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= The_Dispossessed =
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Introduction
======================================================================
'The Dispossessed' (subtitled 'An Ambiguous Utopia') is a 1974
anarchist utopian science fiction novel by American writer Ursula K.
Le Guin, one of her seven Hainish Cycle novels. It is one of a small
number of books to win all three awards--Hugo, Locus, and Nebula--for
best science fiction or fantasy novel. It achieved a degree of
literary recognition unusual for science fiction because of its
exploration of themes such as anarchism and revolutionary societies,
capitalism, utopia, individualism, and collectivism.
The novel features the development of the mathematical theory
underlying a fictional 'ansible', a device capable of
faster-than-light communication, which can send messages without
delay, even between star systems. This device plays a critical role in
the Hainish Cycle. The invention of the ansible places the novel first
in the internal chronology of the Hainish Cycle, although it was the
fifth to be published.
Background
======================================================================
In her introduction to the Library of America reprint in 2017, Le Guin
reflected on her past 40 years by writing:
Le Guin's parents, anthropologist Alfred and writer Theodora Kroeber,
were friends with J. Robert Oppenheimer; Le Guin stated that
Oppenheimer was the model for Shevek, the book's protagonist.
Meaning of the title
======================================================================
It has been suggested that Le Guin's title is a reference to
Dostoyevsky's novel about anarchists, 'Demons' (, 'Bésy'), one popular
English-language translation of which is titled 'The Possessed'. Many
of the philosophical underpinnings and ecological concepts came from
Murray Bookchin's 'Post-Scarcity Anarchism' (1971), according to a
letter Le Guin sent to Bookchin. Anarres citizens are 'dispossessed'
not just by political choice, but by the very lack of actual resources
to possess. Here, again, Le Guin draws a contrast with the natural
wealth of Urras, and the competitive behaviors this fosters.
Setting
======================================================================
'The Dispossessed' is set on Anarres and Urras, the twin inhabited
worlds of Tau Ceti. Urras is divided into several states, but is
dominated by two rival superpowers, A-Io and Thu. While on Urras, the
main character spends most of his time in A-Io, a state with a
capitalist economy and a patriarchal system. The state of Thu is never
actually visited, but is said to have an authoritarian system that
claims to rule in the name of the proletariat. A-Io has dissent in its
borders, including a few different oppositional left-wing parties, one
of which is closely linked to the rival society of Thu. When a
revolution is sparked in Benbili, the third major, yet undeveloped,
area of Urras, A-Io invades the Thu-supported revolutionary area,
generating a proxy war.
The moon, Anarres, represents a more idealist ideological structure:
anarcho-syndicalism. The Anarresti, who call themselves Odonians after
the founder of their political philosophy, arrived on Anarres from
Urras around 200 years ago. In order to forestall an
anarcho-syndicalist rebellion, the major Urrasti states gave the
revolutionaries the right to live on Anarres, along with a guarantee
of non-interference. Before this, Anarres had had no permanent
settlements, apart from some mining facilities.
Anarres is settled after a revolution on Urras by the followers of
Odo, the central character of Le Guin's 1974 short story 'The Day
Before the Revolution'.
The economic and political situation of Anarres and its relation to
Urras is ambiguous. The people of Anarres consider themselves as being
free and independent, having broken off from the political and social
influence of the old world. However, the powers of Urras consider
Anarres as being essentially their mining colony, as the annual
consignment of Anarres's precious metals and their distribution to
major powers on Urras is a major economic event of the old world.
Theoretical timeline
======================
In the last chapter of 'The Dispossessed', it is revealed that the
Hainish people arrived at Tau Ceti 60 years previously, which is more
than 100 years after the secession of the Odonians from Urras and
their exodus to Anarres. Terrans are also there, and the novel occurs
some time in the future, according to an elaborate chronology worked
out by science fiction author Ian Watson in 1975: "the baseline date
of AD 2300 for 'The Dispossessed' is taken from the description of
Earth in that book (§11) as having passed through an ecological and
social collapse with a population peak of 9 billion to a
low-population but highly centralized recovery economy." In the same
article, Watson assigns a date of AD 4870 to 'The Left Hand of
Darkness'; both dates are problematic -- as Watson says himself, they
are contradicted by "Genly Ai's statement that Terrans 'were ignorant
until about three thousand years ago of the uses of zero'".
