A Jungian Reading of The Hero's Journey in Le Guin's The Dispossessed

A Jungian reading of the heros journey in Le Guins
The Dispossessed
Ash Hibbert
A Jungian reading of the heros journey in Le Guins The Dispossessed
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http://acoldandlonelystreet.blogspot.com/
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Abbreviations..........................................................................................................................................4 Introduction ............................................................................................................................................5 Chapter 1: The Hero and the Shadow ................................................................................................8 Literary Active Imagination................................................................................................................9 Implications of Literary Active Imagination .....................................................................................12 Reconciliation with the Shadow .........................................................................................................15 Chapter 2: The Hero and Androgyny..............................................................................................19 Androgyny ..........................................................................................................................................19 Reconciliation with the Anima ...........................................................................................................21 Chapter 3: The Hero and their Community...................................................................................26 Vision and Truth ...............................................................................................................................27 Ego and the Unconscious..................................................................................................................30 The Community..................................................................................................................................34 Passing the Torch..............................................................................................................................35 The Spiral-Shaped Journey ...............................................................................................................37 Reconciliation with the Persona.........................................................................................................39 Conclusion.............................................................................................................................................44 Appendix - Synopsis ..............................................................................................................................45 Bibliography..........................................................................................................................................50 Primary Texts .....................................................................................................................................50 Works Cited........................................................................................................................................50 Works Consulted ................................................................................................................................52
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Abbreviations
Parenthetical page numbers refer to Le Guin, Ursula. The Dispossessed. London: Orion Publishing Group, 1999. CW refers to The Collected Works of C.G. Jung, vols. 1-22 edited by Sir Herbert Read, Michael Fordham, Gerhard Adler, translated by R.F.C. Hull. New York: Pantheon Books, 1953-<1991>
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Introduction
I will be using Jungian psychology to show how literature strongly relates to every day life, how Speculative Fiction is especially capable of helping facilitate psychic and social development, and how Ursula Le Guins novel The Dispossessed offers valuable insights to the human condition. The Dispossessed, as well as being Speculative Fiction, is about an individual. Le Guins essay on the importance of a realistic protagonist, Science Fiction and Mrs. Brown (Language of the Night 112), emphasizes how The Dispossessed, and all of its characters, grew out of a vision of a person. Le Guins adamant privileging of the individual in The Dispossessed makes it an ideal novel for an exploration of a model of personal development. Jungian Psychology will assist in reading The Dispossessed by focusing on the main protagonist, Shevek. While characters do not possess an unconscious or subconscious (Stiller 36; also see Holland Shakespearian Tragedy 207-17, and Holland Psychoanalysis and Shakespeare) they are the canvas that receives the projection of both the writer and readers ego - Shevek can thus be situated as the exclusive ego of the novel as he is the primary carrier of Le Guins unconscious personality (Cambridge Companion to Jung 256-7; see also Franz An Introduction to the Interpretation of Fairy Tales). This illustrates Le Guins particular investment in realistically developing Shevek. In spite of its shortfalls, Jungs psychology remains an authorized (CW 15 par. 133) and useful tool for feminist and non-feminist critics alike to read literature by (Lauter and Rupprecht 3). Robert Segal highlights that while Freud is useful to understand an individual in their early years, Jung is useful to understand the latter years (Jung on Mythology 8-9). While Sheveks infancy, childhood, and youth is highly relevant to his later development, it is only detailed in one of the novels thirteen chapters, thus providing far less material to work with compared to the rest of his life. The exclusion of Freud from an analysis of Shevek, then, is not from loyalty to Jung -Jungs theories are simply more pertinent.
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Jung and Le Guin also hold very similar views on personal development of the individual and it is in part due to their similarities that I will use an allegorical reading of The Dispossessed to illustrate Jungs views. Though this approach is but one of many possible ways of reading the novel and characters, I plan to demonstrate the success of a Jungian reading of Le Guins work even though Le Guin is not Jungian (Rochelle 31n.120). Rather, I intend to demonstrate that Le Guin, especially in light of The Dispossessed, shares similar views on the human condition with Jung. I will also briefly discuss Orson Scott Cards Enders Quartet, which also reflects views similar to Jung. Jungian psychology will also be useful as the mode of communication between Le Guin and mythologist Joseph Campbell whose model of the heros journey I will explore. Campbell preferred Jungs view on myth to Freuds because of Jungs view that the imageries of mythology and religion serve positive, life furthering ends, contrast to Freud who saw myths as errors to be refuted, surpassed, and supplanted finally by science (Myths to Live By 12-3). Yet while Segal describes Campbell as Jungian-oriented (Jung on Mythology 13) he is also described as too eclectic to qualify as a full-fledged Jungian (43). Campbell praises Jung rather than defers to him (125-6). Both Jung and Campbell attributing the origins of myth to Independent Invention, yet while Campbell saw the invention of myth arising through commonly shared experiences, Jung attributed myth to Independent Invention through heredity specifically through the inheritance of archetypes (Joseph Campbell 126-30). Moreover, like Jung, Campbell saw myth as revealing
The existence of a severed, deeper reality as a vehicle for actually encountering that reality [and] as a model for others. But where for Jung myth fulfills these functions even when its meaning remains unconscious, for Campbell myth works only when sages reveal its meaning. (131).
