Always Coming Home
||This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. (April 2011)|
|Always Coming Home|
First edition cover
|Author||Ursula K. Le Guin|
|Subject||California — Fiction|
|Published||1985 (Harper and Row)|
|Media type||Print (hardcover and paperback)|
|Dewey Decimal||813/.54 19|
|LC Class||PS3562.E42 A79 1985|
Always Coming Home is a novel by author Ursula K. Le Guin, published in 1985, about a cultural group of humans—the Kesh—who "might be going to have lived a long, long time from now in Northern California." (p. i) Part novel, part textbook, part anthropologist's record, Always Coming Home explains the life and culture of the Kesh people.
The book weaves around the story of a Kesh woman called Stone Telling, who lived for years with her father's people—the Dayao or Condor people, whose society is rigid, patriarchal, hierarchical and militarily expansionist. The story fills less than a third of the book, with the rest being a mixture of Kesh cultural lore (including poetry, prose of various kinds, mythos, rituals, and recipes), essays on Kesh culture, and the musings of the narrator, "Pandora". Some editions of the book were accompanied by a tape of Kesh music and poetry.
Pandora describes the book as a protest against contemporary civilization, which the Kesh call "the Sickness of Man". Pandora muses that one key difference is that due to cumulative genetic damage, the Kesh have a high infant mortality rate—there are many fewer of them than there are of us. They use such inventions of civilization as writing, steel, guns, electricity, trains, and a computer network (see below). However, unlike most neighboring societies, they reject government, a non-laboring caste, expansion of population or territory, disbelief in what we consider supernatural, and human domination of the natural environment. They blend millennia of human economic culture by combining aspects of hunter-gatherer, agriculture, and industry, but reject cities; indeed, what they call towns would count as villages now.
Literary significance and criticism
It has been noted that Always Coming Home underscores Le Guin's long-standing anthropological interests. The Valley of the Na [River] is modeled on the landscape of California's Napa Valley, where Ursula Le Guin spent her childhood when her family was not in Berkeley.
Like much of Le Guin's work, Always Coming Home follows Native American themes. According to Richard Erlich, "Always Coming Home is a fictional retelling of much in A. L. Kroeber's [Ursula's father] monumental Handbook of the Indians of California." There are also some elements retrieved from her mother's The Inland Whale (Traditional narratives of Native California), such as the importance of the number nine, and the map of the Na Valley which looks like the Ancient Yurok World. There are also Taoist themes: the heyiya-if looks like the taijitu, and its hollow center (the "hinge") is like the hub of the wheel as described in the Tao Te Ching. Additionally, in 1975, Le Guin described herself "as an unconsistent Taoist and a consistent un-Christian".
It is set in a time so post-apocalyptic that no cultural source can remember the apocalypse, though a few folk tales refer to our time. The only signs of our civilisation that have lasted into their time are artifacts such as styrofoam and a self-manufacturing, self-maintaining, solar-system-wide computer network.
Stone Telling's narrative may be seen as a return to the theme of The Dispossessed and The Eye of the Heron, in which a person from an anarchistic society visits an acquisitive government-ruled society and returns.
Box set and soundtrack
A box set edition of the book (ISBN 0-06-015456-X), comes with an audiocassette entitled Music and Poetry of the Kesh, featuring 10 musical pieces and 3 poetry performances by Todd Barton. The book contains 100 original illustrations by Margaret Chodos.
A stage version of Always Coming Home was mounted at Naropa University in 1993 (with Le Guin's approval) by Ruth Davis-Fyer. Music for the production was composed and directed by Brian Mac Ian, although it was original music and not directly influenced by Todd Barton's work.
- Original trade release (with cassette) 1985 ISBN 0-06-015545-0
- Mass-market Bantam Spectra paperback 1986 ISBN 0-553-26280-7
- Trade paperback from the University of California press 2001 ISBN 0-520-22735-2 (as part of a series of literature pieces set in California) - the book had been out of print for many years when this was released.
- Italian: "Sempre la valle", Mondadori, 1986
- Danish: "Altid hjem", Klim, 1990
- Serbian: "Stalno se vraćajući kući", Polaris, 1992
- Polish: "Wracać wciąż do domu", Prószyński, 1996
- Russian: "Всегда возвращаясь домой", Eksmo, 2005
- French: "La Vallée de l'éternel retour", Actes Sud, 1994, Mnémos, 2012
- Bernardo, Susan M. & Murphy, Graham J. Ursula K. Le Guin: A Critical Companion, (Westport, CT: Greenwood Press, 2006), pages 19-20.
- Le Guin, Ursula K. (1986). Always Coming Home. Bantam Spectra. p. 509. ISBN 0-553-26280-7.
- National Book Foundation, National Book Awards 1985, list
- Kafka Recipients
- Bernardo, Susan M. & Murphy, Graham J. Ursula K. Le Guin: A Critical Companion, (Westport, CT: Greenwood Press, 2006), page 19.
- Erlich, Richard D. (1997). "Always Coming Home". Coyote's Song: The Teaching Stories of Ursula K. Le Guin. The Milford Series Popular Writers of Today. Wildside Press. p. 247. ISBN 978-1-4344-5775-2. ISSN 0163-2469.
- Kroeber, Theodora (1963). The Inland Whale. Berkeley and Los Angeles: University of California Press. p. 10.
- letter responding the chapter about The Left Hand of Darkness in David Ketterer's book, New Worlds For Old: The Apocalyptic Imagination, Science Fiction, and American Literature, see Le Guin, Ursula K. (July 1975). "Ketterer on The Left Hand Of Darkness". Science Fiction Studies (SF-TH) 2 (6): 139.
- Review of the SF of Ursula K. Le Guin
- Review by Danny Yee
- History of an Imagined World Always Coming Home
- Official author book site