Story
======================================================================
The chapters alternate between the two planets and between the present
and the past. The even-numbered chapters, which are set on Anarres,
chronologically take place first and are followed by the odd-numbered
chapters, which take place on Urras. The only exceptions occur in the
first and last chapters: the first takes place on both the moon and
the planet; the last takes place in a spaceship.
!Chronological order of chapters
|2, 4, 6, 8, 10, 12, 1, 3, 5, 7, 9, 11, 13
Anarres (chapters 2, 4, 6, 8, 10, 12)
=======================================
Chapter One begins in the middle of the story ('in media res'). The
protagonist Shevek is an Anarresti physicist attempting to develop a
General Temporal Theory. The physics of the book, Principles of
Simultaneity, describes time as having a much deeper, more complex
structure than as it is understood. It incorporates not only
mathematics and physics, but also philosophy and ethics. Shevek finds
his work blocked by a jealous superior, Sabul, who controls the
publication of Anarresti manuscripts. As his theories conflict with
the prevailing political philosophy, Shevek believes that his ideas
are discordant with Anarresti society. Throughout his time in Abbenay,
he runs into old acquaintances from his adolescence and his mother,
Rulag. One of his old female acquaintances, Takver, becomes involved
with Shevek and the two start a relationship and have their first
child together.
Shevek's work is further disrupted by his social obligation to perform
manual labor during a drought in Anarres's anarchist society. To
ensure survival in a harsh environment, the people of Anarres must put
the needs of society ahead of their own personal desires, so Shevek
performs hard agricultural labor in a dusty desert for four years
instead of working on his research. After the drought, he arranges to
go to Urras, having won a prestigious award for his work there, to
finish and publish his theory with the help of the syndicate he set up
to distribute his works. His contact with scholars on Urras and his
decision to travel results in political turmoil on Anarres. Shevek is
accused of being a traitor by Sabul and threatening the political
separation between the two worlds. Believing that his theory will
benefit the Anarresti and the wider society, Shevek embarks to Urras.
Urras (chapters 1, 3, 5, 7, 9, 11)
====================================
Shevek's journey to the only spaceport in Anarres is eventful. Having
been deemed a traitor by some groups on the planet, Shevek is nearly
killed as an angry mob tries to stop him getting on the spaceship to
A-Io. Arriving in A-Io, Urras, Shevek is feted. He soon finds himself
disgusted with the social, sexual, and political conventions of the
hierarchical capitalist society of Urras. His grievances are further
explored with the outbreak of war in neighbouring Benbili, of which
A-Io is involved with rivalling Thu. At Ieu Eun University, Shevek
struggles with teaching the Urrasti students and is manipulated by the
physicists there, who hope that his breakthrough on the General
Temporal Theory will allow them to build a faster-than-light ship. A
mysterious note asking him to join his 'brothers' spooks Shevek,
knowing that fellow like-minded anarchists are on Urras - in the
shadows. Eventually, at a dinner party, a drunken Shevek publicly
denounces his peers on A-Io, scolding them for their materialistic
lives and taking their splendor for granted, before leading to a
disastrous sexual encounter that further alienates Shevek from his
peers. He has a sobering realisation that the theory he proposes will
be capitalised by the Urrasti for potential warfare, not for the
benefit of society. Shevek escapes the university, contacts an
underground revolutionary group from the note he found, joining in a
labor protest in Nio Esseia that is violently suppressed. He flees to
the Terran embassy, where he asks them to transmit his theory to all
worlds. The Terrans provide him safe passage back to Anarres.