Campbell also saw myths as linking people to the cosmos, society, and themselves (131). Compared to Jung, Campbell is a transcendental mystic who preaches absorption in the unconscious while Jung is an immanent who preaches balance:
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neither rejection of the unconscious nor surrender to it (133). Since Pearson and Popes landmark Female Hero in American and British Literature however, Campbells Hero with a Thousand Faces has been less of an affirmative touchstone for the heros journey and more used as sport by Feminists. Pearson and Pope attempt to make up for Campbells poor representation of women in his model of the hero, but even their title suggests that the endeavor to find a model of the heros journey applicable to both men and women is far from complete. Jungs notions of androgyny and the contrasexual figure offer a remedy for the gender exclusivity of Campbell, Pearson and Pope, and thus it will be helpful in an attempt to include both men and women in a single model of the heros journey. Another shortfall of Campbell is the absence of a balanced, egalitarian relationship portrayed between the hero and their community. Campbell, while constantly privileging the hero and casting them as fitting to become tyrant of their world shows the hero as a timeless instrument of their community. Subsequently, I will endeavor to highlight ways in which The Dispossessed challenges Campbell, by providing models of relationships between individual and community, man and woman, based less on mutual use and more on mutual respect. Finally, a Jungian analysis of Shevek provides an illustration of Jungs concept of the Archetype of their personal characteristics, and of the unmediated relationship that can be formed between them and the ego.
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Chapter 1: The Hero and the Shadow

This chapter will, like those following, attempt to link literature with personal development. In this chapter, I will specifically be drawing from the Jungian practice of Active Imagination, and Jungs notion of the reconciliation with the shadow figure. The approach of this chapter is indicative of the trend in the latter chapters: to show Jungian psychology as useful in challenging conventional notions of, and approaches to, the heros journey. This challenge precedes a demonstration of how Shevek, as the vehicle of Le Guins Jungian-like sentiments, specifically illustrates the way that readers can live out that alternate model. Sheveks acts of reconciliation with the archetypal figures represented by some of the characters, which become the focus towards the end of each chapter here, are valuable as a literal model for readers own personal development. I will also highlight instances where The Dispossessed provides counter-examples where Shevek and other characters fall victim to possession by, and projection of, archetypal figures. Sheveks acts of reconciliation are also useful as a medium for the audiences own development - a potential that Appleyard suggests in school-age readers (14) and that I will suggest is available to all readers. While Appleyard condemns uncritical or precritical approaches to reading (2) his descriptions of what motivates lay-reading outside of academia highlights such readers yearning for relevancy (1). Though some of the subsequent strategies used by lay-readers to gain a sense of relevancy can be highly questionable (1) the desire to find meaning in ones life is of pure intent. Just as traditional literary criticism aims to help inform the dialogue that we establish between ourselves and a text (Novels for Students xi), so too does the spontaneous form of reader response endeavor to bridge a link between author and audience. Great novels force us to think about life, literature, and about others, not just about ourselves (xi). The question thus becomes whether a model of reader response that is personal, active, and encourages us to understand ourselves in the context of the world, can offer the same if not a greater wealth of insights compared to traditional literary criticism and help unlock the greatness of a novel.
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I believe that it can.
Literary Active Imagination

Speculative Fiction writers, in order to avoid fulfilling the Freudian opinion that all artists are undeveloped personalities with marked infantile autoerotic traits (CW 15 par. 156), need to go beyond writing fiction that is simply wet dreams (Le Guin Compass Rose 220). Le Guin navigates around the Freudian stereotype by considering the results of her creative processes to be Thought Experiments devices of the imagination used to investigate nature (Brown Thought Experiments). In the context of Speculative Fiction, the Thought Experiment is a case of detective work into our social and personal beings, compatible and comparable with Jungs concept of Active Imagination. Active Imagination is a Jungian term to denote a process of becoming conscious of deep, repressed childhood complexes, as well as developing orientating insights, using play (Chodorow 2). It is a method Jung developed to induce an active dialogue with the unconscious while in a waking state (Cambridge Companion to Jung 314). The process of Active Imagination involves two major stages:
In his discussion of the first step, Jung speaks of the need for systematic exercises to eliminate critical attention and produce a vacuum in consciousness It involves a suspension of our rational, critical faculties in order to give free rein to fantasy Jung speaks of the first step in terms of wu wei, that is, the Taoist idea of letting things happen In the second part of active imagination, consciousness takes the lead. As the affects and images of the unconscious flow into awareness, the ego enters actively into the experience. This part might begin with a spontaneous string of insights; the larger task of evaluating and integration http://acoldandlonelystreet.blogspot.com/ remains. In the German language, this is the auseinandersetzung [which is] usually translated as coming to terms
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with the unconscious. (Chodorow 10-11)
A classic example of the use of Active Imagination is the first recorded under that term, around Christmas 1912. It occurred when, after his break with Freud, Jung sought to bridge the distance from the present (Jung Memories, Dreams, Reflections 198) back to his childhood, in order to locate the cause of a disturbance in his dream life. Jung managed to create this bridge with pebbles he began collecting stones from the shore of a lake near his home, and used them to construct miniature buildings. This reenacted a childhood pastime and lead to the release of a stream of fantasies which [he] later carefully wrote down (199). Rowland, in C.G. Jung and Literary Theory draws strong comparisons between Active Imagination and reading:
