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Tales from Earthsea par [Le Guin, Ursula K.]
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Tales from Earthsea Format Kindle

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Longueur : 417 pages Word Wise: Activé Langue : Anglais

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Winner of five Nebula and five Hugo Awards, the National Book Award, the Newbery, and many other awards, Ursula K. Le Guin is one of the finest authors ever to write science fiction and fantasy. Her greatest creation may be the powerful, beautifully written, and deeply imagined Earthsea Cycle, which inhabits the rarified air at the pinnacle of modern fantasy with J.R.R. Tolkien's Lord of the Rings trilogy and Jane Yolen's Chronicles of Great Alta. The books of the Earthsea Cycle are A Wizard of Earthsea (1968), The Tombs of Atuan (1971), The Farthest Shore (1972), the Nebula-winning Tehanu (1990), and now, Tales of Earthsea (2001).

If you have never read an Earthsea book, this collection isn't the place to start, as the author points out in her thoughtful foreword; begin with A Wizard of Earthsea. If you insist on starting with Tales of Earthsea, read the foreword and the appended "Description of Earthsea" before proceeding to the five stories (three of which are original to this book).

The opening story, "The Finder," occupies a third of the volume and has the strength and insight of a novel. This novella describes the youth of Otter, a powerful but half-trained sorcerer, and reveals how Otter came to an isle that cannot be found, and played a role in the founding of the great Roke School. "Darkrose and Diamond" tells of two lovers who would turn their backs on magic. In "The Bones of the Earth," an aging wizard and his distant pupil must somehow join forces to oppose an earthquake. Ged, the Archmage of Earthsea, appears in "On the High Marsh" to find the mad and dangerous mage he had driven from Roke Island. And in "Dragonfly," the closing story, a mysterious woman comes to the Roke School to challenge the rule that only men may be mages. "Dragonfly" takes place a few years after Tehanu and is the bridge between that novel and the next novel, The Other Wind (fall 2001). --Cynthia Ward


Darkrose and Diamond

In the west of Hanover, among hills forested with oak and chestnut, is the town of Glade. A while ago, the rich man of that town was a merchant called Golden. Golden owned the mill that cut the oak boards for the ships they built in Havnor South Port and Havnor Great Port; he owned the biggest chestnut groves; he owned the carts and hired the carters that carried the timber and the chestnuts over the hills to be sold. He did very well from trees, and when his son was born, the mother said, “We could call him Chestnut, or Oak, maybe?” But the father said, “Diamond,” diamond being in his estimation the one thing more precious than gold.

So little Diamond grew up in the finest house in Glade, a fat, bright-eyed baby, a ruddy, cheerful boy. He had a sweet singing voice, a true ear, and a love of music, so that his mother, Tuly, called him Songsparrow and Skylark, among other loving names, for she never really did like “Diamond.” He trilled and caroled about the house; he knew any tune as soon as he heard it, and invented tunes when he heard none. His mother had the wise woman Tangle teach him The Creation of Éa and The Deed of the Young King, and at Sunreturn when he was eleven years old he sang The Winter Carol for the Lord of the Western Land, who was visiting his domain in the hills above Glade. The Lord and his Lady praised the boy’s singing and gave him a tiny gold box with a diamond set in the lid, which seemed a kind and pretty gift to Diamond and his mother. But Golden was a bit impatient with the singing and the trinkets. “There are more important things for you to do, son,” he said. “And greater prizes to be earned.”

Diamond thought his father meant the business—the loggers, the sawyers, the sawmill, the chestnut groves, the pickers, the carters, the carts—all that work and talk and planning, those complicated, adult matters. He never felt that it had much to do with him, so how was he to have as much to do with it as his father expected? Maybe he’d find out when he grew up.

But in fact Golden wasn’t thinking only about the business. He had observed something about his son that made him not exactly set his eyes higher than the business, but glance above it from time to time, and then shut his eyes.

At first he thought Diamond had a knack such as many children had and then lost, a stray spark of magery. When he was a little boy, Golden himself had been able to make his own shadow shine and sparkle. His family had praised him for the trick and made him show it off to visitors; and then when he was seven or eight he lost the hang of it and never could do it again.