Onboard the ''Davenant'' (chapter 13)
=======================================
For interplanetary travel to his world, Anarres, Shevek is shown
around a Hainish spaceship. Hainish culture is described. A Hainishman
named Ketho, who sympathizes with Odonian thought, wants to disembark
with Shevek when they land on Anarres. Not knowing if the Anarresti
will welcome him back with open arms, Shevek remains content thinking
about his family as the spaceship begins to land.
Symbolism
===========
The ambiguity of Anarres's economic and political situation in
relation to Urras is symbolically manifested in the low wall
surrounding Anarres's single spaceport. This wall is the only place on
the anarchist planet where "No Trespassing!" signs may be seen, and it
is where the book begins and ends. The people of Anarres believe that
the wall divides a free world from the corrupting influence of an
oppressor's ships. On the other hand, the wall could be a prison wall
keeping the rest of the planet imprisoned and cut off. Shevek's life
attempts to answer this question.
In addition to Shevek's journey to answer questions about his
society's true level of freedom, the meaning of his theories
themselves weave their way into the plot; they not only describe
abstract physical concepts, but they also reflect ups and downs of the
characters' lives, and the transformation of the Anarresti society. An
oft-quoted saying in the book is "true journey is return." The meaning
of Shevek's theories--which deal with the nature of time and
simultaneity--have been subject to interpretation. For example, there
have been interpretations that the non-linear nature of the novel is a
reproduction of Shevek's theory.
Anarchism and capitalism
==========================
In her foreword to the collected Hainish novels, Le Guin notes her
"great, immediate affinity" with anarchist thinkers Peter Kropotkin
and Paul Goodman. Elsewhere, she writes that "Odonism is anarchism,"
mentioning parallels with Emma Goldman, Taoism and Percy Bysshe
Shelley. For Le Guin, anarchism's "principal target is the
authoritarian State (capitalist or socialist); its principal
moral-practical theme is cooperation (solidarity, mutual aid)."
Both on Anarres and Urras, many conflicts occur between these
anarchist principles and the constraints imposed by authority and
society. On Anarres, there are no written laws. However, in practice,
there are strong conventions about how most things should be done,
which frustrate Shevek throughout the novel. Money is also not used,
and instead the Anarresti rely on the DivLab database to match
volunteer labor with work assignments. Via these conventions and
institutions, 'The Dispossessed' depicts an anarchist-syndicalist
alternative to capitalism. Le Guin's computational economy combines a
central economic plan for society with democratic decision-making on a
syndicalist model, bureaucratic and computational efficiency, and a
negotiated tension among syndicate federalism, individual autonomy,
and the danger of centralized authority."
The language spoken on Anarres also reflects anarchism. Pravic is a
constructed language in the tradition of Esperanto. Pravic reflects
many aspects of the philosophical foundations of utopian anarchism.
For instance, the use of the possessive case is strongly discouraged,
a feature that also is reflected by the novel's title. Children are
trained to speak only about matters that interest others; anything
else is "egoizing" (pp. 28-31). There is no property ownership of any
kind. Shevek's daughter, upon meeting him for the first time, tells
him, "You can share the handkerchief I use" rather than "You may
borrow my handkerchief", thus conveying the idea that the handkerchief
is not owned by the girl, but is merely used by her.
Utopianism
============
The work is sometimes said to represent a modern revival of the
utopian genre. When first published, the book included the tagline:
"The magnificent epic of an ambiguous utopia!" which was shortened by
fans to "An ambiguous utopia" and adopted as a subtitle in certain
editions.
Le Guin brings her own innovations to the literary tradition of
utopia. Many earlier utopian novels featured a visitor to utopia, as a
device to teach the reader about its institutions. However 'The
Dispossessed' inverts this, by having Shevek, dissatisfied with his
life in Anarres, travel to Urras. 'The Dispossessed' also does not
seek to portray Anarres as a society that is absolutely good, but only
as "ambiguously good".
