magazine |date=April 20, 2018 |url=https://locusmag.com/2018/04/ursula-k-le-guin-tribute/ |fechaacceso=September 16, 2018}}</ref><ref>{{Cita web |apellido=Baer |nombre=April |título=Remembering Ursula K. Le Guin |url=https://www.opb.org/radio/programs/stateofwonder/segment/ursula-le-guin-books-letters-poetry-people-color/ |fechaacceso=September 16, 2018 |editorial=Oregon Public Broadcasting |date=June 9, 2018}}</ref>
Le Guin también publicaba constantemente en las revistas de ciencia ficción de la época. De aquellos cuentos salieron recopilaciones como ''[[La rosa de los vientos (libro de Ursula K. Le Guin)|La rosa de los vientos]]'' (1982), ''[[Un pescador del mar interior]]'' (1994) y ''[[Cuatro caminos hacia el perdón]]'' (1995). Más recientemente ha regresado a este universo con una nueva recopilación de cuentos titulada ''[[El cumpleaños del mundo y otros relatos]]'' (2002).


=== Terramar ===
=== Views and advocacy ===
{{Further|Authors Guild, Inc. v. Google, Inc.}}
{{quote box
| quote = I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies. We will need writers who can remember freedom. Poets, visionaries{{Spaced ndash}}the realists of a larger reality.
| source = —Ursula K. Le Guin<ref name="PMM" />
| width = 230px
| align = left
| salign = right
| bgcolor = #F0FFF0
}}
Le Guin refused a [[Nebula Award for Best Novelette|Nebula Award]] for her story "[[The Diary of the Rose]]" in 1975, in protest at the [[Science Fiction Writers of America]]'s revocation of [[Stanisław Lem]]'s membership. Le Guin attributed the revocation to Lem's criticism of American science fiction and willingness to live in the [[Soviet Union]], and said she felt reluctant to receive an award "for a story about political intolerance from a group that had just displayed political intolerance".<ref>{{Cita web |apellido=Le Guin |nombre=Ursula |título=The Literary Prize for the Refusal of Literary Prizes|url=https://www.theparisreview.org/blog/2017/12/06/literary-prize-refusal-literary-prizes/ |obra=[[The Paris Review]]|fechaacceso=December 25, 2018|date=December 6, 2017}}</ref><ref name="Dugdale 2018">{{Cita web |apellido=Dugdale |nombre=John |título=How to turn down a prestigious literary prize - a winner's guide to etiquette |url=https://www.theguardian.com/books/2016/may/21/how-turn-down-prestigious-literary-prize-winners-guide-etiquette |fechaacceso=December 25, 2018 |obra=[[The Guardian]] |date=May 21, 2016}}</ref>


Le Guin once said she was "raised as irreligious as a jackrabbit". She expressed a deep interest in [[Taoism]] and [[Buddhism]], saying that Taoism gave her a "handle on how to look at life" during her adolescent years.<ref name="Paris Review">{{Cita publicación |url=http://www.theparisreview.org/interviews/6253/the-art-of-fiction-no-221-ursula-k-le-guin |título=Interviews: Ursula K. Le Guin, The Art of Fiction No. 221 |date=Fall 2013 |apellido=Wray |nombre=John |publicación=[[The Paris Review]] |fechaacceso=November 11, 2014 |número=206}}</ref> In 1997 she published a translation of the ''[[Tao Te Ching]]'', motivated by her sympathy for Taoist thought.<ref name="Paris Review" />{{Harvnp|Bernardo|Murphy|2006|p=170}}
Ursula K. Le Guin también ha cultivado con mucho éxito el género fantástico y posiblemente la serie de fantasía le haya otorgado tanta fama como sus obras de ciencia ficción.
La serie de [[Terramar]], en la que se narra la historia de un joven aprendiz de mago que tiene que luchar contra su propios miedos y fantasmas, fue iniciada con la novela de 1968, ''[[Un mago de Terramar]]'', y posteriormente continuada en 1971 con ''[[Las tumbas de Atuan]]'' y ''[[La costa más lejana]]''. Uno de los puntos interesantes de la serie de Terramar, sobre todo en la primera novela, es el enfrentamiento del aprendiz de mago con su propia "sombra", esa parte de uno mismo que contiene el potencial inexplorado, animal y malvado de nuestro inconsciente. Idea muy cercana a las tesis psicoanalíticas de Freud, y que fue luego muy estudiada por su discípulo Carl Gustav Jung. Esto le da a la primera obra del ciclo de Terramar un interés que va más allá de la novela de ficción y entra de lleno en la exploración del inconsciente humano y de su potencial extra-sensorial.


In December 2009, Le Guin resigned from the [[Authors Guild]] in protest over its endorsement of [[Google Books|Google's book digitization project]]. "You decided to deal with the devil", she wrote in her resignation letter. "There are principles involved, above all the whole concept of copyright; and these you have seen fit to abandon to a corporation, on their terms, without a struggle."<ref>{{Cita web |título=Le Guin accuses Authors Guild of 'deal with the devil'|url=https://www.theguardian.com/books/2009/dec/24/le-guin-authors-guild-deal|date=December 24, 2009|obra=The Guardian |nombre=Alison |apellido=Flood|fechaacceso=May 27, 2010|quote=Ursula K Le Guin has resigned from the writers' organisation in protest at settlement with Google over digitisation}}</ref><ref>{{Cita web |título=My letter of resignation from the Authors Guild|url=http://www.ursulakleguin.com/Note-AGResignation.html |apellido=Le Guin |nombre=Ursula K.|date=December 18, 2009|fechaacceso=January 10, 2012}}</ref> In a speech at the 2014 National Book Awards, Le Guin criticized [[Amazon (company)|Amazon]] and the control it exerted over the publishing industry, specifically referencing Amazon's treatment of the [[Hachette Book Group]] during a [[Amazon.com controversies#Removal of competitors' products|dispute over ebook publication]]. Her speech received widespread media attention within and outside the US, and was broadcast twice by [[National Public Radio]].<ref name="PMM">{{Cita web |nombre=Ramona |apellido=DeNies |url=https://www.pdxmonthly.com/articles/2014/11/20/ursula-k-le-guin-rocks-the-national-book-awards-november-2014 |título=Ursula K. Le Guin Burns Down the National Book Awards |fecha=20 de noviembre de 2014 |sitioweb=Portland Monthly |fechaacceso=18 de diciembre de 2019}}</ref><ref>{{Cita web |apellido=Bausells |nombre=Marta |título=Ursula K Le Guin launches broadside on Amazon's 'sell it fast, sell it cheap' policy |url=https://www.theguardian.com/books/2015/jun/03/ursula-k-le-guin-amazon-bs-machine |fechaacceso=December 22, 2018 |obra=The Guardian |date=June 3, 2015}}</ref><ref>{{Cita web |apellido=Brown |nombre=Mark |título=Writers unite in campaign against 'thuggish' Amazon |url=https://www.theguardian.com/technology/2014/jul/25/writers-campaign-amazon-ebook-dispute-us-hachette |fechaacceso=December 22, 2018 |obra=The Guardian |date=July 25, 2014}}</ref>
Veinte años después, Le Guin volvería a retomar los personajes y escenarios oceánicos, con ''[[Tehanu]]'' (1990) y ''[[En el otro viento]]'' (2001), aunque entre tanto siguió escribiendo algunos cuentos dentro de este mundo que se pueden encontrar en antologías como ''[[Las doce moradas del viento]]'' o el más moderno ''[[Cuentos de Terramar]]''.


== Chronology of writings ==
Las historias de Terramar fueron muy bien acogidas por el público, sin embargo los premios fueron escasos. Sólo ''Tehanu'' fue galardonada con un [[Premio Nébula a la mejor novela|Nébula]] (el primero en la historia de los galardones otorgado a una novela de fantasía no científica y el tercero en toda su carrera, un récord no igualado por ningún otro autor desde que se instauró este galardón en 1965).
=== Early work ===
Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of [[Orsinia]].<ref name="LOA">{{Cita web |apellido=Attebery |nombre=Brian |título=Ursula K. Le Guin: The Complete Orsinia |url=https://www.loa.org/books/513-the-complete-orsinia |editorial=Library of America |fechaacceso=February 12, 2018}}</ref>{{Harvnp|Nicholls|Clute|2019}} Between 1951 and 1961 she also wrote five novels, all set in Orsinia, which were rejected by publishers on the grounds that they were inaccessible. Some of her poetry from this period was published in 1975 in the volume ''Wild Angels''.{{Harvnp|Reid|1997|p=6}} Le Guin turned her attention to science fiction after lengthy periods of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.{{Harvnp|White|1999|p=45}} Her first professional publication was the short story "April in Paris" in 1962 in ''[[Fantastic Science Fiction]]'',{{Harvnp|Erlich|2009|p=25}} and seven other stories followed in the next few years, in ''Fantastic'' or ''[[Amazing Stories]]''.{{Harvnp|White|1999|pp=45, 123}} Among them were "[[The Dowry of the Angyar]]", which introduced the fictional [[Hainish universe]],{{Harvnp|Cummins|1990|p=68}} and "[[The Rule of Names]]" and "[[The Word of Unbinding]]", which introduced the world of [[Earthsea]].{{Harvnp|Cadden|2005|pp=80-81}} These stories were largely ignored by critics.{{Harvnp|White|1999|p=45}}


[[Ace Books]] released ''[[Rocannon's World]]'', Le Guin's first published novel, in 1966. Two more Hainish novels, ''[[Planet of Exile]]'' and ''[[City of Illusions]]'' were published in 1966 and 1967, respectively, and the three books together would come to be known as the Hainish trilogy.{{Harvnp|White|1999|pp=44-45}} The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.{{Harvnp|White|1999|pp=44-45}} ''City of Illusions'' was published as a standalone volume, indicating Le Guin's greater name-recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.{{Harvnp|White|1999|pp=44-45}} The books contained many themes and ideas also present in Le Guin's better known later works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.{{Harvnp|Spivack|1984a|p=9}}
Existe además una version en [[anime]] llamada [[Cuentos de Terramar (película)]], siendo la decimosexta producción de [[Studio Ghibli]] después de la producción [[El castillo ambulante]] dirigida por Goro Miyazaki, hijo de Hayao Miyazaki.


When publishing her story "Nine Lives" in 1968, ''[[Playboy]]'' magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.{{Harvnp|Le Guin|1978|p=128}}
=== Literatura infantil y juvenil ===
Ursula K. Le Guin ha escrito libros infantiles y para adolescentes o, en palabras de la autora, para "jóvenes adultos". No obstante, estos libros aún no han sido traducidos al castellano exceptuando ''[[El Viaje de Salomón]]''. Una lista de sus libros para niños incluiría títulos como: ''The Catwings Collection'' (que incluye ''[[Catwings]]'', ''[[Catwings Return]]'', ''[[Wonderful Alexander and the Catwings]]'' y ''[[Jane on her Own]]'' ), además de títulos como ''Fish Soup'', ''A Ride on the Red Mare's Back'', ''A Visit from Dr. Katz'' y ''Tom Mouse''.


=== Critical attention ===
Por otro lado, y destinado a un público más bien adulto, aparecen títulos como ''[[Very Far Away from Anywhere Else]]''.
Le Guin's next two books brought her sudden and widespread critical acclaim. ''[[A Wizard of Earthsea]]'', published in 1968, was a fantasy novel written initially for teenagers.{{Harvnp|White|1999|p=2}} Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.{{Harvnp|White|1999|p=10}}{{Harvnp|Cadden|2005|p=xi}} A [[Bildungsroman|coming of age story]] set in the fictional archipelago of Earthsea, the book received a positive reception in both the US and Britain.{{Harvnp|White|1999|p=10}}{{Harvnp|Cummins|1990|pp=8, 22}}


[[Archivo:Ursula Le Guin Harlan Ellison.jpg|thumb|right|Le Guin with [[Harlan Ellison]] at [[Westercon]] in [[Portland, Oregon]] (1984)]]
=== Otras publicaciones ===
Ursula K. Le Guin también escribió otras novelas de ciencia ficción que no ocurren en el universo hainish. Tal es el caso de ''[[La rueda celeste]]'' (1971), ''[[El ojo de la Garza]]'' (1983) y ''[[El eterno regreso a casa]]'' (1985). Con el tiempo, algunas de las historias no relacionadas con la fantasía (aunque situadas en países ficticios o imaginarios) también tomaron la forma de antologías y aparecieron en publicaciones como los ''[[Países imaginarios (Orsinian Tales)]]'', ''[[Malafrena]]'' y ''[[Las llaves del aire]]''.


Her next novel, ''[[The Left Hand of Darkness]]'', was a Hainish universe story exploring themes of gender and sexuality on a fictional planet where humans have no fixed sex.{{Harvnp|White|1999|pp=45-50}} The book was Le Guin's first to address feminist issues,{{Harvnp|Reid|1997|pp=51-56}} and according to scholar Donna White, it "stunned the science fiction critics"; it won both the [[Hugo Award for Best Novel|Hugo]] and the [[Nebula Award for Best Novel|Nebula Awards]] for best novel, making Le Guin the first woman to win these awards, and a number of other accolades.<ref name="Walton Obit">{{Cita publicación |apellido=Walton |nombre=Jo |título=Bright the Hawk's Flight on the Empty Sky: Ursula K. Le Guin |publicación=[[Tor.com]] |date=January 24, 2018 |url=https://www.tor.com/2018/01/24/bright-the-hawks-flight-in-the-empty-sky-ursula-k-le-guin/ |fechaacceso=September 19, 2018}}</ref>{{Harvnp|White|1999|pp=45-50, 54}} ''A Wizard of Earthsea'' and ''The Left Hand of Darkness'' have been described by critic [[Harold Bloom]] as Le Guin's masterpieces.{{Harvnp|White|1999|p=2}} She won the Hugo Award again in 1973 for ''[[The Word for World is Forest]]''.<ref name="Salon Profile" /> The book was influenced by Le Guin's anger over the [[Vietnam War]], and explored themes of [[colonialism]] and [[militarism]]:{{Harvnp|Spivack|1984a|pp=70-71}}{{Harvnp|Cummins|1990|pp=87-90}} Le Guin later described it as the "most overt political statement" she had made in a fictional work.<ref name="Salon Profile" />
Recientemente ha sido traducida al español su penúltima aportación a la literatura fantástica y de ciencia ficción: una colección de cuentos publicada en el año 2003 titulada ''[[Planos Paralelos]]''. Su última obra de fantasía se titula ''[[Los Dones]]'', galardonada con el premio [[premio PEN Center USA]].