When he saw Diamond come down the stairs without touching the stairs, he thought his eyes had deceived him; but a few days later, he saw the child float up the stairs, just a finger gliding along the oaken banister. “Can you do that coming down?” Golden asked, and Diamond said, “Oh, yes, like this,” and sailed back down smooth as a cloud on the south wind.

“How did you learn to do that?”

“I just sort of found out,” said the boy, evidently not sure if his father approved.

Golden did not praise the boy, not wanting to make him self-conscious or vain about what might be a passing, childish gift, like his sweet treble voice. There was too much fuss already made over that.

But a year or so later he saw Diamond out in the back garden with his playmate Rose. The children were squatting on their haunches, heads close together, laughing. Something intense or uncanny about them made him pause at the window on the stairs landing and watch them. A thing between them was leaping up and down, a frog? a toad? a big cricket? He went out into the garden and came up near them, moving so quietly, though he was a big man, that they in their absorption did not hear him. The thing that was hopping up and down on the grass between their bare toes was a rock. When Diamond raised his hand the rock jumped up in the air, and when he shook his hand a little the rock hovered in the air, and when he flipped his fingers downward it fell to earth.

“Now you,” Diamond said to Rose, and she started to do what he had done, but the rock only twitched a little. “Oh,” she whispered, “there’s your dad.”

“That’s very clever,” Golden said.

“Di thought it up,” Rose said.

Golden did not like the child. She was both outspoken and defensive, both rash and timid. She was a girl, and a year younger than Diamond, and a witch’s daughter. He wished his son would play with boys his own age, his own sort, from the respectable families of Glade. Tuly insisted on calling the witch “the wise woman,” but a witch was a witch and her daughter was no fit companion for Diamond. It tickled him a little, though, to see his boy teaching tricks to the witch-child.

“What else can you do, Diamond?” he asked.

“Play the flute,” Diamond said promptly, and took out of his pocket the little fife his mother had given him for his twelfth birthday. He put it to his lips, his fingers danced, and he played a sweet, familiar tune from the western coast, “Where My Love Is Going.”

“Very nice,” said the father. “But anybody can play the fife, you know.”

Diamond glanced at Rose. The girl turned her head away, looking down.

“I learned it really quickly,” Diamond said.

Golden grunted, unimpressed.

“It can do it by itself,” Diamond said, and held out the fife away from his lips. His fingers danced on the stops, and the fife played a short jig. It hit several false notes and squealed on the last high note. “I haven’t got it right yet,” Diamond said, vexed and embarrassed.

“Pretty good, pretty good,” his father said. “Keep practicing.” And he went on. He was not sure what he ought to have said. He did not want to encourage the boy to spend any more time on music, or with this girl; he spent too much already, and neither of them would help him get anywhere in life. But this gift, this undeniable gift—the rock hovering, the unblown fife— Well, it would be wrong to make too much of it, but probably it should not be discouraged.

In Golden’s understanding, money was power, but not the only power. There were two others, one equal, one greater. There was birth. When the Lord of the Western Land came to his domain near Glade, Golden was glad to show him fealty. The Lord was born to govern and to keep the peace, as Golden was born to deal with commerce and wealth, each in his place; and each, noble or common, if he served well and honestly, deserved honor and respect. But there were also lesser lords whom Golden could buy and sell, lend to or let beg, men born noble who deserved neither fealty nor honor. Power of birth and power of money were contingent, and must be earned lest they be lost.

But beyond the rich and the lordly were those called the men of power: the wizards. Their power, though little exercised, was absolute. In their hands lay the fate of the long-kingless kingdom of the Archipelago.

If Diamond had been born to that kind of power, if that was his gift, then all Golden’s dreams and plans of training him in the business, and having him help in expanding the carting route to a regular trade with South Port, and buying up the chestnut forests above Reche—all such plans dwindled into trifles. Might Diamond go (as his mother’s uncle had gone) to the School of Wizards on Roke Island? Might he (as that uncle had done) gain glory for his family and dominion over lord and commoner, becoming a mage in the Court of the Lords Regent in the Great Port of Havnor? Golden all but floated up the stairs himself, borne on such visions.