Active Imagination involves the taking of an image from a dream or a cultural text and concentrating on it, so relaxing the conscious mind. The Jungian creative unconscious will then spontaneously erupt and guide fantasies Words on the page are one step removed from visual images. Reading a fiction will provoke mental images and these will be affected by the Jungian unconscious [thus] reading fiction promotes individuation. (196)
Rowland argues that reading helps excavate unconscious material and promote individuation. This process leads to a more conscious awareness of ones specific individuality, including recognition of both ones strengths and ones limitations (Cambridge Companion to Jung 316). Rowland argues that using literature to stimulate Active Imagination benefits both author and reader:
Writing fiction can also be absorbed into this model. If a writer is in contact with her creative unconscious, then her writing will again be part of her individuation because the unconscious will guide the psychic signifiers. The writing of art becomes an alchemic w(rite). (196-7)
I would like to follow Susan Rowlands lead from her discussion of Jungian theory and reader response (196-7), and suggest that the Speculative Fiction genre is
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specially suited to providing texts useful for facilitating Active Imagination. I will refer to the form of reading that combines Literature, and Active Imagination, as Literary Active Imagination. Speculative Fiction embodies Fantasy, which is a genre or mindset that as children we were used to because it involved using forms of play. Therefore, it is a suitable method for Active Imagination. A long-standing criticism of Speculative Fiction is that it is escapist, and in Literary Active Imagination, there is a degree of truth in this: the first stages of Active Imagination as outlined by Jung give the imagination free reign to allow the conscious mind to depart the conventions and restrictions of consensual reality. By practicing Active Imagination we re-enact our childhood, temporarily regressing to our childhood state, and re-experience the fears and anxieties that are the seed to our later complexes. However, since Jung stresses that Active Imagination involves reflecting on the resultant fantasy, we would then disengage from the process of play, and with the benefit of an adults vocabulary and understanding, objectively analyze what emotions moved through us, retrospectively nipping our complexes in the bud. The writer encouraging, and the reader allowing, a suspension of disbelief when they engage with a text is necessary in achieving Literary Active Imagination. The text would then need to be sufficiently remarkable for the reader to consider the moral and ethical implications in terms of their own lives, and thus gain new insights into both themselves and the human condition. Literary Active Imagination provides a model of fiction that prevents writing from cultivating neurosis in the author, and instead speaks from the mind and heart of the artist to the mind and heart of mankind (CW 15 par. 156), by attempting to connect peoples minds with their hearts. However, this is not to suggest that Literary Active Imagination would avoid neurosis entirely. Instead, as the first stage of Active Imagination suggests, neuroses would be given free reign to express themselves. The darkest, wettest dream that the author can imagine would manifest itself on paper. Yet what separates Literary Active Imagination from becoming selfindulgent writing is that the former allows an ambushing of the neurosis once it is out in the open. Once the neurosis is let be, the reader brings the social element
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into play, and they can then trace the neurosis back to its root. This process of temporarily surrendering to ones neurosis shares parallels with Jungs theory of releasing libido through regression:
It (regression) contains both the illness and the potential cure The ability to regress, particularly to go through and beyond childhood conflicts and trauma, is another of the psyches self-regulating mechanisms (Cambridge Companion to Jung 64; emphasis added).
Speculative Fiction can clearly help facilitate Active Imagination, and induce that childhood state, and because Speculative Fiction must encourage a suspension of disbelief, it can encourage a reevaluation of ones worldviews.

Implications of Literary Active Imagination

While psychological readings of texts can set out to illuminate the intentions, motives, and desires of the author, more often than not the critical process reveals many of the prejudices of the critics themselves. While Jung warns writers that the more personal idiosyncrasies in a creation the less it is a work of art (CW 15 par. 156), superimposing personal idiosyncrasies on a work can be as destructive as if the author had written them in, in the first place (par. 134). Critics can hypothesise what the author intended, yet only for the exclusive purpose of opening ourselves to alternative readings of the text. Writing, Jung suggests, can be an opportunity for the writer to achieve a greater awareness of himself or herself:
The creative urge which finds its clearest expression in art is irrational and will in the end make a mockery of all our rationalistic undertakings. All conscious psychic processes may well be causally explicable; but the creative act, being rooted in the immensity of the unconscious, will forever elude our attempts at understanding. It describes itself only in its manifestations; it can be guessed at, but never wholly grasped. (par. 135) http://acoldandlonelystreet.blogspot.com/
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Jung would find agreement in at least some writers, including Le Guin, who explains that rather than planning her fictitious universes Earthsea, she found it in [her] subconscious (Language of the Night 48):
I did not deliberately invent Earthsea. I did not think Hey wow islands are archetypes and archipelagoes are superarchetypes and lets build us an archipelago! I am not an engineer, but an explorer. I discovered Earthsea. (49-50)