Le Guin continued to develop themes of equilibrium and coming-of-age in the next two installments of the ''Earthsea'' series, ''[[The Tombs of Atuan]]'' and ''[[The Farthest Shore]]'', published in 1971 and 1972, respectively.{{Harvnp|Spivack|1984a|pp=26-27}} Both books were praised for their writing, while the exploration of death as a theme in ''The Farthest Shore'' also drew praise.{{Harvnp|White|1999|pp=14-15}} Her 1974 novel ''The Dispossessed'' again won both the Hugo and the Nebula awards for best novel, making her the first person to win both awards for each of two books.<ref>{{Cita libro |editor1-first=Carl|editor1-last=Freedman|título=Conversations with Ursula K. Le Guin |año=2008 |editorial=University Press of Mississippi|página=xxiii}}</ref> Also set in the Hainish universe, the story explored [[anarchism]] and [[utopia]]nism. Scholar Charlotte Spivack described it as representing a shift in Le Guin's science fiction towards discussing political ideas.{{Harvnp|Spivack|1984a|pp=74-75}}{{Harvnp|White|1999|pp=46-47}} Several of her [[speculative fiction]] short stories from the period, including her first published story, were later anthologized in the 1975 collection ''[[The Wind's Twelve Quarters]]''.{{Harvnp|Spivack|1984a|p=94}}{{Harvnp|Le Guin|1978|p=31}} The fiction of the period 1966 to 1974, which also included ''[[The Lathe of Heaven]]'', the Hugo Award-winning "[[The Ones Who Walk Away From Omelas]]" and the Nebula Award-winning "[[The Day Before the Revolution]]",{{Harvnp|White|1999|pp=50, 54}} constitutes Le Guin's best-known body of work.{{Harvnp|Cummins|1990|p=4}}
== Antropología ficción ==
[[Archivo:UrsulaLeGuin.01.jpg|miniaturadeimagen|Ursula en 2004.]]
Gran parte de la obra de ciencia ficción de Le Guin se distingue por su interés en las ciencias sociales, entre ellas la [[sociología]] y la [[antropología]]. Sus obras suelen explorar aspectos inusuales de las culturas alienígenas que presentan mensajes y reflexiones sobre nuestra propia cultura.<ref>{{Cita noticia|apellidos=Antón|nombre=Jacinto|título=La ciencia ficción es una gran metáfora de la vida|url=https://elpais.com/cultura/2012/10/26/actualidad/1351249058_818270.html|fecha=28 de octubre de 2012|fechaacceso=24 de enero de 2018|periódico=El País|página=}}</ref> Es en este sentido que algunos califican su obra de ciencia ficción como [[ciencia ficción blanda]] frente a las corrientes mucho más materialistas y fisicistas que se suelen calificar como [[ciencia ficción dura]].


=== Wider exploration ===
Un ejemplo de esta reflexión es la exploración que se hace en ''La mano izquierda de la oscuridad'' de nuestra [[identidad sexual]] y nuestros tabúes, mediante la presentación de los nativos de [[Gueden]], una raza alienígena hermafrodita que alterna su sexualidad de forma periódica en lo que asemejaría a un estado de celo (''kemmer'') y su reacción ante la existencia de personas unisexuadas, como el protagonista de la historia.<ref>{{Cita noticia|título=Fallece a los 88 años Ursula K. Le Guin, icono de la literatura de ciencia ficción|url=http://www.lavanguardia.com/cultura/20180124/44246179335/muere-ursula-k-le-guin-escritora-ciencia-ficcion-terramar.html|fechaacceso=24 de enero de 2018|periódico=La Vanguardia}}</ref>
Le Guin published a variety of work in the second half of the 1970s. This included [[speculative fiction]] in the form of the novel ''[[The Eye of the Heron]]'', which, according to Le Guin, may be a part of the Hainish universe.{{Harvnp|Nicholls|Clute|2019}}{{Harvnp|Spivack|1984a|pp=109-116}}{{Harvnp|White|1999|p=124}} She also published ''[[Very Far Away from Anywhere Else]]'', a realistic novel for adolescents,{{Harvnp|Spivack|1984a|p=106}} as well as the collection ''[[Orsinian Tales]]'' and the novel ''[[Malafrena]]'' in 1976 and 1979, respectively. Though the latter two were set in the fictional country of Orsinia, the stories were realistic fiction rather than fantasy or science fiction.{{Harvnp|Spivack|1984a|pp=100, 114}} ''[[The Language of the Night]]'', a collection of essays, was released in 1979,{{Harvnp|Spivack|1984a|p=125}} and Le Guin also published ''Wild Angels'', a volume of poetry, in 1975.{{Harvnp|White|1999|p=111}}


Between 1979, when she published ''Malafrena'', and 1994, when the collection ''[[A Fisherman of the Inland Sea]]'' was released, Le Guin wrote primarily for a younger audience.{{Harvnp|Cadden|2005|pp=114-115}} In 1985 she published the experimental work ''[[Always Coming Home]]''.{{Harvnp|Cadden|2005|pp=115-116}} She wrote 11 children's picture books, including the ''[[Catwings]]'' series, between 1979 and 1994, along with ''[[The Beginning Place]]'', an adolescent fantasy novel, released in 1980.{{Harvnp|Bernardo|Murphy|2006|p=170}}{{Harvnp|Cadden|2005|pp=114-115}}{{Harvnp|Spivack|1984a|pp=116-117}} Four more poetry collections were also published in this period, all of which were positively received.{{Harvnp|White|1999|p=111}}{{Harvnp|Cadden|2005|pp=114-115}} She also revisited Earthsea, publishing ''[[Tehanu]]'' in 1992: coming eighteen years after ''The Farthest Shore'', during which Le Guin's views had developed considerably, the book was grimmer in tone than the earlier works in the series, and challenged some ideas presented therein. It received critical praise,{{Harvnp|White|1999|pp=107-111}} and led to the series being recognized among adult literature.{{Harvnp|Cadden|2005|pp=80-81, 97}}
La capacidad de Le Guin para crear mundos creíbles poblados por personajes profundamente humanos (con independencia de que puedan ser calificados técnicamente como tales) es bien conocida.<ref>{{Cita noticia|título=Muere Ursula K. Le Guin, la escritora feminista que transformó la ciencia ficción y la fantasía|url=http://www.huffingtonpost.es/2018/01/23/muere-ursula-k-le-guin-la-escritora-feminista-que-transformo-la-ciencia-ficcion-y-la-fantasia_a_23341644/|fecha=24 de enero de 2018|fechaacceso=24 de enero de 2018|periódico=El Huffington Post|idioma=es-ES}}</ref>Siempre trató sus personajes y argumentos con sensibilidad feminista y la preocupación por el medio ambiente está presente en todos sus planteamientos.


=== Later writings ===
Los personajes masculinos de Le Guin suelen ser héroes de ciencia ficción sin caer en comportamientos arrogantes y patriarcales. En los conflictos en sus historias, que pueden estar originados por una falta de entendimiento, los protagonistas positivos prefieren el diálogo y la negociación antes que la fuerza para resolverlos.
Le Guin returned to the Hainish Cycle in the 1990s after a lengthy hiatus with the publication of a series of short stories, beginning with "[[The Shobies' Story]]" in 1990.<ref name="Lindow 2018">{{Cita publicación |apellido=Lindow |nombre=Sandra J. |título=The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle |publicación=The New York Review of Science Fiction |date=January 2018 |número=345 |url=http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html |fechaacceso=September 27, 2018}}</ref> These stories included "[[Coming of Age in Karhide]]" (1995), which explored growing into adulthood and was set on the same planet as ''The Left Hand of Darkness''.<ref>{{Cita libro |apellido=Thomas |nombre=P. L.|título=Science Fiction and Speculative Fiction: Challenging Genres |editorial=Springer Science & Business Media |año=2013|isbn=978-94-6209-380-5|url=https://books.google.com/books?id=PgjFBAAAQBAJ|página=89}}</ref> It was described by scholar Sandra Lindow as "so transgressively sexual and so morally courageous" that Le Guin "could not have written it in the '60s".<ref name="Lindow 2018" /> In the same year she published the story suite ''[[Four Ways to Forgiveness]]'', and followed it up with "[[Old Music and the Slave Women]]", a fifth, connected, story in 1999. All five of the stories explored freedom and rebellion within a slave society.{{Harvnp|Cadden|2005|pp=37-38}} In 2000 she published ''[[The Telling]]'', which would be her final Hainish novel, and the next year released ''[[The Other Wind]]'' and ''[[Tales from Earthsea]]'', the last two ''Earthsea'' books.{{Harvnp|Nicholls|Clute|2019}}<ref>{{Cita web |apellido=Sacks |nombre=Sam |título=Review: The Works of Ursula K. Le Guin, Sublime World Builder |url=https://www.wsj.com/articles/review-the-works-of-ursula-k-le-guin-sublime-world-builder-1510943367 |fechaacceso=September 27, 2018 |obra=[[The Wall Street Journal]] |date=November 17, 2017}}</ref>


From 2002 onwards several collections and anthologies of Le Guin's work were published. A series of her stories from the period 1994-2002 was released in 2002 in the collection ''[[The Birthday of the World and Other Stories]]'', along with the novella ''[[Paradises Lost]]''.<ref>{{Cita web |apellido=Feeley |nombre=Gregory|título=Past Forward|url=https://www.washingtonpost.com/archive/entertainment/books/2002/04/07/past-forward/f2e383f2-d667-45a0-89c8-d7df52445fca/ |fechaacceso=August 20, 2017|obra=[[The Washington Post]]|date=April 7, 2002}}</ref> The volume examined unconventional ideas about gender, as well as anarchist themes.<ref>{{Cita web |apellido=Atwood |nombre=Margaret |url=https://www.nybooks.com/articles/2002/09/26/the-queen-of-quinkdom/ |título=The Queen of Quinkdom |sitioweb=The New York Review of Books |fecha=26 de septiembre de 2002 |fechaacceso=18 de diciembre de 2019}}</ref><ref>{{Cita enciclopedia |apellido=Haiven |nombre=Max |título='One Who, Choosing, Accepts the Responsibility of Choice': Ursula K. Le Guin, Anarchism, and Authority|páginas=169-200 |enciclopedia=Specters of Anarchy: Literature and the Anarchist Imagination |año=2015|isbn=978-1-62894-141-8 |editorial=Algora Publishing| url=https://books.google.com/books/about/Specters_of_Anarchy.html?id=NfwdCwAAQBAJ |apellido-editor=Shantz |nombre-editor=Jeff}}</ref>{{Harvnp|Lindow|2012|p=205}} Other collections included ''[[Changing Planes]]'', also released in 2002, while the anthologies included ''[[The Unreal and the Real]]'' (2012),{{Harvnp|Nicholls|Clute|2019}} and ''The Hainish Novels and Stories'', a two-volume set of works from the Hainish universe released by the [[Library of America]].<ref>{{Cita publicación |apellido=Nordling |nombre=Em |título=A Definitive Collection that Defies Definition: Le Guin's Hainish Novels & Stories |url=https://www.tor.com/2017/09/18/a-definitive-collection-that-defies-definition-le-guins-hainish-novels-stories/ |publicación=Tor.com |date=September 18, 2017 |fechaacceso=September 27, 2018}}</ref>
Su serie de fantasía ubicada en el imaginario mundo de Terramar también tiene una lectura social, mucho más cercana a las reflexiones sobre nuestra humanidad que las de autores muy reputados, como [[J. R. R. Tolkien]].


Other works from this period included ''[[Lavinia (novel)|Lavinia]]'' (2008), based on a character from [[Virgil]]'s ''[[Aeneid]]'',<ref>{{Cita web |apellido=Higgins |nombre=Charlotte |título=The princess with flaming hair |url=https://www.theguardian.com/books/2009/may/23/lavinia-ursula-le-guin-review |fechaacceso=September 28, 2018 |obra=The Guardian |date=May 22, 2009}}</ref> and the ''[[Annals of the Western Shore]]'' trilogy, consisting of ''[[Gifts (novel)|Gifts]]'' (2004), ''[[Voices (Le Guin novel)|Voices]]'' (2006), and ''[[Powers (novel)|Powers]]'' (2007).<ref name="Tor 2009">{{Cita publicación |url=http://www.tor.com/2009/04/29/a-new-island-of-stability-ursula-le-guins-annals-of-the-western-shore/ |título=A new island of stability: Ursula Le Guin's Annals of the Western Shore |nombre=Jo |apellido=Walton |publicación=Tor.com |date=April 29, 2009 |fechaacceso=April 17, 2017}}</ref> Although ''Annals of the Western Shore'' was written for an adolescent audience, the third volume, ''Powers'', received the Nebula Award for Best Novel in 2009.<ref name="Tor 2009" /><ref>{{Cita web |url=http://www.sfadb.com/Nebula_Awards_2009 |título=Nebula Awards 2009 |obra=Science Fiction Awards Database |editorial=Locus Magazine |fechaacceso=December 6, 2011}}</ref> In her final years, Le Guin largely turned away from fiction, and produced a number of essays, poems, and some translation.<ref name="Clute Guardian Obit" /> Her final publications included the non-fiction collections ''Dreams Must Explain Themselves'' and ''Ursula K Le Guin: Conversations on Writing'', and the poetry volume ''So Far So Good: Final Poems 2014-2018'', all of which were released after her death.{{Harvnp|Nicholls|Clute|2019}}<ref name="Scurr2018">{{Cita web |apellido=Scurr |nombre=Ruth |título=Dreams Must Explain Themselves by Ursula K Le Guin review - writing and the feminist fellowship |url=https://www.theguardian.com/books/2018/mar/14/dreams-must-explain-themselves-by-ursula-k-le-guin-review |fechaacceso=September 28, 2018 |obra=The Guardian |date=March 14, 2018}}</ref><ref>{{Cita web |apellido=McCabe |nombre=Vinton Rafe |título=So Far So Good: Final Poems 2014-2018 |url=https://www.nyjournalofbooks.com/book-review/so-far-so-good |website=New York Journal of Books |fechaacceso=August 22, 2019}}</ref>
Por otra parte, muchos expertos suelen incluir a su lista de cualidades e intereses temas como el [[taoísmo]], el [[anarquismo]], el [[feminismo]],<ref>{{Cita publicación|url=https://dialnet.unirioja.es/descarga/articulo/4123862.pdf|título=Mujeres en la literatura de la ciencia ficción: entre la escritura y el feminismo|apellidos=Martín Alegre|nombre=Sara|fecha=2010|publicación=Dossiers Feministes|número=14|páginas=118-119|fechaacceso=23 de enero de 2018|doi=|pmid=}}</ref> la [[psicología]] y la [[sociología]], cuestiones que ha tratado con un estilo muy característico.