But he said nothing to the boy and nothing to the boy’s mother. He was a consciously close-mouthed man, distrustful of visions until they could be made acts; and she, though a dutiful, loving wife and mother and housekeeper, already made too much of Diamond’s talents and accomplishments. Also, like all women, she was inclined to babble and gossip, and indiscriminate in her friendships. The girl Rose hung about with Diamond because Tuly encouraged Rose’s mother, the witch Tangle, to visit, consulting her every time Diamond had a hangnail, and telling her more than she or anyone ought to know about Golden’s household. His business was none of the witch’s business. On the other hand, Tangle might be able to tell him if his son in fact showed promise, had a talent for magery . . . but he flinched away from the thought of asking her, asking a witch’s opinion on anything, least of all a judgment on his son.

He resolved to wait and watch. Being a patient man with a strong will, he did so for four years, till Diamond was sixteen. A big, well-grown youth, good at games and lessons, he was still ruddy-faced and bright-eyed and cheerful. He had taken it hard when his voice changed, the sweet treble going all untuned and hoarse. Golden had hoped that that was the end of his singing, but the boy went on wandering about with itinerant musicians, ballad singers and such, learning all their trash. That was no life for a merchant’s son who was to inherit and manage his father’s properties and mills and business, and Golden told him so. “Singing time is over, son,” he said. “You must think about being a man.”

Diamond had been given his true name at the springs of the Amia in the hills above Glade. The wizard Hemlock, who had known his great-uncle the mage, came up from South Port to name him. And Hemlock was invited to his nameday party the year after, a big party, beer and food for all, and new clothes, a shir...