Le Guins perception of her work as resulting from hidden depths within herself (4950), and Joan Didions explanation that I write entirely to find out what Im thinking what I want and what I fear, suggests that writers already (without the assistance of Jungian critics) appreciate the therapeutic value that their writing has for them. What remains is for the reader to come to a similar appreciation and to investigate the personal implications of the text, to achieve greater understanding of their own psyche, and thus to progress closer to an attainment of Self. Rather than using literary criticism to locate the mental status of the author, using Literary Active Imagination allows readers to find out what they themselves are thinking. The readers task is to explore a number of their own emotive reactions to a text, and then to try tracing those emotive responses back to their complexes. As Appleyard demonstrates, however, there are many different and equally valid reasons people read - from building an understanding of social conventions (reader as hero or heroine), to better perceiving the nature of existence (reader as thinker), to simply completing their English Major (reader as interpreter) (14). It may be overly demanding to request that the way people read is accelerated (17). As developmentalists would argue, an exploration of an individuals own inner world may be best left until the reader has firmly established a thorough understanding of their natural, social, and intellectual world. This, Appleyard suggests, is an undertaking available to the pragmatic reader an adult who reads outside of any institutional requirements. Appleyard describes how the adult reader
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May read in several ways, which mimic, though with appropriate differences, the characteristic responses of each of the previous roles: to escape, to judge the truth of experience, to gratify a sense of beauty, to challenge oneself with new experience, to comfort oneself with images of wisdom. What seems to be common to these responses is that adult readers now much more consciously and pragmatically choose the uses they make of reading. (15)
What I am very much interested in is a society that encourages people, at whatever age, to take charge of the way that they read specifically, to facilitate their own bibliotherapy and text-driven development. Being neither a philologist nor child psychologist it may be out of my jurisdiction to explore ways in which children could become readers that are more pragmatic. However, what comes across from Appleyard is that the different roles that readers take coincide with their environment the institution that the individual belongs to can regulate their capacity to engage in a text. Thus, suggestions of how to create a generation of young pragmatic readers would very likely be highly critical of those institutions. Instead of criticizing the schooling system however, I will limit my exploration to how adult readers could further their reading skills. Using Literary Active Imagination, readers could engage in a single text with the whole spectrum of roles that Appleyard outlines. Clearly, each role carries within itself great value for the reader, yet the full benefit of reading may only be attained through the capacity to play every role within a single session. While the pragmatic reader would appear to already possess this versatility, Appleyards description of the adult reader is of one who sets out to read a text with a set, and diluted, role. For instance, if an adult is to read Speculative Fiction with an escapist agenda, the philosophical implications of such a text would be lost. Also, even if they were to read a text as a thinker, their adult sensibilities would prevent them from an adequate suspension of disbelief required to fully entertain a new world outlook (17). The developmental model of the five roles taken by readers, outlined by Appleyard, shares strong parallels with the stages of Active Imagination. As they mature, the reader moves from a passive indulgence in fantasy that resembles wu
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wei, to a more active analysis of the social and philosophical implications of the text the auseinandersetzung stage. Within Literary Active Imagination, Appleyards description of the evolution of how people read texts can be integrated with Jungs process of Active Imagination, to create a model where a reader can undertake all four distinct roles in one sitting. Rather than reflecting on the cultural implications of a text however, they should focus on their own personal response. Engaging in a temporary, deliberate amnesia, the Jungian Pragmatic Reader would forget all sensibilities and preconceived notions of the texts genre, to read as player and hero(ine), and then to later reflect as thinker and interpreter.

Reconciliation with the Shadow

The goal of Active Imagination shares strong parallels with Jungs concept of reconciliation with the Shadow that is, unconscious aspects of the personality characterized by traits and attitudes which the conscious ego does not recognize in him- or herself (Cambridge Companion to Jung 319) that only becomes hostile only when he is ignored or misunderstood. (Man and his Symbols 182):
If the shadow figure contains valuable, vital forces, they ought to be assimilated into actual experience and not repressed. It is up to the ego to live out something that seems to be dark but actually may not be. (184)
In addition, as Whitmont writes:

What seems evil, or at least meaningless and valueless to contemporary experience and knowledge, might on a higher level of experience and knowledge appear as the source of the bet everything depending, naturally, on the use one makes of ones seven devils. To explain them as meaningless robs the personality of its proper shadow, and without this it loses its form. The living form needs deep shadow if it is not to appear http://acoldandlonelystreet.blogspot.com/
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plastic. Without shadow it remains a two- dimensional phantom, a more or less well brought up child. (238-9)