== Publicaciones ==
== Style and influences ==
=== Novelas de la serie Terramar ===
=== Influences ===
{{quote box
* ''[[Un mago de Terramar]]'' (1968). ''A Wizard of Earthsea''. Buenos Aires, Minotauro, 1986
| quote = Once I learned to read, I read everything. I read all the famous fantasies - ''Alice in Wonderland'', and ''Wind in the Willows'', and [[Rudyard Kipling|Kipling]]. I adored Kipling's ''[[The Jungle Book|Jungle Book]]''. And then when I got older I found [[Lord Dunsany]]. He opened up a whole new world - the world of pure fantasy. And&nbsp;... ''[[The Worm Ouroboros|Worm Ouroboros]]''. Again, pure fantasy. Very, very fattening. And then my brother and I blundered into science fiction when I was 11 or 12. Early [[Isaac Asimov|Asimov]], things like that. But that didn't have too much effect on me. It wasn't until I came back to science fiction and discovered [[Theodore Sturgeon|Sturgeon]] - but particularly [[Cordwainer Smith]]. ...&nbsp;I read the story "[[Alpha Ralpha Boulevard]]", and it just made me go, "Wow! This stuff is so beautiful, and so strange, and I want to do something like that."
* ''[[Las tumbas de Atuan]]'' (1971). ''The Tombs of Atuan''. Buenos Aires, Minotaruro, 1987
| source = —Ursula K. Le Guin<ref name="earlyinfluences">{{Cita web |url=http://scifi.about.com/od/interviews/a/Interview-Ursula-K-Le-Guin_2.htm |título=Interview: Ursula K. Le Guin |nombre=Mark |apellido=Wilson |website=About.com Sci-Fi / Fantasy |archive-url=https://web.archive.org/web/20121118223226/http://scifi.about.com/od/interviews/a/Interview-Ursula-K-Le-Guin_2.htm |archive-date=November 18, 2012}}</ref>
* ''[[La costa más lejana]]'' (1972), ganadora del [[National Book Award]]). The Farthest Shore. Buenos Aires, Minotauro, 1988
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* ''[[Tehanu]]'' (1990), (ganadora del [[Premio Nébula a la mejor novela|premio Nébula]]). ''Tehanu''. Barcelona, Minotauro, 1991
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* ''[[En el otro viento]]'' (2001). ''The Other Wind''. Barcelona, Minotauro, 2003.
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Estas novelas fueron recopiladas en varias ediciones bajo el nombre de '''''Crónicas de Terramar'''''.
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Le Guin read both classic and speculative fiction widely in her youth. She later said that science fiction did not have much impact on her until she read the works of [[Theodore Sturgeon]] and [[Cordwainer Smith]], and that she had sneered at the genre as a child.<ref name="Paris Review" /><ref name="earlyinfluences" /> Authors Le Guin describes as influential include [[Victor Hugo]], [[William Wordsworth]], [[Charles Dickens]], [[Boris Pasternak]], and [[Philip K. Dick]]. Le Guin and Dick attended the same high-school, but did not know each other; Le Guin later described her novel ''[[The Lathe of Heaven]]'' as an homage to him.{{Harvnp|Spivack|1984a|pp=2-3}}<ref name="Paris Review" /><ref>{{Cita web |url=http://www.neabigread.org/books/awizardofearthsea/readers04.php |título=A Wizard of Earthsea: Reader's Guide - About the Author |website=The Big Read |editorial=National Endowment for the Arts |archive-url=https://web.archive.org/web/20120414201640/http://www.neabigread.org/books/awizardofearthsea/readers04.php |archive-date=April 14, 2012 |date=May 25, 2017}}</ref><ref>{{Cita publicación |url=https://www.wired.com/2012/07/geeks-guide-ursula-k-le-guin/all/ |título=Ursula K. Le Guin: Still Battling the Powers That Be |date=July 25, 2014 |publicación=[[Wired (magazine)|WIRED]] |fechaacceso=November 11, 2014}}</ref> She also considered [[J. R. R. Tolkien]] and [[Leo Tolstoy]] to be stylistic influences, and preferred reading [[Virginia Woolf]] and [[Jorge Luis Borges]] to well-known science-fiction authors such as [[Robert Heinlein]], whose writing she described as being of the "white man conquers the universe" tradition.<ref name="LA Times 2009">{{Cita web |url=http://www.latimes.com/entertainment/news/arts/la-ca-ursula-leguin10-2009may10,0,1005055.story |obra=[[Los Angeles Times]] |nombre=Scott |apellido=Timberg |título=Ursula K. Le Guin's work still resonates with readers |date=May 10, 2009 |fechaacceso=June 5, 2012 }}</ref> Several scholars state that the influence of mythology, which Le Guin enjoyed reading as a child, is also visible in much of her work: for example, the short story "[[The Dowry of the Angyar]]" is described as a retelling of a [[Norse myth]].{{Harvnp|Spivack|1984a|pp=2-3}}{{Harvnp|White|1999|p=71}}
=== Historias cortas de la serie Terramar ===
* ''[[Cuentos de Terramar]]'' (1999), ganadora del [[premio Endeavour]]. ''Tales from Earthsea''. Barcelona, Minotauro, 2002


The discipline of [[cultural anthropology]] had a powerful influence on Le Guin's writing.{{Harvnp|Spivack|1984a|pp=4-5}} Her father Alfred Kroeber is considered a pioneer in the field, and was a director of the [[Phoebe A. Hearst Museum of Anthropology|University of California Museum of Anthropology]]: as a consequence of his research, Le Guin was exposed to anthropology and cultural exploration as a child. In addition to myths and legends, she read such volumes as ''The Leaves of the Golden Bough'' by [[Elizabeth Grove Frazer|Lady Frazer]], a children's book adapted from ''[[The Golden Bough]]'', a study of myth and religion by her husband [[James George Frazer]].<ref name="Salon Profile">{{Cita web |url=https://www.salon.com/2001/01/23/le_guin/ |título=Ursula K. Le Guin |apellido=Justice |nombre=Faith L. |fecha=23 de enero de 2001 |sitioweb=[[Salon.com]] |fechaacceso=19 de diciembre de 2019}}</ref>{{Harvnp|Spivack|1984a|pp=4-5}}<ref>{{Cita publicación |título=Leaves from the Golden Bough |publicación=Nature |date=December 13, 1924 |volumen=114 |número=2876 |páginas=854-855 |doi=10.1038/114854b0 |bibcode=1924Natur.114R.854.}}</ref><ref name="GuardianQ&A">{{Cita web |título=Chronicles of Earthsea: Edited Transcript of Le Guin's Online Q&A |url=https://www.theguardian.com/books/2004/feb/09/sciencefictionfantasyandhorror.ursulakleguin |date=February 9, 2004 |obra=The Guardian |fechaacceso=November 10, 2013}}</ref><ref>{{Cita libro |nombre=Robert |apellido=Ackerman|título=J G Frazer: His Life and Work|url=https://books.google.com/books?id=s_k4AAAAIAAJ |año=1987 |editorial=Cambridge University Press|isbn=978-0-521-34093-9|página=124}}</ref> She described living with her father's friends and acquaintances as giving her the experience of [[Other (philosophy)|the other]].<ref name="Paris Review" /> The experiences of Ishi, in particular, were influential on Le Guin, and elements of his story have been identified in works such as ''Planet of Exile'', ''City of Illusions'', and ''The Word for World Is Forest'' and ''The Dispossessed''.<ref name="Salon Profile" />
=== Novelas del ciclo Ekumen ===
* ''[[El mundo de Rocannon]]'' (1966). ''Rocannon´s World''. Barcelona, Bruguera, 1982. Barcelona, RBA Editores, 2012 (En el volumen ''[[Mundos de exilio e ilusión]]'').
* ''[[Planeta de exilio]]'' (1966). ''Planet of Exile''. Barcelona, Martínez Roca, 1980. Barcelona, RBA Editores, 2012 (En el volumen ''[[Mundos de exilio e ilusión]]'').
* ''[[La ciudad de las ilusiones]]'' (1967). ''City of illusions''. Barcelona, EDHASA, 1974. Barcelona, RBA Editores, 2012 (En el volumen ''[[Mundos de exilio e ilusión]]'').
* ''[[La mano izquierda de la oscuridad]]'' (1969), ganadora de los premios [[Premio Hugo a la mejor novela|Hugo]] y [[Premio Nébula a la mejor novela|Nébula]]. Barcelona-Buenos Aires, Minotauro, 1973, 1984, 1993, y 2009.
* ''[[El nombre del mundo es Bosque]]'' (1972). ''The Word of World is Forest''. Buenos Aires, Minotauro, 1979.
* ''[[Los desposeídos|Los desposeídos: una utopía ambigua]]'' (1974). ''The Dispossessed''. Buenos Aires, Minotauro, 1974, 1989, 2002.
* ''Un pescador del mar interior'' (1994). ''A Fisherman on the Inland Sea''. Barcelona, Minotauro, 1996. Las tres últimas historias de este libro se inscriben el ciclo de Ekumen, principalmente en la descripción y desarrollo de la tecnología del [[Churten]], o transporte instantáneo de objetos y seres vivos.
* ''El relato'' (2000). ''The Telling''. Barcelona, Minotauro, 2002


Several scholars have commented that Le Guin's writing was influenced by [[Carl Jung]], and specifically by the idea of [[Jungian archetypes]].{{Harvnp|Spivack|1984a|pp=5-6}}{{Harvnp|White|1999|pp=12, 17}} In particular, the shadow in ''A Wizard of Earthsea'' is seen as the Shadow archetype from Jungian psychology, representing Ged's pride, fear, and desire for power.{{Harvnp|Cummins|1990|pp=28-29}}{{Harvnp|White|1999|p=17}}{{Harvnp|Bernardo|Murphy|2006|pp=100-103}} Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture.{{Harvnp|White|1999|p=17}} She stated elsewhere that she had never read Jung before writing the first ''Earthsea'' books.{{Harvnp|Cummins|1990|pp=28-29}}{{Harvnp|White|1999|p=17}} Other archetypes, including the Mother, Animus, and Anima, have also been identified in Le Guin's writing.{{Harvnp|Spivack|1984a|pp=5-6}}
=== Historias cortas del ciclo Ekumen ===
* ''[[Traiciones (cuento)|Traiciones]]'' (1994)
* ''[[El Día del Perdón]]'' (1994)
* ''[[Un hombre del pueblo (cuento)|Un hombre del pueblo]]'' (1995)
* ''[[La liberación de una mujer]]'' (1995)


Philosophical [[Taoism]] had a large role in Le Guin's world view,{{Harvnp|White|1999|p=24}} and the influence of Taoist thought can be seen in many of her stories.{{Harvnp|White|1999|pp=88-89}}{{Harvnp|Spivack|1984a|pp=6-8}} Many of Le Guin's protagonists, including in ''The Lathe of Heaven'', embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in ''A Wizard of Earthsea'' is not to use magic unless it is absolutely necessary.{{Harvnp|Spivack|1984a|pp=6-8}} Taoist influence is evident in Le Guin's depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment,{{Harvnp|Cummins|1990|pp=9-10}} and a larger cosmic equilibrium, which wizards are tasked with maintaining.{{Harvnp|Cummins|1990|pp=25-26}} Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, ''The Dispossessed'' prominent among them, explored such a process of reconciliation.{{Harvnp|White|1999|pp=51-55}} In the Earthsea universe, it is not the dark powers, but the characters' misunderstanding of the balance of life, that is depicted as evil,{{Harvnp|Slusser|1976|pp=31-36}} in contrast to conventional Western stories in which good and evil are in constant conflict.{{Harvnp|Cummins|1990|pp=33-34}}{{Harvnp|White|1999|p=18}}
Estas cuatro historias fueron agrupadas y publicadas bajo el título de ''[[Cuatro caminos hacia el perdón]]'' (1995). ''Four Ways to Forgiveness''. Barcelona, Minotauro, 1997/2013


=== Genre and style ===
Pueden encontrarse otros relatos ambientados en el [[Ekumen|Universo del Ekumen]], tales como "Mayoría de edad en Karhide", "La cuestión de Seggri", "Amor no escogido", "Las costumbres de las montañas", "Soledad" y "Música antigua y las mujeres esclavas", incluidos en [[El cumpleaños del mundo y otros relatos|''El cumpleaños del Mundo'']]; y "El collar de Semley", "El Rey de Invierno", "Más vasto que los Imperios y más lento" y "[[El día antes de la revolución]]", incluidos en ''[[Las doce moradas del viento|''Las doce moradas del Viento'']].''
Although Le Guin is primarily known for her works of speculative fiction, she also wrote realistic fiction, non-fiction, poetry, and several other literary forms, and as a result her work is difficult to classify.{{Harvnp|White|1999|pp=1-2}} Her writings received critical attention from mainstream critics, critics of children's literature, and critics of speculative fiction.{{Harvnp|White|1999|pp=1-2}} Le Guin herself said that she would prefer to be known as an "American novelist".<ref>{{Cita web |apellido=Phillips |nombre=Julie |url=http://www.bookslut.com/features/2012_12_019664.php |title=Ursula K. Le Guin, American Novelist |sitioweb=Bookslut |fecha=diciembre de 2012 |fechaacceso=19 de diciembre de 2019}}</ref> Le Guin's transgression of conventional boundaries of genre led to literary criticism of Le Guin becoming "[[Balkanization|Balkanized]]", particularly between scholars of children's literature and speculative fiction.{{Harvnp|White|1999|pp=1-2}} Commentators have noted that the ''Earthsea'' novels specifically received less critical attention because they were considered children's books. Le Guin herself took exception to this treatment of [[children's literature]], describing it as "adult chauvinist piggery".{{Harvnp|White|1999|pp=1-2}}<ref>{{Cita publicación |apellido=Esmonde |nombre=Margaret P.|título=The Good Witch of the West |publicación=Children's Literature |año=1981 |volumen=9|páginas=185-190 |editorial=The Johns Hopkins University Press|doi=10.1353/chl.0.0112}}</ref> In 1976, literature scholar [[George Slusser]] criticized the "silly publication classification designating the original series as 'children's literature{{'"}},{{Harvnp|Cadden|2005|p=96}} while in Barbara Bucknall's opinion Le Guin "can be read, like Tolkien, by ten-year-olds and by adults. These stories are ageless because they deal with problems that confront us at any age."{{Harvnp|Cadden|2005|p=96}}