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 8818 KB
  • Nombre de pages de l'édition imprimée : 417 pages
  • Editeur : HMH Books for Young Readers; Édition : Reissue (4 mai 2001)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B003ZX86BO
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Format: Belle reliure
Et bien oui: c'est du Ursula K. Leguin tout craché. Et Earthsea (Terremer) c'est tout de même quelques générations avant l'école des sorciers de J. K. Rowling. Mais la dame se défend bien. Non seulement elle s'affirme un peu plus féministe (il était temps dans ces mondes !), mais elle prend un prudent, lent virage vers la gauche: il y a en a d'autres que la couche supérieure qui ont le droit de vivre, bouffer, et surtout d'ouvrir le bec.
Quant à la présentation: " Belle Reliure " ? J'ai tout de même autre chose dans ma bibliothèque que des bouts de carton plastifiés renfermant un papier gris, sur lequel une encre grisâtre ne présente qu'une (seule) illustration minable et un texte sans beaucoup de relief imprimé.
Naturellemnt: c'est plus cher, mais donne moi les Tolkien sur papier-bible, reliés pleine toile et en cassette.
Ceci n'est qu'un pocket " anobli ", qui ne vaut pas la différence avec un vrai poche.
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Par Un client le 23 septembre 2002
Format: Broché
J'ai acheté Tales From Earthsea pour les vacances et quelle bonne idée! Je ne me suis pas trompée. Ce recueil de nouvelles se dévore mais il vaut mieux être bon anglophone. Disons que c'est dans la lignée d'Harry Potter et du Seigneur des Anneaux: magie, sorcellerie, ambition, dépaysement, et amour. Dans ce dernier recueil, les nouvelles peuvent se lire indépendamment les unes des autres, elles n'ont aucun lien entre elles si ce n'est leur contexte (mais lisez tout quand même!). Si Harry Potter (les 4 tomes) et le seigneur des anneaux vous ont plu, n'hésitez plus!
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Commentaires client les plus utiles sur (beta) HASH(0x9563621c) étoiles sur 5 102 commentaires
55 internautes sur 60 ont trouvé ce commentaire utile 
HASH(0x955ea018) étoiles sur 5 Uncommodified Fantasy 29 mai 2001
Par James D. DeWitt - Publié sur
Format: Relié
In the 1970's, Ursula K. LeGuin took the fantasy and science fiction world by storm, bringing a genuinely literate voice and a deep knowledge of sociology and psychology to what was largely a man's genre. Her finest fantasy was "The Earthsea Trilogy," comprised of "A Wizard of Earthsea," "The Tombs of Atuan" and "The Farthest Shore." They are marvelous stories, and they hint at other, older stories and myths. In many ways, the world of Earthsea is as deeply conceived as any in fantasy.
In "Tehanu," a later book of Earthsea, she told us of some of the events that followed the events of "The Farthest Shore," and delved deeper into the mystery of dragons and the relationship between dragons and men. From the simple creatures fought by Sparrowhawk in "Wizard of Earthsea," they are revealed as increasingly complex and more interesting creatures by the end of "Tehanu."
In "Tales from Earthsea," LeGuin develops other themes and characters from the past and present of Earthsea. The tales are evocative, resonant and at once mythological and personal in tone. The reader will have an image of a LeGuin, with a larger volume in her lap, telling you the stories that catch her eye. You will sense there are many, many more stories to be told.
Readers new to Earthsea might do best by reading the books in order. While it's not required, you won't thoroughly understand the references to the Ring of Erreth-Akbe unless you have read the earlier books. The last short story, "Dragonfly," may bewilder you unless you have read "Tehanu."
At the end of the stories, there is a summary of the peoples, languages and history of Earthsea, modelled loosely on the famous Appendices to "The Lord of the Rings." I suppose the history consists of the stories that will never be told as novels or short stories, which is really too bad. The dry narrative of Erreth-Akbe, the greatest of Earthsea's heros, would have made a wonderful tale.
I was struck by LeGuin's subtle touches. The small cabin that was the summer home of Otter in the first tale, when the school of wizardry at Roke was founded, becomes the temporary home of Irian in the last story, which is set immediately following "The Farthest Shore." Roke Knoll, which always reveals things to be what they truly are, plays a role in the first and last tales, too.
In her delightful foreword, LeGuin warns us, "Authors and wizards are not always to be trusted: nobody can explain a dragon." Perhaps, but you can always trust LeGuin to entertain and enrich a thoughtful reader. And if anyone can satisfactorily explain a dragon, it will be LeGuin.
17 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x955ea474) étoiles sur 5 An armchair tour of Earthsea 18 avril 2001
Par dampscribbler - Publié sur
Format: Relié
LeGuin revisits Earthsea in this collection of five stories, each of which occurs at a different time and place in the world of Earthsea. The reader thus becomes more acquainted with the geography of the place, and comes to learn about the history of this magical realm. The book also includes 30 pages of "A Description of Earthsea," including Peoples and Languages, History, and Magic.
The first story in this book, "The Finder," describes the conditions under which the school on Roke developed. Other stories reveal trials and journies of various sorcerers through Earthsea's history. Each of the five stories is about heroism and humanity in a world that is both different than and very like our own. The stories engaged my imagination from teh beginning, and I immediately loved (most of) the characters I met. LeGuin's ability to draw sympathetic characters in situations that the reader can relate to just gets better as the years go on.
I was excited to discover that the endpapers of the book display a map of Earthsea drawn by the author. I have wanted a map of the area for years, and I know that I will use this map when I re-read the earlier novels.
And this book reveals news that will be welcome to all lovers of Earthsea: yet another novel is due out this Fall!
41 internautes sur 51 ont trouvé ce commentaire utile 
HASH(0x9535bbf4) étoiles sur 5 An Earthsea grab bag. 5 mai 2001
Par Alex - Publié sur
Format: Relié