Tom Moylan describes 'The Dispossessed' as "the best known and the
most popular of the critical utopias published in the 1970s."
'Critical' utopian fiction continues to embrace utopian ideals, but it
is cautious of being too prescriptive, and tends to focus on "the
continuing presence of difference and imperfection within utopian
society itself." 'The Dispossessed' shares with many later critical
utopias, including Iain M. Banks's Culture series and Samuel R.
Delany's 'Trouble on Triton', a focus on utopia's discontents, and an
interest in how utopian society interacts with its neighbors.
Feminism
==========
Some critics disagree as to whether 'The Dispossessed' should be
considered a feminist utopia or a feminist science fiction novel.
According to Mary Morrison of the 'State University of New York at
Buffalo' (SUNY), the anarchist themes in this book help to promote
feminist themes as well. Other critics, such as William Marcellino of
SUNY and Sarah LeFanu, writer of "Popular Writing and Feminist
Intervention in Science Fiction," argue that there are distinct
anti-feminist undertones throughout the novel.
Morrison argues that Le Guin's portrayed ideals of Taoism, the
celebration of labor and the body, and desire for sexual freedom in an
anarchist society contribute greatly to the book's feminist message.
Taoism, which rejects dualisms and divisions in favor of a Yin and
Yang balance, brings attention to the balance between not only the two
planets, but between the male and female inhabitants. The celebration
of labor on Anarres stems from a celebration of a mother's labor,
focusing on creating life rather than on building objects. The sexual
freedom on Anarres also contributes to the book's feminist message.
On the other hand, some critics believe that Le Guin's feminist themes
are either weak or not present. Some believe that the Taoist
interdependence between the genders actually weakens Le Guin's
feminist message. Marcellino believes that the anarchist themes in the
novel take precedence and dwarf any feminist themes. Lefanu adds that
there is a difference between the feminist messages that the book
explicitly presents and the anti-feminist undertones. For example, the
book says that women created the society on Anarres. However, female
characters seem secondary to the male protagonist, who seems to be a
traditional male hero; Lefanu asserts that this subversion weakens any
feminist message that Le Guin was trying to convey.
Prison abolition
==================
Odo, the founder of Anarresti society, wrote her most influential
works during a nine-year imprisonment. Anarres itself has no prisons.
Its post-carceral nature becomes apparent in chapter two, when a group
of Anarresti schoolchildren learn about prisons in their history
lesson. The teacher describes prisons "with the reluctance of a decent
adult forced to explain an obscenity to children. Yes, he said, a
prison was a place where a State put people
who disobeyed its Laws." Fascinated by this "perversity", the
schoolchildren construct their own prison and detain one of their own
inside. They are ultimately horrified by the experience.
Figurative imprisonment is an important theme in the novel too. In
both the Urrasti and Anarresti parts of the novel, "time after time
the question of who is being locked out or in, which side of the wall
one is on, is the focus of the narrative." Mark Tunik emphasises that
'the wall' is the dominant metaphor for social constraints in 'The
Dispossessed'. While on Urras, Shevek hits "the wall of charm,
courtesy, indifference." He later notes that he let a "wall be built
around him" that kept him from seeing the poor people on Urras. He had
been co-opted, with walls of smiles of the rich, and he didn't know
how to break them down. Shevek at one point speculates that the people
on Urras are not truly free, precisely because they have so many walls
built between people and are so possessive. He says, "You are all in
jail. Each alone, solitary, with a heap of what he owns. You live in
prison, die in prison. It is all I can see in your eyes - the wall,
the wall!" '
It is not just the state of mind of those inside the prisons that
concerns Shevek, he also notes the effect on those outside the walls.
Steve Grossi says, "by building a physical wall to keep the bad in, we
construct a mental wall keeping ourselves, our thoughts, and our
empathy out, to the collective detriment of all." Shevek himself later
says, "those who build walls are their own prisoners."