{{quote box
=== Novelas de la trilogía "Anales de la costa occidental" ===
| quote = Fortunately, though extrapolation is an element in science fiction, it isn't the name of the game by any means. It is far too rationalist and simplistic to satisfy the imaginative mind, whether the writer's or the reader's. Variables are the spice of life. [If] you like you can read [a lot of] science fiction, as a thought-experiment. Let's say (says Mary Shelley) that a young doctor creates a human being in his laboratory; let's say (says Philip K. Dick) that the Allies lost the second world war; let's say this or that is such and so, and see what happens... In a story so conceived, the moral complexity proper to the modern novel need not be sacrificed, nor is there any built-in dead end; thought and intuition can move freely within bounds set only by the terms of the experiment, which may be very large indeed.
* ''[[Los Dones]]'' (2004). ''Gifts''. Barcelona, Minotauro, 2006.
| source = —Ursula K. Le Guin, in the introduction to the 1976 edition of ''The Left Hand of Darkness''.<ref>{{Cita libro |apellido=Le Guin |nombre=Ursula K. |título=The Left Hand of Darkness |date=1976 |editorial=Ace Books |isbn=978-0-441-47812-5 |páginas=i-ii}}</ref>
* ''[[Voces (novela)|Voces]]'' (2006). ''Voices''. Barcelona, Minotauro, 2008.
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* ''[[Poderes (novela)|Poderes]]'' (2008). ''Powers'', ganadora del [[premio Nébula a la mejor novela]] de 2008.<ref>{{cita web|url=http://www.ursulakleguin.com/Index-WesternShore.html#Powers|título=Powers (fragmento)|fechaacceso=23 de enero de 2018|autor=Le Guin, Ursula K.|enlaceautor=|fecha=|sitioweb=|editorial=|idioma=|urlarchivo=https://web.archive.org/web/20140819204826/http://ursulakleguin.com/Index-WesternShore.html#Powers|fechaarchivo=19 de agosto de 2014}}</ref> Barcelona, Minotauro, 2009.
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Several of her works have a premise drawn from [[sociology]], [[psychology]], or [[philosophy]].{{Harvnp|Cadden|2005|pp=1-2}}{{Harvnp|Spivack|1984b}} As a result, Le Guin's writing is often described as [[Soft science fiction|"soft" science fiction]], and she has been described as the "patron saint" of this sub-genre.<ref>{{Cita libro |nombre=Brooks |apellido=Landon|título=Science Fiction After 1900: From the Steam Man to the Stars|url=https://books.google.com/books?id=SH19AwAAQBAJ&pg=PA177 |año=2014 |editorial=Taylor & Francis|isbn=978-1-136-76118-8|página=177}}</ref><ref>{{Cita publicación |apellido=McGuirk |nombre=Carol |título=NoWhere Man: Towards a Poetics of Post-Utopian Characterization |publicación=Science Fiction Studies |date=July 1994 |volumen=21 |número=2 |páginas=141-154|jstor=4240329}}</ref> A number of science fiction authors have objected to the term "soft science fiction", describing it as a potentially pejorative term used to dismiss stories not based on problems in physics, astronomy, or engineering, and also to target the writing of women or other groups under-represented in the genre.<ref>{{Cita publicación |apellido=Wilde |nombre=Fran |título=Ten Authors on the 'Hard' vs. 'Soft' Science Fiction Debate |publicación=Tor.com |date=February 20, 2017 |url=https://www.tor.com/2017/02/20/ten-authors-on-the-hard-vs-soft-science-fiction-debate/ |fechaacceso=December 22, 2018}}</ref> Le Guin suggested the term "social science fiction" for some of her writing, while pointing out that many of her stories were not science fiction at all. She argued that the term "soft science fiction" was divisive, and implied a narrow view of what constitutes valid science fiction.<ref name="Vice Interview" />
=== Otras obras ===
* ''[[La rueda celeste]]'' (1971). ''The Lathe of Heaven''. Barcelona, Edhasa, 1987. Barcelona, Minotauro, 2017.
* ''[[Los que se alejan de Omelas]]'' (1973).<ref>{{Cita publicación|url=|título=Acerca de "Los que se alejan de Omelas" (1975)|apellidos=Le Guin|nombre=Ursula K.|fecha=1995|publicación=Teorías del cuento. Vol. II: La escritura del cuento|editorial=Universidad Autónoma de México|páginas=65-68|fechaacceso=|lugar-publicación=México|doi=|pmid=|isbn=968-36-3302-1}}</ref>
* ''[[Las doce moradas del viento]]'' (1975). ''The Wind's Twelve Quarters''. Barcelona, Edhasa, 1985. ''Ibíd'', 2004. Barcelona, RBA Editores, 2013.
* ''Países imaginarios'' (1976). ''Orsinian Tales''. Buenos Aires. Editorial Sudamericana, 1978. Barcelona, Edhasa, 1985.
* ''[[Malafrena]]'' (1979). ''Malafrena''. Barcelona, Edhasa, 1985.
* ''El lugar del comienzo'' (1980). ''The Beginning Place''. Barcelona, Minotauro, 1990
* ''[[El ojo de la Garza]]'' (1983). ''The Eye of the Heron''. Barcelona, Edhasa, 1988.
* ''[[El eterno regreso a casa]]'' (1985). ''Always Coming Home''. Barcelona, Edhasa, 1989.
* ''Las llaves del aire'' (1996). ''Unlocking the Air and Other Stories''. Barcelona, Minotauro, 1998
* ''Planos paralelos'' (2003). ''Changing Planes''. Barcelona, Minotauro, 2005
* ''[[Lavinia (novela)|Lavinia]]'' (2008).<ref>{{Cita noticia|apellidos=Montero|nombre=Rosa|título=La grandeza de Ursula K. Le Guin|url=https://elpais.com/diario/2011/08/06/babelia/1312589541_850215.html|fecha=6 de agosto de 2011|fechaacceso=24 de enero de 2018|periódico=El País (Babelia)|página=}}</ref> ''Lavinia''. Barcelona, Minotauro, 2009.


The influence of anthropology can be seen in the setting Le Guin chose for a number of her works. Several of her protagonists are anthropologists or ethnologists exploring a world alien to them.{{Harvnp|Cummins|1990|pp=5, 66-67}} This is particularly true in the stories set in the Hainish universe, an [[alternative history|alternative reality]] in which humans did not evolve on Earth, but on Hain. The Hainish subsequently colonized many planets, before losing contact with them, giving rise to varied but related biology and social structure.<ref name="Salon Profile" />{{Harvnp|Cummins|1990|pp=5, 66-67}} Examples include Rocannon in ''Rocannon's World'' and Genly Ai in ''The Left Hand of Darkness''. Other characters, such as Shevek in ''The Dispossessed'', become cultural observers in the course of their journeys on other planets.{{Harvnp|Spivack|1984a|pp=4-5}}{{Harvnp|Cummins|1990|pp=12-13}} Le Guin's writing often examines alien cultures, and particularly the human cultures from planets other than Earth in the Hainish universe.{{Harvnp|Cummins|1990|pp=5, 66-67}} In discovering these "alien" worlds, Le Guin's protagonists, and by extension the readers, also journey into themselves, and challenge the nature of what they consider "alien" and what they consider "native".{{Harvnp|Cummins|1990|p=5}}
== Véase también ==

* [[Ansible]]
Several of Le Guin's works have featured stylistic or structural features that were unusual or subversive. The heterogeneous structure of ''The Left Hand of Darkness'', described as "distinctly post-modern", was unusual for the time of its publication.{{Harvnp|White|1999|pp=45-50}} This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear.{{Harvnp|Reid|1997|pp=20-25}} The novel was framed as part of a report sent to the [[Ekumen]] by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports.{{Harvnp|Cummins|1990|pp=76-81}} ''Earthsea'' also employed an unconventional narrative form described by scholar Mike Cadden as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character's thoughts and emotions that are a feature of more direct narration.{{Harvnp|Cadden|2005|p=92}} Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature.{{Harvnp|Cadden|2005|pp=92-93}}

A number of Le Guin's writings, including the ''Earthsea'' series, challenged the conventions of epic fantasies and myths. Many of the protagonists in ''Earthsea'' were [[Person of color|dark-skinned]] individuals, in comparison to the [[White people|white-skinned]] heroes more traditionally used; some of the antagonists, in contrast, were white-skinned, a switching of race roles that has been remarked upon by multiple critics.{{Harvnp|Kuznets|1985}}{{Harvnp|Bernardo|Murphy|2006|p=92}} In a 2001 interview, Le Guin attributed the frequent lack of character illustrations on her book covers to her choice of non-white protagonists. She explained this choice, saying: "most people in the world aren't white. Why in the future would we assume they are?"<ref name="Salon Profile" /> Her 1985 book ''Always Coming Home'', described as "her great experiment", included a story told from the perspective of a young protagonist, but also included poems, rough drawings of plants and animals, myths, and anthropological reports from the matriarchal society of the Kesh, a fictional people living in the Napa valley after a catastrophic global flood.{{Harvnp|Nicholls|Clute|2019}}{{Harvnp|Cadden|2005|pp=115-116}}

== Themes ==
=== Gender and sexuality ===
Gender and sexuality are prominent themes in a number of Le Guin's works. ''The Left Hand of Darkness'', published in 1969, was among the first books in the genre now known as [[feminist science fiction]], and is the most famous examination of [[androgyny]] in science fiction.<ref>{{Cita libro |apellido-editor=Reid |nombre-editor=Robin Anne |año=2009 |título=Women in Science Fiction and Fantasy |editorial=Greenwood Press|isbn=978-0-313-33589-1 |páginas=9, 120}}</ref> The story is set on the fictional planet of Gethen, whose inhabitants are ambisexual humans with no fixed [[gender identity]], who [[Biology in fiction|adopt female or male sexual characteristics]] for brief periods of their sexual cycle.{{Harvnp|Cummins|1990|pp=74-77}} Which sex they adopt can depend on context and relationships.{{Harvnp|Spivack|1984a|pp=44-50}} Gethen was portrayed as a society without war, as a result of this absence of fixed gender characteristics, and also without sexuality as a continuous factor in social relationships.{{Harvnp|Reid|1997|pp=51-56}}{{Harvnp|Cummins|1990|pp=74-77}} Gethenian culture was explored in the novel through the eyes of a [[Earth|Terran]], whose masculinity proves a barrier to cross-cultural communication.{{Harvnp|Reid|1997|pp=51-56}} Outside the Hainish Cycle, Le Guin's use of a female protagonist in ''The Tombs of Atuan'', published in 1971, was described as a "significant exploration of womanhood".{{Harvnp|Cummins|1990|p=171}}

Le Guin's attitude towards gender and feminism evolved considerably over time.{{Harvnp|Lothian|2006|pp=380-383}} Although ''The Left Hand of Darkness'' was seen as a landmark exploration of gender, it also received criticism for not going far enough. Reviewers pointed to its usage of masculine [[Gender-specific and gender-neutral pronouns|gender pronouns]] to describe its androgynous characters,{{Harvnp|White|1999|pp=45-50}} the lack of androgynous characters portrayed in stereotypical feminine roles,{{Harvnp|Cummins|1990|pp=78-85}} and the portrayal of [[heterosexuality]] as the norm on Gethen.{{Harvnp|White|1999|pp=70-77}} Le Guin's portrayal of gender in ''Earthsea'' was also described as perpetuating the notion of a male-dominated world; according to the ''Encyclopedia of Science Fiction'', "Le Guin saw men as the actors and doers in the [world], while women remain the still centre, the well from which they drink".{{Harvnp|Nicholls|Clute|2019}}<ref>{{Cita enciclopedia |apellido=Butler |nombre=Catherine |título=Modern Children's Fantasy |año=2012 |editorial=Cambridge University Press |páginas=224-235 |enciclopedia=The Cambridge Companion to Fantasy Literature |apellido-editor=James |nombre-editor=Edward |nombre-editor2=Farah |apellido-editor2=Mendlesohn |doi=10.1017/CCOL9780521429597.021|isbn=978-0-521-42959-7 |url=http://eprints.uwe.ac.uk/16508/1/Modern%20Children%27s%20Fantasy.pdf}}</ref><ref>{{Cita publicación |apellido=Hatfield |nombre=Len |título=From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu |publicación=Children's Literature |año=1993 |volumen=21 |número=1 |páginas=43-65 |doi=10.1353/chl.0.0516}}</ref> Le Guin initially defended her writing; in a 1976 essay "Is Gender Necessary?" she wrote that gender was secondary to the novel's primary theme of loyalty. Le Guin revisited this essay in 1988, and acknowledged that gender was central to the novel;{{Harvnp|White|1999|pp=45-50}} she also apologized for depicting Gethenians solely in heterosexual relationships.{{Harvnp|White|1999|pp=70-77}}

Le Guin responded to these critiques in her subsequent writing. She intentionally used feminine [[pronoun]]s for all sexually latent Gethenians in her 1995 short story "Coming of Age in Karhide", and in a later reprinting of "[[Winter's King]]", which was first published in 1969.{{Harvnp|Cummins|1990|pp=78-85}}<ref>{{Cita publicación |apellido=Walton |nombre=Jo|url=http://www.tor.com/2009/06/08/the-poetry-of-anthropology-ursula-le-guins-the-left-hand-of-darkness/ |título=Gender and glaciers: Ursula Le Guin's The Left Hand of Darkness |publicación=Tor.com |date=June 8, 2009 |fechaacceso=July 13, 2016}}</ref><ref>{{Cita libro |apellido=Ketterer |nombre=David|título=Flashes of the Fantastic: Selected Essays from the War of the Worlds|url=https://books.google.com/books?id=Xh5wFOn256wC |editorial=Greenwood Publishing Group |año=2004|isbn=978-0-313-31607-4|páginas=80-81}}</ref> "Coming of Age in Karhide" was later anthologized in the 2002 collection ''[[The Birthday of the World: and Other Stories|The Birthday of the World]]'', which contained six other stories featuring unorthodox sexual relationships and marital arrangements.{{Harvnp|Lindow|2012|p=205}} She also revisited gender relations in ''Earthsea'' in ''Tehanu'', published in 1990.{{Harvnp|Cadden|2005|p=106}} This volume was described as a rewriting or reimagining of ''The Tombs of Atuan'', because the power and status of the female protagonist Tenar are the inverse of what they were in the earlier book, which was also focused on her and Ged.<ref>{{Cita publicación |apellido=Hollindale |nombre=Peter|título=The Last Dragon of Earthsea |publicación=Children's Literature in Education|date=September 2003 |volumen=34 |número=3|páginas=183-193|doi=10.1023/A:1025390102089}}</ref> During this later period she commented that she considered ''The Eye of the Heron'', published in 1978, to be her first work genuinely centered on a woman.<ref>{{Cita publicación |apellido=Cadden |nombre=Mike |título=Taking Different Roads to the City: The Development of Ursula K. Le Guin's Young Adult Novels |publicación=Extrapolation |date=2006 |volumen=47 |número=3 |páginas=427-444 |doi=10.3828/extr.2006.47.3.7}}</ref>