In Literary Active Imagination, the audience could undergo the process Jung referred to as the withdrawal of projections. Through the texts protagonists, the reader could reassume responsibility for those sins projected onto the protagonists Shadow at the point in which the hero recognizes the similarities between themselves and their nemesis (Hauge 76). This would allow the reader to adopt those characteristics most useful at that point in life (Cambridge Companion to Jung 319). Reconciliation with the Shadow can occur on a social scale (Wehr 61-2; Language of the Night 64) as well as on a personal scale, illustrated by Sheveks relationship with Pae, a fellow scientist on Urras. From Sheveks first night on Urras, Saio Pae maintains a subtle yet significant presence in Sheveks life. The first indication of the danger that Pae presents comes to Shevek directly as a warning: Pae isnt dangerous to you because hes personally slippery, Shevek. Hes dangerous to you because he is a loyal, ambitious agent of the Ioti Government (115). This recalls Campbells claim that the first opponent of the hero is the Patriot (Hero 389). Pae assists Sheveks transformation into a good Urrasti professor by taking him shopping for clothes (110), yet his next major appearance is much darker, when Shevek imagines seeing him at Veas party - He thought he saw Pae across the room, but there was so many faces that they blurred together Something dark turned over in Sheveks mind, darkening everything (189). This hallucination is very telling and appropriate because of Sheveks un-Odonian behavior. It is almost as if Pae is infiltrating Sheveks psyche, possessing him, and transforming him into an Urrasi. While at the party, Shevek becomes intoxicated, argues about the war, self-righteously explains the superiority of Odonians over A-Iotians, and attempts to force himself on Vea. The longer he spends on Urras, the more he becomes like Pae. His hallucinations of Pae represent the manifestation of his dark side, his shadow. A very telling remark of the bond between Pae and Shevek is when the latter muses
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He (Pae) had not done anything original, but his opportunism, his sense for where advantage lay, led him time after time to the most promising field. He had the flair for where to set work, just as Shevek did, and Shevek respected it in him as in himself, for it is a singularly important attribute in a scientist. (229)
The following morning, a hung-over Shevek realizes that Pae holds the key to the gracious prison cell he is in (229). Very soon, however, he begins to reflect on what he can extract from his prison warden:
He had come to Urras simply to meet Saio Pae, his enemy? That he had come seeking him, knowing that he might receive from his enemy what he could not receive from his brothers and friends, what no Anarresi could give him: knowledge of the foreign, of the alien: news (230)
This is a very important step according to Jung in the individuals reconciliation with the Shadow. Once Shevek has reconciled Pae, the shadow figure assumes a more benign form (Man and His Symbols 119), and he is able to forget about him. Le Guins decision to have Shevek abruptly and permanently reject Pae from his mind, may have been a result of her reading of the presence of benign animals in fairy tales:
Our instinct is not blind. The animal does not reason, but it sees. And it acts with certainty; it acts rightly, appropriately. That is why all animals are beautiful. It is the animal who knows the way, the way home. It is the animal within us, the primitive, the dark brother, the shadow soul, who is the guide When you have followed the animal instincts far enough, then they must be sacrificed, so that the true self, the whole person, may step forth from the body of the animal, reborn. (Language of the Night 67)
The alternative to reconciling with our Shadow is either to project our negative characteristics onto others, or to become possessed by the Shadow. The first four years that Shevek spends at Abbenay, for instance, sees Shevek under the control of his own Shadow a collection of antisocial tendencies, his opposite or wicked self, himself as self-hater and social rebel (Lauter and Rupprecht 101), embodied by the
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tyrant and parasite, Sabul. During those four years, Shevek lives in a room alone, considers suicide, and Bedap describes him as a revolutionary (147). Le Guin describes the destructive effect of being the controlled by ones Shadow in her essay The boy and his Shadow her commentary on Hans Christian Andersens 1847 fairytale The Shadow:
When the shadow returns to the man in middle life, he has a second chance. But he misses it, too. He confronts his dark self at last, but instead of asserting equality or mastery, he lets it master him. He gives in. He does, in fact, become the shadows shadow, and his fate then is inevitable. The Princess Reason is cruel in having him executed, and yet she is just. (Language of the Night 61)
Another text that features a protagonists allegorical anima (which I will later explore) and Shadow is in the Orson Scott Cards Ender Quartet, specifically the 1985 novel Enders Game. Ender Wiggin - the third child of a family in a futuristic society that allows only two children per couple out of a need for population control has two siblings: an older brother, Peter, and an older sister Valentine. In an endeavor to train a child to lead a fleet of starships in retaliation against an alien race, the military has its hopes set on Peter, the first-born. Peter however turns out to be too ruthless. The military turn their attention to the second born, Valentine, yet she turns out to be too compassionate. Still confident in Enders parents to raise a candidate warrior, the military permit Peter and Valentines parents to exceed the general quota of children and so they conceive Ender. Using the same allegorical reading of Enders Game as with The Dispossessed, Peter represents Enders shadow. To survive as a child, and a student at the battle school, he must take out all stops in order to hold his own, and he manages this by becoming increasingly like Peter. He does this to the extent of inadvertently killing two other youths in separate incidents while defending himself with excessive vigor in order to discourage further attacks.
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Chapter 2: The Hero and Androgyny

Chapter 1 The Hero and the Shadow suggested an approach to reading Speculative Fiction that adds to what might be exclusively an entertaining pass time into an important therapeutic process. Literary Active Imagination encourages readers to adopt a more disciplined approach to texts, where their emotive responses are deconstructed and a more detailed appreciation of the roots of their responses is developed. Using a similar process of introspection, empathizing with fictional and literal bearers of those characteristics that may otherwise be stigmatized can help readers develop themselves more fully, at the same time as humanizing and personalizing victims of their own prejudices. Chapter 2 The Hero and Androgyny suggests a similar method, whereby individuals can adopt characteristics of their opposing sex regardless of social gender notions.