Publication
======================================================================
In Le Guin's book-writing process, the story always came to her
through a character rather than an event, idea, plot, or society. The
story behind 'The Dispossessed' first occurred to Le Guin through a
vision, revealed as if seen from a distance, first as a male
physicist, his thin face, clear eyes, large ears, possibly recalling a
memory of Robert Oppenheimer, and a vivid personality. She attempted
to capture the character in a short story in what she recalled as one
of her worst in 30 years of writing, in which the physicist escapes a
gulag planet for a nearby wealthy sister planet, where he has a love
affair but likes the planet even less, and so nobly returns to the
gulag. She proceeded to rewrite the story, beginning with his name and
origin--Shevek, from Utopia--which she considered reasonable based on
his intelligence and disarming naivety. Knowing only bits of Thomas
More ('Utopia'), William Morris ('News from Nowhere'), William Henry
Hudson ('A Crystal Age'), and H. G. Wells ('A Modern Utopia'), Le
Guin's reading of modern libertarian socialists rounded Shevek's
prison planet into a place where she saw he would want to return: Marx
and Engels, William Godwin, Emma Goldman, Paul Goodman and, foremost,
Peter Kropotkin and Mary Shelley.
Le Guin wrote 'The Dispossessed' in 1973 for publication in May or
June 1974.
Critical reception
======================================================================
The novel received generally positive reviews. On the positive side,
Baird Searles characterized the novel as an "extraordinary work",
saying Le Guin had "created a working society in exquisite detail" and
"a fully realized hypothetical culture [as well as] living breathing
characters who are inevitable products of that culture". Gerald Jonas,
writing in 'The New York Times', said that "Le Guin's book, written in
her solid, no-nonsense prose, is so persuasive that it ought to put a
stop to the writing of prescriptive Utopias for at least 10 years".
Theodore Sturgeon praised 'The Dispossessed' as "a beautifully
written, beautifully composed book", saying "it performs one of
[science fiction's] prime functions, which is to create another kind
of social system to see how it would work. Or if it would work."
Lester del Rey, however, gave the novel a mixed review, citing the
quality of Le Guin's writing but claiming that the ending "slips
badly", a 'deus ex machina' that "destroy[s] much of the strength of
the novel".
Awards
======================================================================
Award Result
Hugo Award for Best Novel
John W. Campbell Memorial Award
Locus Award for Best Novel
Nebula Award for Best Novel
Prometheus Award Hall of Fame
Adaptations
======================================================================
In 1987, the CBC Radio anthology program 'Vanishing Point' adapted
'The Dispossessed' into a series of six 30 minute episodes.
On October 5, 2021, it was announced that 1212 Entertainment and
Anonymous Content would adapt the novel into a limited series.
Translations
======================================================================
*Azerbaijani: ', 2021
*Bulgarian: '
*Chinese (Simplified): , 2009
*Chinese (Traditional): , 2005
*Catalan: 'Els desposseïts', 2018
*Croatian: ', 2009
*Czech: ', 1995
*Danish: ', 1979
*Dutch: '
*Estonian: 'Ilmajäetud', 2018
*Finnish: ', 1979
*French: ', 1975
*Georgian: ', 2018
*German: ', 1976, later ', 2006, later ', 2017
*Greek: '
*Hebrew: ', 1980; later ', 2015
*Hungarian: ', 1994
*Italian: ', later ', 1976
*Japanese: , 1980
*Korean: ', 2002'
*Persian: ', 2021
*Polish: '
*Portuguese: ', '
*Romanian: ', 1995
*Russian: ', 1994, ', 1997
*Serbian: ', 1987
*Spanish: ', 1983
*Swedish: ', 1976; De obesuttna, 2020
*Turkish: ', 1990
See also
======================================================================
* Ursula K. Le Guin bibliography
* Anarchism in the arts
Anarchism and ''The Dispossessed''
====================================
* John P. Brennan, "Anarchism and Utopian Tradition in 'The
Dispossessed'", pp. 116-152, in Olander & Greenberg, editors,
'Ursula K. Le Guin', New York: Taplinger (1979).