"Tales from Earthsea" is an earthy, mature synthesis of "Tehanu" and the previous Earthsea books, with a hint of Tolkien's "Silmarillion" and a dash of Arthurian fantasy. Unfortunately, after turning the last page I was thoroughly underwhelmed. Gone is the wild freedom of vision, the vast, all-encompassing scope. LeGuin sets out to repopulate her world with sympathetic, influential women, but that world is a stifling, mundane place. Earthsea is no longer a mythical place close to heart, but a world in its own right: big, bleak, and routine. No longer does the reader associate him or herself with the mage hero - the stories in "Tales" take place in a world life-like enough to reduce the reader to a disembodied presence.
Intermittently I found myself staring at the page, wondering: where is the flowing prose? the masterful pacing? the lovely descriptions? The accessibility of the narrative has definitely taken a plunge.
In "Tales" LeGuin attempts to knit together her world's fractured past and present into a unified, continuous whole. She tries to accomplish this across five pieces of short story and novella length, some of them poetic, most not, generally middling quality as far as LeGuin goes. These tales are: "The Finder", about a finder mage called Otter who founded the school on Roke as a beacon of freedom in the dark time after the last king's death; "Darkrose and Diamond", about a merchant's son, who gives up his freedom in exchange for his inheritance and subdues his spirit, only to set it free in forbidden love; "Bones of the Earth", about Ogion the Silent, the fateful earthquake he calmed at Gont Port, and the one life it claimed; "On the High Marsh", in which the reader find out how abstract power can drive a man mad and how using that power to peaceful ends can restore him; "Dragonfly", about the masters of Roke divided against a wilful woman and how the men's language is not enough to name the fiery female spirit.
Of all the tales, only "Bones" and "Marsh" come anywhere close to the three original novels. Others meander and run overlong. Yet others are preachy. "Dragonfly" is a distillate of "Tehanu"; it also explains the direction LeGuin is taking her world in the upcoming novel (think back to "Tehanu's" enigmatic ending).
The addendum on Earthsea' history, culture, language, and magic is informative, but, again, offers little that a persistent reader will find worth knowing. All in all, "Tales" is even more out of place than the previous volume.
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x952adb04) étoiles sur 5 Growth and Illumination 21 janvier 2002
Par Patrick Shepherd - Publié sur
Format: Relié
Many authors are tempted to return to their early works in their later years. For most authors, this is a mistake. Not so with this set of five stories placed in the world of Le Guin's marvelous Earthsea. Each story provides a new illumination into what Earthsea is, its history, and the people that lived and loved within it.
The first story, "The Finder", is the longest, actually a novella, and for my money the best of the set. Here we find ourselves far back in the history of Earthsea, when wizard fought wizard as a matter of course, when magical knowledge was jealously guarded, when the average non-magical person lived in fear of what magic would visit them next. Otter, a half-trained wizard with a powerful skill for 'finding' whatever he looks for, falls on the receiving end of the worst of this mis-use of magic, forced to try and find mercury, the King of all materials, for a half-crazed older wizard. How he escapes from this imprisonment, and his search for a place where magic is taught freely, forms the bulk of this story, ending with his founding of the School of Wizards on Roke. In this story we find the same evocation of the magical, of balance between man and nature, of ambition tempered by internal morality, that so graced the original trilogy.
The second story, "Darkness and Diamond", has appeared elsewhere previously, but it deserves a second reading, being a beautifully told love story of a boy with conflicted desires between his wizardly talent and its concomitant requirement of chastity, and his love of music and a girl who shares his passions. A fine portrait of what is important in the business of living.
The third and fourth stories, "The Bones of the Earth" and "On the High Marsh", are comparatively minor stories, that never the less do a good job of filling in some of the history of Ged, showing his first teacher in his greatest wizardly act, and a mature Ged who can forgive and help heal a former Arch-mage.
The last story, "Dragonfly", has also appeared elsewhere, but it is a must read before tackling the latest Earthsea novel, The Other Wind. This is story that I think many fans of the series object to, as it details the heretical idea that women both can and should wield magical powers, that their power, based on the Old Powers, is just as valid as the complex hierarchy of talents embodied by the School of Wizards. Is this a change from the world of the first three novels? Certainly, but I think it is a change for the better, more fitting with the overall theme of balance that pervades the entire Earthsea universe. As Le Guin herself states in the forward, it has been a long time since the first books were written, and history and people move on, grow and develop, and this story exemplifies this very well.
For fans of the originals, this is a must book. For those who have never been charmed and captivated by Earthsea, now is the time to read the series in its glorious whole.
10 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x952ada44) étoiles sur 5 A near-perfect return to Earthsea 1 mai 2001
Par Joshua Burnett - Publié sur
Format: Relié
When I found Tales from Earthsea sitting on a bookstore shelf, I was thrilled. I had no idea it was coming out - and when I saw on the back cover that a fifth Earthsea novel was due out later in the year, I nearly did a dance for joy. Ursula LeGuin is a wonderful writer, and Earthsea is perhaps her greatest creation.
Needless to say, I came to this book with high expectations. I was not dissapointed. Every story is at least enjoyable. My personal favorites were "Darkrose and Diamond," a love story, and "Dragonfly," a story set after Ged's reign as Archmage - but I could easily imagine any of the five stories being someone's favorite. They're all wonderful, and althuogh they all deal with Earthsea, they're varied enough to appeal to different tastes.
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