=== Moral development ===
Le Guin explores [[coming of age]], and moral development more broadly, in many of her writings.{{Harvnp|Cummins|1990|p=24}} This is particularly the case in those works written for a younger audience, such as ''Earthsea'' and ''Annals of the Western Shore''. Le Guin wrote in a 1973 essay that she chose to explore coming-of-age in ''Earthsea'' since she was writing for an adolescent audience: "Coming of age&nbsp;... is a process that took me many years; I finished it, so far as I ever will, at about age thirty-one; and so I feel rather deeply about it. So do most adolescents. It's their main occupation, in fact."{{Harvnp|Cummins|1990|p=22}} She also said that fantasy was best suited as a medium for describing coming of age, because exploring the subconscious was difficult using the language of "rational daily life".{{Harvnp|Cummins|1990|p=22}}{{Harvnp|Tymn|1981|p=30}}

The first three ''Earthsea'' novels together follow Ged from youth to old age, and each of them also follow the coming of age of a different character.{{Harvnp|Cummins|1990|p=9}} ''A Wizard of Earthsea'' focuses on Ged's adolescence, while ''The Tombs of Atuan'' and ''The Farthest Shore'' explore that of Tenar and the prince Arren, respectively.{{Harvnp|Cadden|2005|p=80}}{{Harvnp|Spivack|1984b}} ''A Wizard of Earthsea'' is frequently described as a ''Bildungsroman'',{{Harvnp|Bernardo|Murphy|2006|p=97}}{{Harvnp|Cadden|2005|p=91}} in which Ged's coming of age is intertwined with the physical journey he undertakes through the novel.{{Harvnp|Bernardo|Murphy|2006|p=99}} To Mike Cadden the book was a convincing tale "to a reader as young and possibly as headstrong as Ged, and therefore sympathetic to him".{{Harvnp|Cadden|2005|p=91}} Reviewers have described the ending of the novel, wherein Ged finally accepts the shadow as a part of himself, as a [[rite of passage]]. Scholar Jeanne Walker writes that the rite of passage at the end was an analogue for the entire plot of ''A Wizard of Earthsea'', and that the plot itself plays the role of a rite of passage for an adolescent reader.{{Harvnp|Cadden|2005|pp=99-100}}{{Harvnp|White|1999|pp=34-35}}

Each volume of ''Annals of the Western Shore'' also describes the coming of age of its protagonists,<ref name="Lindow 2006">{{Cita publicación |apellido=Lindow |nombre=Sandra J. |título=Wild Gifts: Anger management and moral development in the fiction of Ursula K. Le Guin and Maurice Sendak |publicación=Extrapolation |volumen=47 |number=3 |año=2006|páginas=453-454|doi=10.3828/extr.2006.47.3.8}}</ref> and features explorations of being enslaved to one's own power.<ref name="Lindow 2006" /><ref>{{Cita publicación |apellido=Covarr |nombre=Fiona |título=Hybridity, Third Spaces and Identities in Ursula Le Guin's Voices |publicación=Mousaion |volumen=33 |número=2 |año=2015 |página=129}}</ref> The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In ''Gifts'', Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. This recognition allows them to take a third choice, and leave.<ref name="Rochelle 2006">{{Cita publicación |apellido=Rochelle |nombre=Warren G.|título=Choosing to be Human: American romantic/pragmatic rhetoric in Ursula K. Le Guin's teaching novel, ''Gifts'' |publicación=Extrapolation |volumen=48 |número=1 |año=2006|páginas=88-91}}</ref> This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin's short story "[[The Ones Who Walk Away from Omelas]]".<ref name="Rochelle 2006" /> Similarly, Ged helps Tenar in ''The Tombs of Atuan'' to value herself and to find choices that she did not see,{{Harvnp|Bernardo|Murphy|2006|pp=109-110}}{{Harvnp|Cummins|1990|pp=38-39}} leading her to leave the Tombs with him.{{Harvnp|Cummins|1990|p=49}}

=== Political systems ===
Alternative social and political systems are a recurring theme in Le Guin's writing.<ref name="Fellow Writers" />{{Harvnp|White|1999|pp=81-83}} Critics have paid particular attention to ''The Dispossessed'' and ''Always Coming Home'',{{Harvnp|White|1999|pp=81-83}} although Le Guin explores related themes in a number of her works,{{Harvnp|White|1999|pp=81-83}} including in "The Ones Who Walk Away From Omelas".{{Harvnp|Rochelle|2008|pp=414-415}} ''The Dispossessed'' is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including [[Peter Kropotkin]], as well as from the counterculture of the 1960s and 1970s.<ref name="GuardianQ&A" /> Le Guin has been credited with {{nowrap|"[rescuing]}} anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.<ref>{{Cita publicación |apellido=Call |nombre=Lewis|título=Postmodern Anarchism in the Novels of Ursula K. Le Guin|url=http://theanarchistlibrary.org/library/lewis-call-postmodern-anarchism-in-the-novels-of-ursula-k-le-guin |publicación=SubStance |volumen=13|number=36 |año=2007|fechaacceso=November 25, 2013}}</ref> Fellow author [[Kathleen Ann Goonan]] wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".<ref name="Fellow Writers" />

''The Dispossessed'', set on the twin planets of Urras and Anarres, features a planned anarcho-socialist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but ethically and morally more advanced.{{Harvnp|White|1999|pp=86-89}} Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.{{Harvnp|White|1999|pp=86-89}} ''The Eye of the Heron'', published a few years after ''The Dispossessed'', was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.{{Harvnp|Rochelle|2008|p=415}}

''Always Coming Home'', set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.{{Harvnp|White|1999|pp=96-100}} Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".{{Harvnp|Rochelle|2008|pp=415-416}} "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.{{Harvnp|Spivack|1984a|p=159}}{{Harvnp|Rochelle|2008|p=414}} ''The Word for World is Forest'' explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.{{Harvnp|Cummins|1990|pp=87-90}} The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and imperialism, driven partly by her distaste for US intervention in the [[Vietnam War]].{{Harvnp|Spivack|1984a|pp=70-71}}{{Harvnp|Cummins|1990|pp=87-90}}{{Harvnp|Reid|1997|pp=58-60}}

Other social structures are examined in works such as the story cycle ''Four Ways to Forgiveness'', and the short story "Old Music and the Slave Women", occasionally described as a "fifth way to forgiveness". {{Harvnp|Cadden|2005|p=38}} Set in the Hainish universe, the five stories together examine revolution and reconstruction in a slave-owning society.<ref>{{Cita publicación |apellido=Lindow |nombre=Sandra J.|título=The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle |publicación=The New York Review of Science Fiction|date=April 29, 2018 |número=346|url=http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html |fechaacceso=May 8, 2018}}</ref>{{Harvnp|Rochelle|2001|p=153}} According to Rochelle, the stories examine a society that has the potential to build a "truly human community", made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom and the possibility of utopia, brought about through revolution.{{Harvnp|Rochelle|2001|pp=159-160}} [[Slavery]], justice, and the role of women in society are also explored in ''Annals of the Western Shore''.<ref>{{Cita publicación |apellido=Oziewicz |nombre=Marek C. |título=Restorative Justice Scripts in Ursula K. Le Guin's Voices |publicación=Children's Literature in Education |date=2011 |volumen=42 |páginas=33-43 |doi=10.1007/s10583-010-9118-8}}</ref><ref>{{Cita publicación |url=http://www.tor.com/2016/10/28/book-reviews-the-found-and-the-lost-by-ursula-k-le-guin/ |apellido=Nordling |nombre=Em|título=Farsickness, Homesickness in The Found and the Lost by Ursula K. Le Guin |publicación=Tor.com|date=October 28, 2016 |fechaacceso=January 2, 2017}}</ref>

== Reception and legacy ==
=== Reception ===
Le Guin received rapid recognition after the publication of ''The Left Hand of Darkness'' in 1969, and by the 1970s she was among the best known writers in the field.{{Harvnp|White|1999|pp=1-2}}{{Harvnp|Nicholls|Clute|2019}} Her books sold many millions of copies, and were translated into more than 40 languages; several remain in print many decades after their first publication.<ref name="Clute Guardian Obit" /><ref name="NYT obit" /><ref>{{Cita libro |título=Un laboratorio di fantastici libri. Riccardo Valla intellettuale, editore, traduttore. Con un'appendice di lettere inedite a cura di Luca G. Manenti |apellido=Iannuzzi |nombre=Giulia |editorial=Solfanelli |año=2019 |isbn=978-88-3305-103-1 |páginas=93-102|language=it}}</ref> Her work received intense academic attention; she has been described as being the "premier writer of both fantasy and science fiction" of the 1970s,{{Harvnp|Tymn|1981|p=363}} the most frequently discussed science fiction writer of the 1970s,<ref>{{Cita libro |nombre=David |apellido=Pringle|título=Science Fiction: The 100 Best Novels|url=https://books.google.com/books?id=gqPqAwAAQBAJ |año=2014 |editorial=Orion Publishing Group|isbn=978-1-4732-0807-0|at=Chapter 60}}</ref> and over her career, as intensively studied as Philip K. Dick.{{Harvnp|Nicholls|Clute|2019}} Later in her career, she also received recognition from mainstream literary critics: in an obituary, [[Jo Walton]] stated that Le Guin "was so good that the mainstream couldn't dismiss SF any more".<ref name="Walton Obit" /> According to scholar Donna White, Le Guin was as a "major voice in American letters", whose writing was the subject of many volumes of literary critique, more than two hundred scholarly articles, and a number of dissertations.{{Harvnp|White|1999|pp=1-2}}

Le Guin was unusual in receiving most of her recognition for her earliest works, which remained her most popular;<ref name="LA Times 2009" /> a commentator in 2018 described a "tendency toward didacticism" in her later works,<ref name="NYT obit" /> while [[John Clute]], writing in ''[[The Guardian]]'', stated that her later writing "suffers from the need she clearly felt to speak responsibly to her large audience about important things; an artist being responsible can be an artist wearing a crown of thorns".<ref name="Clute Guardian Obit">{{Cita web |apellido=Clute |nombre=John |título=Ursula K Le Guin obituary |url=https://www.theguardian.com/books/2018/jan/24/obituary-ursula-k-le-guin |fechaacceso=February 28, 2019 |obra=The Guardian |date=January 24, 2018}}</ref> Not all of her works received as positive a reception; ''The Compass Rose'' was among the volumes that had a mixed reaction, while the ''Science Fiction Encyclopedia'' described ''The Eye of the Heron'' as "an over-diagrammatic political fable whose translucent simplicity approaches self-parody."{{Harvnp|Nicholls|Clute|2019}} Even the critically well-received ''The Left Hand of Darkness'', in addition to critique from feminists,{{Harvnp|White|1999|p=5}} was described by [[Alexei Panshin]] as a "flat failure".{{Harvnp|White|1999|pp=45-50}}

Her writing was recognized by the popular media and by commentators. The ''[[Los Angeles Times]]'' commented in 2009 that after the death of [[Arthur C. Clarke]], Le Guin was "arguably the most acclaimed science fiction writer on the planet", and went on to describe her as a "pioneer" of literature for young people.<ref name="LA Times 2009" /> In an obituary, Clute described Le Guin as having "presided over American science fiction for nearly half a century", and as having a reputation as an author of the "first rank".<ref name="Clute Guardian Obit" /> In 2016, ''[[The New York Times]]'' described her as "America's greatest living science fiction writer".<ref name="NYT 2016">{{Cita web |apellido=Streitfeld |nombre=David |url=https://www.nytimes.com/2016/08/29/books/ursula-le-guin-has-earned-a-rare-honor-just-dont-call-her-a-sci-fi-writer.html?_r=0 |título=Ursula Le Guin Has Earned a Rare Honor. Just Don't Call Her a Sci-Fi Writer |obra=[[The New York Times]] |date=August 28, 2016}}</ref> Praise for Le Guin frequently focused on the social and political themes her work explored,<ref>{{Cita libro |nombre=M. Keith |apellido=Booker |nombre2=Anne-Marie |apellido2=Thomas|título=The Science Fiction Handbook|url=https://books.google.com/books?id=uW9xST9UsOIC |año=2009 |editorial=John Wiley & Sons|isbn=978-1-4443-1035-1|páginas=159-160}}</ref> and for her prose; literary critic Harold Bloom described Le Guin as an "exquisite stylist", saying that in her writing, "Every word was exactly in place and every sentence or line had resonance". According to Bloom, Le Guin was a "visionary who set herself against all brutality, discrimination, and exploitation".<ref name="Fellow Writers" /> ''The New York Times'' described her as using "a lean but lyrical style" to explore issues of moral relevance.<ref name="NYT obit" /> Prefacing an interview in 2008, ''[[Vice (magazine)|Vice]]'' magazine described Le Guin as having written "some of the more mind-warping [science fiction] and fantasy tales of the past 40 years".<ref name="Vice Interview" />

Le Guin's fellow authors also praised her writing. After Le Guin's death in 2018, writer [[Michael Chabon]] referred to her as the "greatest American writer of her generation", and said that she had "awed [him] with the power of an unfettered imagination".<ref name="Fellow Writers" /><ref>{{Cita web |url=https://www.theparisreview.org/blog/2019/11/20/leguins-subversive-imagination/ |título=Le Guin’s Subversive Imagination |apellido=Chabon |nombre=Michael |fecha=20 de noviembre de 2019 |sitioweb=The Paris Review |fechaacceso=20 de diciembre de 2019}}</ref> Author Margaret Atwood hailed Le Guin's "sane, smart, crafty and lyrical voice", and wrote that social injustice was a powerful motivation through Le Guin's life.<ref>{{Cita web |apellido=Atwood |nombre=Margaret |título=Margaret Atwood: We lost Ursula Le Guin when we needed her most |url=https://www.washingtonpost.com/entertainment/books/margaret-atwood-we-lost-ursula-le-guin-when-we-needed-her-most/2018/01/24/39372028-011b-11e8-bb03-722769454f82_story.html |fechaacceso=March 5, 2019 |obra=The Washington Post |date=January 24, 2018}}</ref> Her prose, according to [[Zadie Smith]], was "as elegant and beautiful as any written in the twentieth century".<ref name="Fellow Writers">{{Cita web |título=Fellow writers remember Ursula K. Le Guin, 1929-2018 |url=https://www.loa.org/news-and-views/1375-fellow-writers-remember-ursula-k-le-guin-1929-2018 |editorial=Library of America |fechaacceso=March 5, 2019 |date=January 26, 2018}}</ref> Academic and author [[Joyce Carol Oates]] highlighted Le Guin's "outspoken sense of justice, decency, and common sense", and called her "one of the great American writers and a visionary artist whose work will long endure".<ref name="Fellow Writers" /> [[China Miéville]] described Le Guin as a "literary colossus", and wrote that she was a "writer of intense ethical seriousness and intelligence, of wit and fury, of radical politics, of subtlety, of freedom and yearning".<ref name="Fellow Writers" />