* Samuel R. Delany, "To Read 'The Dispossessed'," in 'The Jewel-Hinged
Jaw'. N.Y.: Dragon Press, 1977, pp. 239-308 (anarchism in 'The
Dispossessed').
[
http://muse.jhu.edu/books/9780819572462/9780819572462-13.pdf (pdf
available online] through Project MUSE)
* Neil Easterbrook, "State, Heterotopia: The Political Imagination in
Heinlein, Le Guin, and Delany", pp. 43-75, in Hassler & Wilcox,
editors, 'Political Science Fiction', Columbia, SC: U of South
Carolina Press (1997).
* Leonard M. Fleck, "Science Fiction as a Tool of Speculative
Philosophy: A Philosophic Analysis of Selected Anarchistic and Utopian
Themes in Le Guin's 'The Dispossessed'", pp. 133-45, in Remington,
editor, 'Selected Proceedings of the 1978 Science Fiction Research
Association National Conference', Cedar Falls: Univ. of Northern Iowa
(1979).
*
* Elizabeth Stainforth and Jo Lindsay Walton. 2019. 'Computing Utopia:
The Horizons of Computational Economies in History and Science
Fiction'. 'Science Fiction Studies' 46 (3): 471-89.
https://doi.org/10.5621/sciefictstud.46.3.0471.
* Larry L. Tifft, "Possessed Sociology and Le Guin's 'Dispossessed':
From Exile to Anarchism", pp. 180-197, in De Bolt & Malzberg,
editors, 'Voyager to Inner Lands and to Outer Space', Port Washington,
NY: Kennikat (1979).
* Kingsley Widmer, "The Dialectics of Utopianism: Le Guin's 'The
Dispossessed'", 'Liberal and Fine Arts Review', v.3, nos.1-2, pp. 1-11
(Jan.-July 1983).
Gender and ''The Dispossessed''
=================================
* Lillian M. Heldreth, "Speculations on Heterosexual Equality: Morris,
McCaffrey, Le Guin", pp. 209-220 in Palumbo, ed., 'Erotic Universe:
Sexuality and Fantastic Literature', Westport, CT: Greenwood (1986).
* Neil Easterbrook, "State, Heterotopia: The Political Imagination in
Heinlein, Le Guin, and Delany", pp. 43-75, in Hassler & Wilcox,
editors, 'Political Science Fiction', Columbia, SC: U of South
Carolina Press (1997).
*
* Jim Villani, "The Woman Science Fiction Writer and the Non-Heroic
Male Protagonist", pp. 21-30 in Hassler, ed., 'Patterns of the
Fantastic', Mercer Island, WA: Starmont House (1983).
Property and possessions
==========================
* Werner Christie Mathiesen, "The Underestimation of Politics in Green
Utopias: The Description of Politics in Huxley's 'Island', Le Guin's
'The Dispossessed', and Callenbach's 'Ecotopia'", 'Utopian Studies:
Journal of the Society for Utopian Studies', v.12, n.1, pp. 56-78
(2001).
Science and ''The Dispossessed''
==================================
* Ellen M. Rigsby, "Time and the Measure of the Political Animal."
'The New Utopian Politics of Ursula K. Le Guin's The Dispossessed.'
Ed., Laurence Davis and Peter Stillman. Lanham: Lexington books.,
2005.
Taoism and ''The Dispossessed''
=================================
* Elizabeth Cummins Cogell, "Taoist Configurations: 'The
Dispossessed'", pp. 153-179 in De Bolt & Malzberg, editors,
'Ursula K. Le Guin: Voyager to Inner Lands and to Outer Space', Port
Washington, NY: Kennikat (1979).