Androgyny
Heilbrun defines Androgyny as a condition under which the characteristics of the sexes, and the human impulses expressed by men and women, are not rigidly assigned (x), while Stevenson suggests that like sublimity, psychic androgyny the only kind worth writing about is itself metaphysical, a transcendence of self and sex in a moment of total otherness and integration. (10) Androgyny has had an appeal for the Ancient Greeks (Plato The Symposium 59), the romantic poets The truth is, a great mind must be androgynous (Collected Works of Samuel Taylor Coleridge v.14:2; appendix H, par. 436) - and feminists from Woolf to the present. Pearson and Pope for example suggest that the females journey culminates in her ascension to androgyny:
Having discovered that she has within her both male and female attributes, the female hero discovers and affirms the full humanity obscured by traditional sex roles. She learns to be autonomous and to achieve without exploiting or dominating others; and she http://acoldandlonelystreet.blogspot.com/ learns
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nurturance that is not accompanied by a denial of the self. With the achievement of this unified vision, the hero is prepared to return to the kingdom and to enjoy a new relationship with the world. (218-9)
Woolfs Orlando: A Biography, which subscribes to a Social Constructionist view of gender, suggests a much more dramatic form of Androgyny than Jung, who subscribes to the Innate Difference view:
Different though the sexes are, they intermix. In every human being a vacillation from one sex the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what it is above. (121; emphasis added)
Sexual transformation, however, does not prevent the protagonist, Orlando, from returning to being a man she now controls her gender, not by anything as radical as transsexualism but simply transvestism, and thus enjoys the love of both sexes equally (141). Like Sheveks journey, Orlandos journey may also be symbolic so that Orlando, having realized that clothes wear us, wakes up one morning and resolves to put on the appearance of a woman, and changes sex as easily as she changes her clothes. The real change occurs within her mind, and reflects her own sexual ambivalence. Sexuality, Woolf appears to argue, is a poor indicator of what ones gender should be. Orlando and Jung concur that we can break free of the sex that we were born with and the gender that we may have grown quite used to after having it prescribed to us for so long, and find our own destiny, adopting both masculine and feminine qualities to suit our purpose. In isolation, and in their extremes, Orlando finds either gender to be worth contempt (101-02), and that the harmony of Androgyny is the preferable state. It is, both Jung and Woolf (205) argue, only through the reconciliation of all gender- related characteristics of an individual that a fusion of the self can be attained. In addition, just as Jung holds that only one who has reconciled their contrasexual figure can look upon a person of the opposite sex without projecting that contrasexual figure, Woolf suggests that it is only through assuming the gendered-perspective of the other sex that we can begin to come to
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understand, and forgive members of that sex (107). For those who find Woolfs analogous image of androgyny - two people (male and female) getting into a cab (Room of Ones Own 95) - more suggestive of inner conflict than of harmony or integration (Attebery 130), Jungs model for a relationship between the ego and the various psychic forces may be more appealing. With Jung, one deals with the unconscious (Joseph Campbell 130), neither surrendering to it nor rejecting it (133), deciding which features of the contrasexual figure and shadow one will draw from. This contrasts with Campbell whose highly phallocentric model for the heros journey involves atonement with the Father (Hero 130) at the cost of their identity and their respect for the inner and outer woman.
Reconciliation with the Anima

Jungs theory of the anima the feminine subpersonality of a male person, is part of his concept of contrasexuality that everyone has a biologically based oppositesexed personality derived from genetic traces of the other sex (Cambridge Companion to Jung 224). Jungs concept of contrasexuality suggests the potential of each sex to develop the qualities and aspects of its opposite through the process of individuation, allowing each sex to integrate its opposite at a time in life when reflection and personal creativity might be enhanced. (228) As noted by Wehr, Lauter and Rupprecht, however, Jungs concept of the contrasexual archetypes the anima and the animus which became an essential feature of his description of the differences between men and women (Wehr 8) and are pivotal to my reading of Androgyny in Jung and Le Guins work are not equally defensible. While Jung would have presumably formulated the concept of the anima from his own dreamlife, his explanation of the concept of the animus (CW 9:II, par. 27) is uncharacteristically deductive and conjectural (Lauter and Rupprecht 8). Since Jungs concept of the animus resulted from speculation, his concept of the anima is therefore more capable of holding up under scrutiny. Subsequently, in exploring
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androgyny using the theories of Jung, it is better to maintain the same perspective, albeit male, as Jung himself. This may mean that one can only use Jung to read male characters and their means to androgyny. Shevek is a thinker whose solitary existence heavily disillusions him. The demoralizing impact of Sabuls refusal to publish his work makes Shevek vulnerable to his long-absent mother who tempts him with a Faustian bargain. Jung recognized this meeting of negative archetypes as a complex-forming phenomenon:
As the male hero moves from the realm of the personal unconscious down into the collective unconscious, the shadow changes sex, merging alarmingly with his buried feminine self. The shadow and anima together form a powerful autonomous complex with Jung calls the dual mother or terrible mother. (Lauter and Rupprecht 102)
Rulag tempts Shevek to join the group that has learned to deal with people like Sabul by playing with them (104). She also offers the security and guidance of the motherchild bond. As Sheveks mother, she was the bearer of the first anima image for him (Rowland 34). Shevek refuses to join her yet his confrontation and subsequent victory over his terrible mother comes at a terrible emotional cost, and his decision will haunt him. As much as he attempts to rebel against her, he remains her legacy (132 and 147). After leaving the hospital, Shevek attempts to reconnect with the social organism. As he describes to Takver, his life has been a trackless, feckless, fuckless waste strewn with the bones of luckless wayfarers (150). His observation is a textbook example of Jungs theory that the person for whom thinking was the dominant function would eventually want to experience feeling and integrate that function into the personality (Lauter and Rupprecht 5). However, something is missing. Between his encounter with Rulag and Takver, Shevek attempts to reunite with humanity yet finally concedes that such an enterprise, for him, is doomed. This suggests that a willingness to change, to do right (130), is not sufficient. Rather, while we can decline possession by a malefic anima, it is only by bonding with our benevolent anima (Man and his Symbols