=== Awards and recognition ===
[[Archivo:UrsulaLeGuin.01.jpg|thumb|upright|alt=Le Guin seated in a bookstore|Le Guin at a "meet the author" event in 2004]]
The accolades Le Guin has received include numerous annual awards for individual works. She won eight [[Hugo Award]]s from twenty-six nominations, and six [[Nebula Award]]s from eighteen nominations, including four Nebula Awards for Best Novel from six nominations, more than any other writer.<ref name="SFADB">{{Cita web |título=Ursula K. Le Guin |url=http://www.sfadb.com/Ursula_K_Le_Guin |website=Science Fiction Awards Database |editorial=Locus Magazine |fechaacceso=February 26, 2019}}</ref><ref>{{Cita publicación |apellido=Troughton |nombre=R. K. |título=Nebula Awards by the Numbers |publicación=Amazing Stories |date=May 14, 2014 |url=https://amazingstories.com/2014/05/nebula-awards-numbers/ |fechaacceso=August 19, 2019}}</ref> Le Guin won twenty-four [[Locus Award]]s,<ref name="SFADB" /> voted for by subscribers of ''[[Locus Magazine]]'',<ref>{{Cita enciclopedia |título=Locus Award |enciclopedia=The Encyclopedia of Science Fiction |fecha=27 de marzo de 2019 |url=http://www.sf-encyclopedia.com/entry/locus_award |apellido-editor=Nicholls |nombre-editor=Peter |apellido-editor2=Clute |nombre-editor2=John |apellido-editor3=Sleight |nombre-editor3=Graham |editorial=Gollancz |fechaacceso=18 de diciembre de 2019}}</ref> and {{as of|2019|lc=y}} was joint third for total wins, as well as second behind [[Neil Gaiman]], for the number of wins for works of fiction.<ref>{{Cita web |título=Locus Awards Tallies |url=http://www.sfadb.com/Locus_Awards_Tallies |website=Science Fiction Awards Database |editorial=Locus Magazine |fechaacceso=February 26, 2019}}</ref> For her novels alone she won five [[Locus Award for Best Novel|Locus Awards]], four Nebula Awards, two Hugo Awards, and one [[World Fantasy Award]], and won each of those awards in short fiction categories as well.<ref name="Dugdale 2018" /><ref name="SFADB" /> Her third ''Earthsea'' novel, ''The Farthest Shore'', won the 1973 [[National Book Award for Young People's Literature]],<ref>{{Cita web |url=http://www.nationalbook.org/nba1973.html |título=National Book Awards - 1973 |editorial=[[National Book Foundation]] |fechaacceso=February 21, 2012}}</ref> and she was a finalist for ten [[Mythopoeic Awards]], nine in Fantasy and one for Scholarship.<ref name="SFADB" /> Her 1996 collection ''[[Unlocking the Air and Other Stories]]'' was one of three finalists for the 1997 [[Pulitzer Prize for Fiction]].<ref>{{cita web |url=https://www.pulitzer.org/finalists/ursula-k-leguin |título=Finalist: Unlocking the Air and Other Stories, by Ursula K. LeGuin |editorial=The Pulitzer Prizes |fechaacceso=18 de diciembre de 2019}}</ref> Other awards won by Le Guin include three [[James Tiptree Jr. Award]]s, and three [[Jupiter Award (science fiction award)|Jupiter Awards]].<ref name="SFADB" /> She won her final Hugo award a year after her death, for a complete edition of ''Earthsea'', illustrated by [[Charles Vess]]; the same volume also won a Locus award.<ref name="SFADB" />

Other awards and accolades have recognized Le Guin's contributions to speculative fiction. She was voted a [[Gandalf Award|Gandalf Grand Master Award]] by the [[World Science Fiction Society]] in 1979.<ref name="SFADB" /> The [[Science Fiction Research Association]] gave her its Pilgrim Award in 1989 for her "lifetime contributions to SF and fantasy scholarship".<ref name="SFADB" /> At the 1995 [[World Fantasy Convention]] she won the [[World Fantasy Award for Life Achievement]], a judged recognition of outstanding service to the fantasy field.<ref name="SFADB" /><ref>{{Cita web |editorial=World Fantasy Convention|título=Award Winners and Nominees|url=http://www.worldfantasy.org/awards/awardslist.html/|fechaacceso=February 4, 2011}}</ref> The [[EMP Museum#Science Fiction Hall of Fame|Science Fiction and Fantasy Hall of Fame]] inducted her in 2001, its sixth class of two deceased and two living writers.<ref>{{Cita web |url=http://www.midamericon.org/halloffame/ |título=2001 Inductees |sitioweb=Science Fiction and Fantasy Hall of Fame |editorial=Mid American Science Fiction and Fantasy Conventions |fechaacceso=18 de diciembre de 2019 }} This was the official website of the hall of fame to 2004.</ref> The [[Science Fiction and Fantasy Writers of America]] made her its 20th [[SFWA Grand Master|Grand Master]] in 2003: she was the second, and {{as of|2019|lc=y}} one of only six, women to receive that honor.<ref>{{Cita web |url=https://nebulas.sfwa.org/grand-masters/ursula-k-le-guin/ |título=Damon Knight Memorial Grand Master |editorial=Science Fiction and Fantasy Writers of America (SFWA) |fechaacceso=18 de diciembre de 2019}}</ref><ref>{{Cita web |apellido=Brooks |nombre=Katherine |título=The Night Ursula K. Le Guin Pranked The Patriarchy |url=https://www.huffingtonpost.com/entry/ursula-k-le-guin-sfwa-grand-master_us_5a68875be4b0dc592a0e4188 |fechaacceso=February 27, 2019 |obra=[[Huffington Post]] |date=January 25, 2018}}</ref><ref>{{Cita web |título=SFWA Grand Master Award |url=http://www.sfadb.com/SFWA_Grand_Master_Award |website=Science Fiction Awards Database |editorial=Locus Magazine |fechaacceso=February 27, 2019}}</ref> In 2013, she was given the [[Eaton Award]] by the [[University of California, Riverside]], for lifetime achievement in science fiction.<ref name="SFADB" /><ref>{{Cita enciclopedia|título=Eaton Award |enciclopedia=The Encyclopedia of Science Fiction |fecha=28 de junio de 2019 |url=http://sf-encyclopedia.com/entry/eaton_award |apellido-editor=Nicholls |nombre-editor=Peter |apellido-editor2=Clute |nombre-editor2=John |apellido-editor3=Sleight |nombre-editor3=Graham |editorial=Gollancz |fechaacceso=18 de diciembre de 2019}}</ref>

{{external media| float = left| video1 = [https://www.c-span.org/video/?c4813942/ursula-le-guin-2014-national-book-awards [[Neil Gaiman]] presenting the [[Medal for Distinguished Contribution to American Letters]] to Le Guin at the National Book Awards, November 19, 2014], [[C-SPAN]]}}

Later in her career Le Guin also received accolades recognizing her contributions to literature more generally. In April 2000 the U.S. [[Library of Congress]] made Le Guin a [[Library of Congress Living Legend|Living Legend]] in the "Writers and Artists" category for her significant contributions to America's cultural heritage.<ref>{{Cita web |url=https://www.loc.gov/about/awards-and-honors/living-legends/ursula-leguin/ |título=Ursula Leguin - Living Legends |editorial=Library of Congress |urlarchivo=https://web.archive.org/web/20180124082508/https://www.loc.gov/about/awards-and-honors/living-legends/ursula-leguin/ |fechaarchivo=24 de enero de 2018}}</ref> The [[American Library Association]] granted her the annual [[Margaret Edwards Award]] in 2004, and also selected her to deliver the annual [[May Hill Arbuthnot Lecture]].<ref name="Edwards">{{cita web |url=http://www.ala.org/yalsa/booklistsawards/bookawards/margaretaedwards/maeprevious/04ursula |título=2004 Margaret A. Edwards Award Winner |obra=Young Adult Library Services Association |editorial=American Library Association |urlarchivo=https://web.archive.org/web/20131019100143/http://www.ala.org/yalsa/booklistsawards/bookawards/margaretaedwards/maeprevious/04ursula |fechaarchivo=19 de octubre de 2013}}</ref><ref>{{cita web |url=http://www.ala.org/awardsgrants/awards/197/apply |título=May Hill Arbuthnot Honor Lecture Award |obra=Association for Library Service to Children |editorial=American Library Association |fechaacceso=18 de diciembre de 2019}}</ref> The Edwards Award recognizes one writer and a particular body of work: the 2004 panel cited the first four ''Earthsea'' volumes, ''The Left Hand of Darkness'' and ''The Beginning Place''. The panel said that Le Guin "has inspired four generations of young adults to read beautifully constructed language, visit fantasy worlds that inform them about their own lives, and think about their ideas that are neither easy nor inconsequential".<ref name="Edwards" /> A collection of Le Guin's works was published by the Library of America in 2016, an honor only rarely given to living writers.<ref name="NYT 2016" /> The [[National Book Foundation]] awarded Le Guin its [[Medal for Distinguished Contribution to American Letters]] in 2014, stating that she had "defied conventions of narrative, language, character, and genre, and transcended boundaries between fantasy and realism to forge new paths for literary fiction".<ref>{{Cita web |url=http://www.nationalbook.org/amerletters_2014_uleguin.html |título=The 2014 Medalist for Distinguished Contribution to American Letters |editorial=National Book Foundation }}</ref><ref>{{Cita web |editorial=Oregon Live |url=http://www.oregonlive.com/books/index.ssf/2014/09/ursula_k_le_guin_wins_big_hono.html |título=Ursula K. Le Guin wins big honor from National Book Foundation |nombre=Jeff |apellido=Baker |date=September 9, 2014 |fechaacceso=September 9, 2014 }}</ref> The [[American Academy of Arts and Letters]] made her a member in 2017.<ref name="HuffPostObit" />

=== Legacy and influence ===
Le Guin had a considerable influence on the field of speculative fiction; Jo Walton argued that Le Guin played a large role in both broadening the genre and helping genre writers achieve mainstream recognition.<ref name="Walton Obit" />{{Harvnp|White|1999|pp=3-4}}{{Harvnp|Cadden|2005|pp=xi-xiv, 140-145}} The ''Earthsea'' books are cited as having a wide impact, including outside the field of literature. Atwood considers ''A Wizard of Earthsea'' one of the "wellsprings" of fantasy literature,<ref>{{Cita web |apellido=Russell |nombre=Anna|url=https://www.wsj.com/articles/wsj-book-club-margaret-atwood-chooses-a-wizard-of-earthsea-1413493430|título=Margaret Atwood Chooses 'A Wizard of Earthsea'|obra=The Wall Street Journal|date=October 16, 2014 |fechaacceso=November 10, 2014}}</ref> and modern writers have credited the book for the idea of a "wizard school", later made famous by the ''[[Harry Potter]]'' series of books,<ref>{{Cita web |apellido=Craig |nombre=Amanda|url=https://www.theguardian.com/books/2003/sep/24/buildingachildrenslibrary.booksforchildrenandteenagers|título=Classic of the month: A Wizard of Earthsea|obra=The Guardian|date=September 24, 2003 |fechaacceso=November 10, 2014}}</ref> and with popularizing the trope of a boy wizard, also present in ''Harry Potter''.<ref>{{Cita web |apellido=Power |nombre=Ed|título=Harry Potter and the boy wizard tradition|url=http://www.irishtimes.com/culture/books/harry-potter-and-the-boy-wizard-tradition-1.2738955|date=July 31, 2016 |fechaacceso=September 13, 2016|obra=[[Irish Times]]}}</ref> The notion that names can exert power is a theme in the Earthsea series; critics have suggested that this inspired [[Hayao Miyazaki]]'s use of the idea in his 2001 film ''[[Spirited Away]]''.<ref>{{Cita publicación |apellido=Reider |nombre=Noriko T|título=Spirited Away: Film of the fantastic and evolving Japanese folk symbols |publicación=Film Criticism |volumen=29 |número=3 |año=2005|página=4}}</ref>

[[Archivo:Kyle-cassidy-neil-gaiman-April-2013.jpg|thumb|left|upright=0.8|Neil Gaiman, pictured here in 2013, is among the many authors who have acknowledged Le Guin's influence on their writing.]]
Le Guin's writings set in the Hainish universe also had a wide influence. Le Guin coined the name "[[ansible]]" for an instantaneous interstellar communication device in 1966; the term was later adopted by several other writers, including [[Orson Scott Card]] in the ''[[Ender Series]]'' and Neil Gaiman in a script for a [[Doctor Who]] episode.<ref>{{Cita enciclopedia |título=Ansible |enciclopedia=The Encyclopedia of Science Fiction |date=30 de marzo de 2015 |url=http://www.sf-encyclopedia.com/entry/ansible |apellido-editor=Nicholls |nombre-editor=Peter |apellido-editor2=Clute |nombre-editor2=John |apellido-editor3=Sleight |nombre-editor3=Graham |editorial=Gollancz |fechaacceso=18 de diciembre de 2019}}</ref> Suzanne Reid wrote that at the time ''The Left Hand of Darkness'' was written, Le Guin's ideas of androgyny were unique not only to science fiction, but to literature in general.{{Harvnp|Reid|1997|pp=51-56}} That volume is specifically cited as leaving a large legacy; in discussing it, literary critic Harold Bloom wrote "Le Guin, more than Tolkien, has raised fantasy into high literature, for our time".{{Harvnp|Bloom|1987}} Bloom followed this up by listing the book in his ''[[The Western Canon]]'' (1994) as one of the books in his conception of artistic works that have been important and influential in Western culture.<ref>{{Cita libro |apellido=Bloom |nombre=Harold |año=2014 |título=The Western Canon |editorial=Houghton Mifflin Harcourt|isbn=978-0-547-54648-3 |página=564}}</ref> This view was echoed in ''[[The Paris Review]]'', which wrote that "No single work did more to upend the genre's conventions than ''The Left Hand of Darkness''",<ref name="Paris Review" /> while White argued that it was one of the seminal works of science fiction, as important as [[Mary Shelley]]'s ''[[Frankenstein]]'' (1818).{{Harvnp|White|1999|pp=45-50}}