Utopian literature and ''The Dispossessed''
=============================================
* James W. Bittner, "Chronosophy, Ethics, and Aesthetics in Le Guin's
'The Dispossessed: An Ambiguous Utopia', pp. 244-270 in Rabkin,
Greenberg, and Olander, editors, 'No Place Else: Explorations in
Utopian and Dystopian Fiction', Carbondale: Southern Illinois
University Press (1983).
* John P. Brennan, "Anarchism and Utopian Tradition in 'The
Dispossessed'", pp. 116-152, in Olander & Greenberg, editors,
'Ursula K. Le Guin', New York: Taplinger (1979).
* Tom Moylan, 'Demand the Impossible: Science Fiction and the Utopian
Imagination'. Ed., Raffaella Baccolini. Bern: Peter Lang (2014). First
published 1986.
* Bülent Somay, "Towards an Open-Ended Utopia", 'Science-Fiction
Studies', v.11, n.1 (#32), pp. 25-38 (March 1984).
* Peter Fitting, "Positioning and Closure: On the 'Reading Effect' of
Contemporary Utopian Fiction", 'Utopian Studies', v.1, pp. 23-36
(1987).
* Kingsley Widmer, "The Dialectics of Utopianism: Le Guin's 'The
Dispossessed'", 'Liberal and Fine Arts Review', v.3, nos.1-2, pp. 1-11
(Jan.-July 1983).
* L. Davis and P. Stillman, editors, "The new utopian politics of
Ursula K. Le Guin's 'The Dispossessed'", Lexington Books, (2005).
* Carter F. Hanson, "Memory's Offspring and Utopian Ambiguity in
Ursula K. Le Guin's 'The Day Before the Revolution' and 'The
Dispossessed'", 'Science Fiction Studies' (2013)
Additional references
=======================
* Judah Bierman, "Ambiguity in Utopia: 'The Dispossessed'",
'Science-Fiction Studies', v.2, pp. 249-255 (1975).
* James F. Collins, "The High Points So Far: An Annotated Bibliography
of Ursula K. LeGuin's 'The Left Hand of Darkness' and 'The
Dispossessed'", 'Bulletin of Bibliography', v.58, no.2, pp. 89-100
(June 2001).
* James P. Farrelly, "The Promised Land: Moses, Nearing, Skinner, and
Le Guin", 'JGE: The Journal of General Education', v.33, n.1, pp.
15-23 (Spring 1981).
External links
======================================================================
*Full text of [
http://libcom.org/library/dispossessed-ursula-le-guin
'The Dispossessed'] at Libcom.org
*
*[
http://www.sfbrp.com/archives/120 Audio review and discussion of
'The Dispossessed'] at The Science Fiction Book Review Podcast
*Readable maps of
[
https://web.archive.org/web/20130605130723/http://golwen.com.ar/fotos/anarres.jpg
Anarres] and
[
https://web.archive.org/web/20130605134912/http://golwen.com.ar/fotos/urras.jpg
Urras]
*[
http://www.worldswithoutend.com/novel.asp?ID=22 'The Dispossessed']
at Worlds Without End
*CBC Radio Vanishing Point audio production of 'The Dispossessed' at
the Internet Archive:
[
https://archive.org/download/VPoint/VP_870612_xx_The_Dispossessed__Part_1_of_6.mp3
Part 1],
[
https://archive.org/download/VPoint/VP_870619_xx_The_Dispossessed__Part_2_of_6.mp3
2],
[
https://archive.org/download/VPoint/VP_870626_xx_The_Dispossessed__Part_3_of_6.mp3
3],
[
https://archive.org/download/VPoint/VP_870703_xx_The_Dispossessed__Part_4_of_6.mp3
4],
[
https://archive.org/download/VPoint/VP_870710_xx_The_Dispossessed__Part_5_of_6.mp3
5],
[
https://archive.org/download/VPoint/Vp_870717_xx_The_Dispossessed__Part_6_of_6.mp3
6]
License
=========
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Original Article:
http://en.wikipedia.org/wiki/The_Dispossessed