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188) that we can move on as much fuller people. The refusal to join Rulag allows Shevek to hear Bedap, the herald of his adventure, who arrives into his life briefly after his encounter with Rulag. Primed and receptive to change, he eventually encounters Takver, drawn to him many years ago by his eulogy for romantic love in a hedonistic society. Their conversation, four days into their hike together, suggests he has come to an appreciation of the limits of analysis and is attempting to balance Eros - the principle of likeness and relatedness (Rowland 15; see also Cambridge Companion to Jung 316)) - with Logos (Lauter and Supprecht 6). This suggests that he is ready for a reconciliation with his benevolent anima, and so Shevek and Takver make their bond (149), and Shevek is reborn (Lauter and Rupprecht 102). Read allegorically, Takver is Sheveks benevolent anima. Campbell and Rowland (228) refer to the forming of such a union between Ego and Unconscious, or Same with Other, as the Sacred Marriage, while Jung would describe the bond that Shevek and Takver form as the conunctio where male and female, conjoined symbolize the birth of the new self (Wehr 103). Sheveks discovery of Takver is the culmination of his coming to terms with humanity, and signifies discovery of his Eros. He has come to believe that he is, contrast to what he tells Gimar during the forestation project (44), a human being. Sheveks bond with Takver (152) allows him to become a father as well as complete his lifes work (231), and this is consistent with Emma Jungs description of the anima (Emma Jung 46). Takver is in this regards Sheveks Muse the unaccredited second author of his mathematical formulae. The sacred marriage also allows him to extract the most valuable qualities of his time spent under Sabuls shadow: The false starts and futilities of the past years proved themselves to be groundwork, foundations, laid in the dark but well laid (156). The growing pressure of conformity, and the centralizing of power that Bedap has witnessed on Anarres, gain a human face when Rulag returns to the scene as an antagonist of the Syndicate of Initiative in the PDC meeting (291), and attempts to intimidate Shevek into submission to the idea that majority rule and might makes right (296). Having overcome sufficient obstacles, Sheveks feminine element no longer appears as a dragon, but as a woman (Man and His Symbols 119).
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Campbell associates the dragon with Holdfast the generation immediately preceding that of the savior of the world (Hero 352). Rulag is both Sheveks wouldbe matriarch and the maintainer of the status quo. Shevek slays Rulag by telling her that No one who will not go as far as Im willing to go has any right to stop me from going (296), and then by traveling to Urras. In challenging Rulags authority over the Syndicate of Initiative, as well as over his own spirit, Shevek avoids possession by his malefic anima. He remains, as it were, Dispossessed. Instead, he attains unio mentalis the soul and the spirit are uniting (CW 14 par. 756). Considering that anima means soul, and animus means spirit, his Dragon Slaying suggests that his egos relationship with its anima is now cemented, and Shevek has thus attained androgyny. Cards sequel to Enders Game, Speaker for the Dead, highlights the importance of reconciliation with the anima. Here begins the enduring theme of the Quartet: our ability to share the universe. It is Enders life, after having inadvertently caused the xenocide of the alien race by the human fleet he led, which tests his ability to encourage others to coexist. His Live and let live attitude, Jung would argue, is attributable to his anima represented, in the Quartet, by Valentine. It is interesting to note that Valentine accompanies Ender in the settlement of the first extra-Solar planet, leaving Peter who dies of old age during his siblings inter-stellar journey during which, due to time dilation, they age but a few weeks. A Jungian reading of Enders journey is that though he is able to reconcile his Shadow, the challenge of his life will be to reconcile his anima. Jungs theories appear highly dedicated to the idea of an androgyny as a milestone of individuation. In the process of reconciliation with various archetypal figures, as demonstrated by Shevek in The Dispossessed, the hero should, for example regardless of their gender - assimilate their Shadow (a gender-neutral figure), their anima (their feminine qualities) if they are a male, and their animas (their masculine qualities) if they are a female. The Jungian hero strives for balance in their selfgendering. On the face of it, heroism is, within the Jungian framework, accessible for both men and women through an effectively identical course. Jungs theories
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factored in gender only so far as to counter societal-driven gendering, as he argued that the body intervenes in, but does not govern or determine, psychic identity (Rowland 36). Psychic identity can be as powerful a collective force against the attainment of Androgyny as the body. In The Dispossessed, political development during the Anarres chapters of the novel suggests a movement away from moderate Eros to extreme Logos a movement with strong parallels to a move from sexual equality to phallocentricism. Shevek, for instance, describes Anarresti society to the Urrasti socialists as having lost its idealism (114). We also see the personal consequences of this transition in the portrayal of Tirin, after he has been ostracized (270). Tirins description shares strong parallels with Wehrs portrayal of women as experiencing a death of the soul rather than physical death because of their internalization of societys patriarchal view of them (17). The cultural shift that takes place in Anarres suggests that within even a society that has transcended androcentricism and whose members select characteristics regardless of their sex, there remains the danger of masculine or feminine traits being privileged over the other. Anarrasti society does not specifically target men or women. Rather, those who hold a tendency towards either Eros or Logos counter to their peers (such as Tirin and Shevek who clearly demonstrate Eros through their high valuation of connectedness) come under attack. On Anarres it is as if sexism has transcended sex. Perhaps genderism would be a more appropriate term in its place.