Commentators have also described Le Guin as being influential in the field of literature more generally. Literary critic [[Elaine Showalter]] suggested that Le Guin "set the pace as a writer for women unlearning silence, fear, and self-doubt",<ref name="Fellow Writers" /> while writer [[Brian Attebery]] stated that "[Le Guin] invented us: science fiction and fantasy critics like me but also poets and essayists and picture book writers and novelists".<ref name="Fellow Writers" /> Le Guin's own literary criticism proved influential; her 1973 essay "From Elfland to Poughkeepsie" led to renewed interest in the work of [[Kenneth Morris (author)|Kenneth Morris]], and eventually to the publication of a posthumous novel by Morris.{{Harvnp|White|1999|pp=16-17}} Le Guin also played a role in bringing speculative fiction into the literary mainstream by supporting journalists and scholarly endeavors examining the genre.{{Harvnp|White|1999|pp=3-4}}

Several prominent authors acknowledge Le Guin's influence on their own writing. Jo Walton wrote that "her way of looking at the world had a huge influence on me, not just as a writer but as a human being".<ref name="Walton Obit" /> Other writers she influenced include [[Booker Prize]] winner [[Salman Rushdie]], as well as [[David Mitchell (author)|David Mitchell]], Gaiman, [[Algis Budrys]], Goonan, and [[Iain Banks]].<ref name="Fellow Writers" /><ref name="Paris Review" /><ref name="LA Times 2009" /> Mitchell, author of books such as ''[[Cloud Atlas (novel)|Cloud Atlas]]'', described ''A Wizard of Earthsea'' as having a strong influence on him, and said that he felt a desire to "wield words with the same power as Ursula Le Guin".<ref>{{Cita web |url=https://www.telegraph.co.uk/books/classic-childrens-books/david-mitchells-favourite-book/ |fechaacceso=September 13, 2016|título=The fantasy that inspired David Mitchell |apellido=Kerridge |nombre=Jake|obra=[[The Daily Telegraph|The Telegraph]]|date=November 17, 2015}}</ref> Film-maker Arwen Curry began production on a documentary about Le Guin in 2009, filming "dozens" of hours of interviews with the author as well as many other writers and artists who have been inspired by her. Curry launched a successful [[crowdfunding]] campaign to finish the documentary in early 2016 after winning a grant from the [[National Endowment for the Humanities]].<ref>{{Cita web |nombre=Alison |apellido=Flood|url=https://www.theguardian.com/books/2016/feb/01/ursula-k-le-guin-documentary-maker-turns-to-kickstarter-for-funds|título=Ursula K Le Guin documentary maker turns to Kickstarter for funds|obra=The Guardian |date=February 1, 2016}}</ref>

=== Adaptations of her work ===
Le Guin's works have been adapted for radio,<ref>{{Cita web |url=http://www.bbc.co.uk/programmes/b05pkpgg |título=Episode 1: The Left Hand of Darkness |fechaacceso=May 15, 2015 |sitioweb=BBC Radio 4}}</ref><ref>{{Cita web |url=http://www.bbc.co.uk/programmes/b05pktvt |título=Shadow |obra=BBC Radio 4 |fechaacceso=June 11, 2015 }}</ref> as well as for film, television, and the stage. Her 1971 novel ''The Lathe of Heaven'' has been released on film twice, [[The Lathe of Heaven (film)|in 1979]] by [[WNET]] with Le Guin's participation, and then [[Lathe of Heaven (film)|in 2002]] by the [[A&E Network]]. In a 2008 interview, she said she considered the 1979 version as "the only good adaptation to film" of her work to date.<ref name="Vice Interview" /> In the early 1980s Hayao Miyazaki asked to create an animated adaptation of ''Earthsea''. Le Guin, who was unfamiliar with his work and anime in general, initially turned down the offer, but later accepted after seeing ''[[My Neighbor Totoro]]''.<ref name="Ursula K. LeGuin, Gedo Senki">{{Cita web |url=http://www.ursulakleguin.com/GedoSenkiResponse.html|título=Gedo Senki, A First Response |nombre=Ursula K. |apellido=Le Guin |año=2006}}</ref> The third and fourth ''Earthsea'' books were used as the basis of ''[[Tales from Earthsea (film)|Tales from Earthsea]]'', released in 2006. Rather than being directed by Hayao Miyazaki himself, the film was directed by his son [[Gorō Miyazaki|Gorō]], which disappointed Le Guin. Le Guin was positive about the aesthetic of the film, writing that "much of it was beautiful", but was critical of the film's moral sense and its use of physical violence, and particularly the use of a villain whose death provided the film's resolution.<ref name="Ursula K. LeGuin, Gedo Senki" /> In 2004 the [[Syfy|Sci Fi Channel]] adapted the first two books of the ''Earthsea'' trilogy as the miniseries ''[[Legend of Earthsea]]''. Le Guin was highly critical of the miniseries, calling it a "far cry from the Earthsea I envisioned", objecting to the use of white actors for her red-, brown-, or black-skinned characters.<ref>{{Cita web |url=http://www.slate.com/id/2111107|título=A Whitewashed Earthsea: How the Sci Fi Channel wrecked my books |apellido=Le Guin |nombre=Ursula K.|date=December 16, 2004|obra=[[Slate (magazine)|Slate]]|fechaacceso=February 7, 2008}}</ref>

Le Guin's novel ''The Left Hand of Darkness'' was adapted for the stage in 1995 by Chicago's [[Lifeline Theatre]]. Reviewer Jack Helbig at the ''[[Chicago Reader]]'' wrote that the "adaptation is intelligent and well crafted but ultimately unsatisfying", in large measure because it is extremely difficult to compress a complex 300-page novel into a two-hour stage presentation.<ref>{{Cita web |apellido=Helbig |nombre=Jack|título=Performing Arts Review: The Left Hand of Darkness|url=http://www.chicagoreader.com/chicago/the-left-hand-of-darkness/Content?oid=886665|newspaper=Chicago Reader|date=February 9, 1995|fechaacceso=April 22, 2015}}</ref> ''Paradises Lost'' was adapted into an [[opera]] by the opera program of the [[University of Illinois at Urbana-Champaign|University of Illinois]].<ref name="opera">{{cita web |url=https://www.playwrightsguild.ca/event/%E2%80%9Cparadises-lost%E2%80%9D-adapted-novella-ursula-k-le-guin-libretto-marcia-johnson-composed-stephen |título=''Paradises Lost'' adapted from the novella by Ursula K Le Guin |editorial=Playwrights Guild of Canada |fechaacceso=18 de diciembre de 2019 |urlarchivo=https://web.archive.org/web/20170109113402/https://www.playwrightsguild.ca/event/%E2%80%9Cparadises-lost%E2%80%9D-adapted-novella-ursula-k-le-guin-libretto-marcia-johnson-composed-stephen |fechaarchivo=9 de enero de 2017}}</ref><ref name="interview">{{Cita web |url=http://www.lightspeedmagazine.com/nonfiction/interview-ursula-k-le-guin/ |título=Interview: Ursula K. Le Guin |obra=[[Lightspeed (magazine)|Lightspeed Magazine]]|date=October 2012 |number =29 |fechaacceso=January 2, 2017}}</ref> The opera was composed by Stephen A. Taylor;<ref name="opera" /> the [[libretto]] has been attributed both to [[Kate Gale]]<ref name="pf">{{Cita web |apellido=Axelrod |nombre=Jeremy|título=Phantoms of the Opera|url=https://www.poetryfoundation.org/features/articles/detail/69288 |fechaacceso=February 2, 2017 |editorial=Poetry Foundation}}</ref> and to Marcia Johnson.<ref name="opera" /> Created in 2005,<ref name="pf" /> the opera premiered in April 2012.<ref>{{cita web |url=http://www.stephenandrewtaylor.net/paradiseslost.html |título=Paradises Lost |sitioweb=Stephen Andrew Taylor website |fechaacceso=18 de diciembre de 2019}}</ref><ref>{{cita web |url=https://www.ursulakleguin.com/paradises-lost |título=Paradises Lost |sitioweb=Ursula K. Le Guin website |fechaacceso=18 de diciembre de 2019}}</ref> Le Guin described the effort as a "beautiful opera" in an interview, and expressed hopes that it would be picked up by other producers. She also said she was better pleased with stage versions, including ''Paradises Lost'', than screen adaptations of her work to that date.<ref name="interview" /> In 2013, the Portland Playhouse and [[Hand2Mouth Theatre]] produced a play based on ''The Left Hand of Darkness'', directed and adapted by Jonathan Walters, with text written by John Schmor. The play opened May 2, 2013, and ran until June 16, 2013, in Portland, Oregon.<ref>{{Cita web |apellido=Hughley |nombre=Marty |date=May 5, 2013 |título=Theater review: 'The Left Hand of Darkness' finds deeply human love on a cold, blue world |url=http://www.oregonlive.com/performance/index.ssf/2013/05/theater_review_the_left_hand_o.html |editorial=Oregon Live |fechaacceso=November 1, 2013 }}</ref>
-->
== Bibliografía ==

{{AP|Anexo:Bibliografía de Ursula K. Le Guin|l1=Bibliografía de Ursula K. Le Guin}}
[[Archivo:Ursula Le Guin.jpg|thumb|Le Guin firmando un libro en 2013.]]
La carrera de Le Guin como escritora profesional abarcó casi sesenta años, desde 1959 hasta 2018. Durante este periodo escribió más de veinte novelas, más de cien cuentos, más de una docena de volúmenes de poesía, cinco traducciones y trece libros para niños.<ref name="NYT obit" /><ref name="HuffPostObit">{{Cita web |apellido=Blumberg |nombre=Antonia |título=Beloved Fantasy Author Ursula Le Guin Dead at 88 |url=https://www.huffpost.com/entry/ursula-le-guin-dies_n_5a67bcede4b0dc592a0da8a9 |sitioweb=[[HuffPost|Huffington Post]] |fechaacceso=20 de diciembre de 2019}}</ref> Su obra incluye [[ficción especulativa]], ficción realista, no ficción, [[Guion cinematográfico|guiones]], libretos, [[ensayo]], [[poesía]], discursos, [[Traducción|traducciones]], [[crítica literaria]], ''[[chapbook]]'' y [[literatura infantil]]. Su primera obra publicada fue el poema «Folksong from the Montayna Province» en 1959, mientras que su primer relato corto fue «An die Musik», en 1961, ambos ambientados en su país imaginario de Orsinia. Su primera publicación profesional fue el cuento «April in Paris» en 1962 y su primera novela publicada fue ''[[El mundo de Rocannon]]'' (''Rocannon’s World'') en 1966.<ref name="LOA" />{{Harvnp|Nicholls|Clute|2019}}{{Harvnp|Erlich|2009|p=25}}{{Harvnp|White|1999|pp=9, 123}} Entre sus últimas publicaciones se encuentran las colecciones de no ficción ''Dreams Must Explain Themselves'' y ''Ursula K Le Guin: Conversations on Writing'' y el volumen de poesía ''So Far So Good: Final Poems 2014-2018'', todas publicadas después de su muerte.{{Harvnp|Nicholls|Clute|2019}}<ref name="Scurr2018" /> Entre sus obras más conocidas se encuentran los seis volúmenes de la serie [[Terramar]] y las numerosas novelas del [[Ekumen|Ciclo de Hainish]].{{Harvnp|Nicholls|Clute|2019}}{{Harvnp|White|1999|p=1}}


== Referencias ==
== Referencias ==
{{listaref|2}}
{{Listaref|2}}

== Bibliografía utilizada ==
{{Refcomienza|30em}}
* {{Obra citada |apellido=Bernardo |nombre=Susan M. |apellido2=Murphy |nombre2=Graham J. |título=Ursula K. Le Guin: A Critical Companion |editorial=Greenwood Press |año=2006 |isbn=978-0-313-33225-8}}
* {{Obra citada |apellido=Bloom |nombre=Harold |enlaceautor=Harold Bloom |año=1987 |título=Introduction |apellido-editor=Bloom |nombre-editor=Harold |enciclopedia=Modern Critical Interpretations: Ursula Le Guin's The Left Hand of Darkness |páginas=1-10 |editorial=Chelsea House Publications|isbn=978-1-55546-064-8 }}
* {{Obra citada |apellido=Cadden |nombre=Mike |editorial=Routledge |año=2005 |título=Ursula K. Le Guin Beyond Genre: Fiction for Children and Adults |isbn=978-0-415-99527-6}}
* {{Obra citada |apellido=Cummins |nombre=Elizabeth |año=1990 |título=Understanding Ursula K. Le Guin |editorial=University of South Carolina Press |isbn=978-0-87249-687-3 |url=https://archive.org/details/understandingurs0000cumm }}
* {{Obra citada |nombre=Richard D. |apellido=Erlich|título=Coyote's Song: The Teaching Stories of Ursula K. Le Guin |url=https://books.google.com/books?id=dQJMK8SeNmsC&pg=PA637 |mes=diciembre |año=2009 |editorial=Wildside Press LLC |isbn=978-1-4344-5775-2}}
* {{Obra citada |apellido=Kuznets |nombre=Lois R.|título='High Fantasy' in America: A Study of Lloyd Alexander, Ursula Le Guin, and Susan Cooper |publicación=The Lion and the Unicorn |volumen=9 |páginas=19-35 |año=1985 |doi=10.1353/uni.0.0075}}
* {{Obra citada |apellido=Le Guin |nombre=Ursula |título=The Wind's Twelve Quarters Volume I |año=1978 |editorial=Granada Publishing |isbn=978-0-586-04623-4 }}
* {{Obra citada |apellido=Lindow |nombre=Sandra J.|título=Dancing the Tao: Le Guin and Moral Development |año=2012 |editorial=Cambridge Scholars Publishing |isbn=978-1-4438-4302-7 |url=https://books.google.com/books?id=lKcwBwAAQBAJ}}
* {{Obra citada |apellido=Lothian |nombre=Alexis|título=Grinding Axes and Balancing Oppositions: The Transformation of Feminisms in Ursula K. Le Guin's Science Fiction |publicación=Extrapolation |volumen=47 |número=3 |páginas=380-395 |año=2006 |doi=10.3828/extr.2006.47.3.4}}
* {{Obra citada |título=Le Guin, Ursula K. |enciclopedia=The Encyclopedia of Science Fiction |día=19 |mes=agosto |año=2019 |url=http://sf-encyclopedia.com/entry/le_guin_ursula_k |apellido-editor=Nicholls |nombre-editor=Peter |apellido-editor2=Clute |nombre-editor2=John |apellido-editor3=Sleight |nombre-editor3=Graham |editorial=Gollancz |fechaacceso=18 de diciembre de 2019 |ref={{SfnRef|Nicholls|Clute|2019}}}}
* {{Obra citada |apellido=Reid |nombre=Suzanne Elizabeth |título=Presenting Ursula Le Guin |año=1997 |editorial=Twayne |isbn=978-0-8057-4609-9}}
* {{Obra citada |nombre=Warren |apellido=Rochelle |título=Communities of the Heart: The Rhetoric of Myth in the Fiction of Ursula K. Le Guin |url=https://books.google.com/books?id=_Ym-lgzF4tQC |año=2001 |editorial=Liverpool University Press |isbn=978-0-85323-876-8}}
* {{Obra citada |título=Ursula K. Le Guin |nombre=Warren G. |apellido=Rochelle |páginas=408-419 |enciclopedia=A Companion to Science Fiction |año=2008 |url=https://books.google.com/books/about/A_Companion_to_Science_Fiction.html?id=Sff8TDaAjEcC |isbn=978-1-4051-4458-2 |editorial=John Wiley & Sons}}
* {{Obra citada |apellido=Slusser |nombre=George Edgar |título=The Farthest Shores of Ursula K. Le Guin |editorial=Wildside Press LLC |año=1976 |isbn=978-0-89370-205-2 |url=https://books.google.com/books?id=hsKSNtNpLbcC}}
* {{Obra citada |apellido=Spivack |nombre=Charlotte |año=1984a |título=Ursula K. Le Guin |editorial=Twayne Publishers |isbn=978-0-8057-7393-4 |ref=harv |url=https://archive.org/details/ursulakleguin00char }}
* {{Obra citada |apellido=Spivack |nombre=Charlotte |título='Only in Dying, Life': The Dynamics of Old Age in the Fiction of Ursula Le Guin |publicación=Modern Language Studies |volumen=14 |número=3 |año=1984b |páginas=43-53 |doi=10.2307/3194540 |jstor=3194540}}
* {{Obra citada |nombre=Marshall B. |apellido=Tymn |título=The Science fiction reference book |url=https://books.google.com/books?id=sDFaAAAAMAAJ |año=1981 |editorial=Starmont House |isbn=978-0-916732-49-3}}
* {{Obra citada |apellido=White |nombre=Donna|título=Dancing with Dragons: Ursula K. Le Guin and the Critics |editorial=Camden House |año=1999 |isbn=978-1-57113-034-1}}
{{Reftermina}}

== Bibliografía adicional ==
{{Refcomienza|30em}}
* {{Cita libro |apellido-editor=Bloom |nombre-editor=Harold |título=Ursula K. Leguin: Modern Critical Views |editorial=Chelsea House Publications |año=2000|isbn=978-0-87754-659-7 |url=https://archive.org/details/ursulakleguin00bloo}}
* {{Cita libro |nombre=Michael |apellido=Cart |título=From Romance to Realism: 50 Years of Growth and Change in Young Adult Literature |url=https://books.google.com/books?id=wqu6QgAACAAJ |año=1996 |editorial=Harper Collins |isbn=978-0-06-024289-3}}
* {{Cita libro |nombre=Laurence |apellido=Davis |nombre2=Peter |apellido2=Stillman |título=The New Utopian Politics of Ursula K. Le Guin's The Dispossessed |url=https://books.google.com/books?id=-ehuAAAAQBAJ |año=2005 |editorial=Lexington Books |isbn=978-0-7391-5820-3}}
* {{Cita libro |nombre=Sheila A. |apellido=Egoff |título=Worlds within: children's fantasy from the Middle Ages to today |url=https://books.google.com/books?id=GoJlAAAAMAAJ |año=1988 |editorial=American Library Association|isbn=978-0-8389-0494-7}}
* {{Cita libro |nombre-editor=Susan S. |apellido-editor=Lehr |título=Battling Dragons: Issues and Controversy in Children's Literature |url=https://books.google.com/books?id=65UaAQAAIAAJ |año=1995 |editorial=Greenwood Publishing Group, Incorporated |isbn=978-0-435-08828-6}}
* {{Cita libro |apellido-editor=Reginald |nombre-editor=Robert |apellido-editor2=Slusser |nombre-editor2=George|título=Zephyr and Boreas: Winds of Change in the Fictions of Ursula K. Le Guin |editorial=Borgo Press |año=1997 |isbn=978-0-916732-78-3}}
* {{Cita libro |nombre=Roberta Seelinger |apellido=Trites |título=Disturbing the universe: power and repression in adolescent literature |url=https://books.google.com/books?id=KMmxAAAAIAAJ |año=2000 |editorial=University of Iowa Press |isbn=978-0-87745-857-9}}
* {{Cita libro |nombre=Kathryn Ross |apellido=Wayne |título=Redefining moral education: life, Le Guin, and language |url=https://books.google.com/books?id=GBUgAQAAIAAJ |año=1996 |editorial=Austin & Winfield|isbn=978-1-880921-85-2}}
{{Reftermina}}


== Enlaces externos ==
== Enlaces externos ==

{{commons}}
* {{Página web|ursulakleguin.com}}
* Perfil y bibliografía de [http://www.sf-encyclopedia.com/entry/le_guin_ursula_k Ursula K. Le Guin] en ''[[The Encyclopedia of Science Fiction]]'' {{en}}
* [https://tools.wmflabs.org/ftl/cgi-bin/ftl?library=OCLC-BNM&su=Ursula%20K%2e%20Le%20Guin&st=wp&keep=1 Listado de sus libros] en el catálogo de la [[Biblioteca Nacional de España|BNE]].
* [http://www.sf-encyclopedia.com/entry/le_guin_ursula_k Perfil y bibliografía] en ''[[The Encyclopedia of Science Fiction]]'' {{en}}.
* {{isfdb nombre}}
* {{isfdb nombre}}
* Bibliografía de [https://www.fantasticfiction.com/l/ursula-k-le-guin/ Ursula K. Le Guin] en ''Fantastic Fiction'' {{en}}
* [https://www.fantasticfiction.com/l/ursula-k-le-guin/ Bibliografía] en ''Fantastic Fiction'' {{en}}.
* Bibliografía en español de [http://www.tercerafundacion.net/biblioteca/ver/persona/73 Ursula K. Le Guin] en ''La Tercera Fundación''
* [http://www.tercerafundacion.net/biblioteca/ver/persona/73 Bibliografía] en ''La Tercera Fundación''.
* [http://www.docemoradas.com/leguin/ver/602/pag/2/titulo/Entrevista-a-Ursula-K.-Le-Guin Entrevista] por Paola Castagno.
* [http://www.freesfonline.de/authors/Ursula%20K._Le%20Guin.html Ficción online de Ursula K. Le Guin] en ''Free Speculative Fiction Online'' {{en}}
* [http://www.alasbarricadas.org/noticias/?q=node/7378 Entrevista a Ursula K. LeGuin]
* [https://web.archive.org/web/20101008222117/http://www.terrediconfine.eu/la-leggenda-di-earthsea.html ''La Leggenda di Earthsea''] (en italiano)
* [http://www.docemoradas.com/leguin/ver/602/pag/2/titulo/Entrevista-a-Ursula-K.-Le-Guin Entrevista a Ursula K. Le Guin], por Paola Castagno (del apartado [http://ursulakleguin.com/Index-Spanish.html in Spanish)] de la [http://www.ursulakleguin.com web oficial]


{{NF|1929|2018|Le Guin, Ursula K.}}
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Ursula K. Le Guin

Ursula K. Le Guin en 2009
Información personal
Nombre de nacimiento Ursula Kroeber Ver y modificar los datos en Wikidata
Nacimiento 21 de octubre de 1929 Ver y modificar los datos en Wikidata
Berkeley (California, Estados Unidos) Ver y modificar los datos en Wikidata
Fallecimiento 22 de enero de 2018 Ver y modificar los datos en Wikidata (88 años)
Portland (Oregón, Estados Unidos) Ver y modificar los datos en Wikidata
Causa de muerte Infarto agudo de miocardio Ver y modificar los datos en Wikidata
Residencia Berkeley y Portland Ver y modificar los datos en Wikidata
Nacionalidad Estadounidense
Religión Taoísmo Ver y modificar los datos en Wikidata
Familia
Padres Alfred Kroeber Ver y modificar los datos en Wikidata
Theodora Kroeber Ver y modificar los datos en Wikidata
Cónyuge Charles Le Guin (1953-2018) Ver y modificar los datos en Wikidata
Hijos 3 Ver y modificar los datos en Wikidata
Educación
Educada en
Información profesional
Ocupación Escritora, guionista, traductora, novelista, poeta, autora, crítica literaria, escritora de ciencia ficción, activista por los derechos de las mujeres, escritora de literatura infantil, periodista y prosista Ver y modificar los datos en Wikidata
Área Bellas letras, ciencia ficción, literatura fantástica y literatura de ciencia ficción Ver y modificar los datos en Wikidata
Años activa desde años 1960
Empleador Universidad de California en Berkeley Ver y modificar los datos en Wikidata
Géneros Ciencia ficción, fantasía y ciencia ficción feminista Ver y modificar los datos en Wikidata
Obras notables
Miembro de
Sitio web www.ursulakleguin.com Ver y modificar los datos en Wikidata
Firma
[editar datos en Wikidata]

Ursula Kroeber Le Guin ['ɜrsələ ˈkroʊbər ləˈgwɪn][1]​ (Berkeley, California; 21 de octubre de 1929-Portland, Oregón; 22 de enero de 2018) fue una autora estadounidense conocida sobre todo por sus obras de ficción especulativa y en especial por las obras de ciencia ficción ambientadas en el mundo ficticio de Terramar y la serie de fantasía de la federación Ekumen. Su primer trabajo publicado fue en 1959 y su carrera literaria duró casi sesenta años, con más de veinte novelas y más de cien relatos cortos publicados, además de poesía, ensayo, crítica literaria, traducciones y libros para niños.

Era hija de la escritora Theodora Kroeber y el antropólogo Alfred Kroeber. Tras obtener una maestría en francés, inició sus estudios de doctorado, pero los abandonó tras su matrimonio en 1953 con el historiador Charles Le Guin. Comenzó a escribir a tiempo completo a finales de los años 1950 y alcanzó un gran éxito comercial y de crítica con Un mago de Terramar (A Wizard of Earthsea, 1968) y La mano izquierda de la oscuridad (The Left Hand of Darkness, 1969), descritas por el crítico estadounidense Harold Bloom como sus obras maestras.[2]​ Con La mano izquierda de la oscuridad obtuvo el premio Hugo y el premio Nébula a la mejor novela, la primera mujer en conseguir ambos premios por una novela.

La antropología cultural, el taoísmo, el feminismo y los escritos de Carl Jung tuvieron una fuerte influencia en su obra. Muchas de sus historias utilizaron como protagonistas a antropólogos u observadores culturales y se han identificado las ideas taoístas sobre el equilibrio y la armonía en algunas de sus obras. A menudo subvirtió algunos clichés típicos de la ficción especulativa, como la utilización de protagonistas de piel oscura en Terramar, y también usó recursos estilísticos o estructurales poco habituales en algunos de sus libros, como la obra experimental El eterno regreso a casa (Always Coming Home, 1985). Los temas sociales y políticos, como el género, la sexualidad y la mayoría de edad ocuparon un lugar destacado en su obra y exploró estructuras políticas alternativas en muchos relatos, como en la parábola Los que se alejan de Omelas (The Ones Who Walk Away from Omelas, 1973) y la novela utópica Los desposeídos (The Dispossessed, 1974).

Su obra tuvo una enorme influencia en el campo de la ficción especulativa y ha sido objeto de una gran atención por parte de la crítica literaria. Recibió numerosos premios y reconocimientos. Entre sus premios se encuentran ocho premios Hugo, seis Nébula y veintidós Locus. En 2003 se convirtió en la segunda mujer honrada como Gran Maestra por la Asociación de escritores de ciencia ficción y fantasía de Estados Unidos. La Biblioteca del Congreso de Estados Unidos la nombró «Leyenda viva» en el año 2000 y en 2014 recibió la Medal for Distinguished Contribution to American Letters. Influyó en muchos autores, como Salman Rushdie, David Mitchell, Neil Gaiman o Iain Banks. Tras su muerte en 2018, el escritor y crítico John Clute escribió que Le Guin había «presidido la ciencia ficción estadounidense durante casi medio siglo», y el escritor Michael Chabon se refirió a ella como «la más grande escritora estadounidense de su generación».

Biografía

Primeros años y educación

Bibliografía

Artículo principal: Bibliografía de Ursula K. Le Guin
Le Guin firmando un libro en 2013.

La carrera de Le Guin como escritora profesional abarcó casi sesenta años, desde 1959 hasta 2018. Durante este periodo escribió más de veinte novelas, más de cien cuentos, más de una docena de volúmenes de poesía, cinco traducciones y trece libros para niños.[3]​[4]​ Su obra incluye ficción especulativa, ficción realista, no ficción, guiones, libretos, ensayo, poesía, discursos, traducciones, crítica literaria, chapbook y literatura infantil. Su primera obra publicada fue el poema «Folksong from the Montayna Province» en 1959, mientras que su primer relato corto fue «An die Musik», en 1961, ambos ambientados en su país imaginario de Orsinia. Su primera publicación profesional fue el cuento «April in Paris» en 1962 y su primera novela publicada fue El mundo de Rocannon (Rocannon’s World) en 1966.[5]​[6]​[7]​[8]​ Entre sus últimas publicaciones se encuentran las colecciones de no ficción Dreams Must Explain Themselves y Ursula K Le Guin: Conversations on Writing y el volumen de poesía So Far So Good: Final Poems 2014-2018, todas publicadas después de su muerte.[6]​[9]​ Entre sus obras más conocidas se encuentran los seis volúmenes de la serie Terramar y las numerosas novelas del Ciclo de Hainish.[6]​[10]​

Referencias

  1. ↑ Le Guin, Ursula K. (2007). «How to pronounce me». Archivado desde el original el 1 de junio de 2013. Consultado el 23 de enero de 2018. 
  2. ↑ White, 1999, p. 2.
  3. ↑ Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas NYT obit
  4. ↑ Blumberg, Antonia. «Beloved Fantasy Author Ursula Le Guin Dead at 88». Huffington Post. Consultado el 20 de diciembre de 2019. 
  5. ↑ Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas LOA
  6. ↑ a b c Nicholls y Clute, 2019.
  7. ↑ Erlich, 2009, p. 25.
  8. ↑ White, 1999, pp. 9, 123.
  9. ↑ Error en la cita: Etiqueta <ref> no válida; no se ha definido el contenido de las referencias llamadas Scurr2018
  10. ↑ White, 1999, p. 1.

Bibliografía utilizada

Bibliografía adicional

Enlaces externos

Obtenido de «https://es.wikipedia.org/w/index.php?title=Ursula_K._Le_Guin&oldid=122160398»