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Chapter 3: The Hero and their Community

Chapter 2 The hero and Androgyny suggested a method by which individuals could adopt characteristics of their opposing gender regardless of societal gender notions. With similar Feminist sentiments, Chapter 3 The Hero and their Community suggests a path that individuals can take in their own journey where they value self- awareness over brute force. It is a journey where each experience compounds, rather than revamps, their knowledge base, where they can be reassured that their self- development benefits their peers as well as themselves, and where their biological and symbolic parents and children are valuable contributors to their lives. Non-Linear models of time and the Journey feature prominently in critical feminist work such as Jay Griffiths Pip Pip, and Le Guins Earthsea where Geds journey is constructed in the form of a long spiral (Language of the Night 51; see also Bittner 61). Campbells circular model of the adventure (Hero 245) has been adapted by Pearson and Pope in their construction of a key to the female heros journey. The circle has also immense significance for Jung. According to Jung the mandala, or circle, represents the Self: Jung refers to the mandala as the archetype of wholeness (CW 9:I par. 715) and the psychological expression of the totality of the self (par. 542). The object of the mandala is
the self in contradistinction to the ego, which is only the point of reference for consciousness, whereas the self comprises the totality of the psyche altogether, i.e. conscious and unconscious. (par. 717)
Jung also writes in his memoirs

The mandala is the centre. It is the exponent of all paths. It is the path to the centre, to individuation. Between 1918 and 1920, I began to understand that the goal of psychic development is the self. There is no linear evolution; there is only a circumambulation of the self. Uniform development exists, at most, http://acoldandlonelystreet.blogspot.com/
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only at the beginning (Memories, Dream and Reflections 222)
The shape of the mandala and Campbells key tacitly suggests that it is through a complete circumnavigation of the self that we can attain the Self. Yet sufficient differences exist between Jung and Campbell (Joseph Campbell) suggests that Campbell has misread or misrepresented Jung at numerous points in his development of a model for the heros journey. This chapter highlights how Sheveks journey is more in accord with Jungs model of individuation than Campbells model of the heros journey. This chapter will also attempt to show that Le Guins representation the heros journey challenges Campbells model of individuation. This chapter also formulates an adaptation of Campbells Key to the heros journey that adequately represent the structure and themes of The Dispossessed and related stories.
Vision and Truth

It is important to note that Shevek sees Takver a number of times at Abbenay before engaging with her. This most poignantly occurs after his confrontation with Sabul.
He thought about the Northsetting Institute and the party the night before he left. It seemed very long ago now, and so childishly peaceful and secure that he could have wept in nostalgia. As he passed under the porch of the Life Sciences building a girl passing looked sidelong at him, and he thought that she looked like that girl, what was her name, the one with short hair, who had eaten so many fried cakes the night of the party. He stopped and turned, but the girl was gone (99-100)
Clearly, Shevek requires the correct vision to be able to appreciate his benevolent anima. It is the growing of the third eye, marked in the case of Shevek by his encounter with Takver at the beginning of the hike into the mountains, which is the
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greater boon of the hero. For while traditional heroes such as those generally portrayed by Campbell in Hero appear concerned with gaining power to magnify their actions, authors of feminist models of the hero create characters who gain insight into the use of power they already possess. Rather than bigger muscles, Pearson and Pope concur; the hero female or male should strive for a broadening of their mind.
An exploration of the heroic journeys of women and of men who are relatively powerless because of class or race makes clear that the archetypal hero masters the world by understanding it, not by dominating, controlling, or owning the world or other people. Even works about privileged male heroes, especially works in the romantic or transcendental tradition, frequently express ambivalence about the macho ideal of heroism Ishmael (In Herman Melvilles Moby Dick) observes [Ahabs] arrogant and destructive behavior and learns from it, and his triumph ultimately comes not through attempting to control the world, but through understanding himself to be part of its natural processes. (4-5)
While male hero journeys are concerned with gaining strength through communion with an omnipotent god, female hero journeys are often about communion with an omniscient god. Through spontaneous ceremony and self-initiation rather than a heroic endeavor, we can achieve greater understanding of the ego and selfknowledge (Shorter 12). Gaining the third eye also allows us to meet the eyes of the other.
[Takver] had always known that all lives are in common, rejoicing in her kinship to the fish in the tanks of her laboratories, seeking the experience of existence outside the human boundary. Takver would have known how to look back at that eye in the darkness under the trees. (22)
Other characters who have balanced their gendered-characteristics also appear to have a significant respect, like Shevek (Rochelle 44), for truth. In A Long way from Verona, Jessica Vye is adamant about standing by her portrayal of her tea party,
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which a teacher accuses her of manufacturing. In Mononoke-Hime, Ashitaka a young champion with a strong sense of justice makes it clear to Eboshi Gozen that he will see with eyes unclouded. In Woolfs Orlando, three metaphysical figures, Purity, Chastity, and Modesty, visit the sleeping protagonist. However, trumpets blare forth The Truth and Nothing but the Truth, forcing the grieving personified virtues to retreat (86-7). This scene can be read that Orlando, who upon the cusp of waking up as a woman, is offered the choice of adopting the conventional attributes of a woman or, to remain faithful to who he is irregardless of sex, and continue being a poet: slayer of illusions. Both Woolfs Orlando (112) and Le Guins Shevek share a respect for the truth, for fidelity to their feelings, fidelity to their ideals, and a sense of a great-untold truth. Upon Orlandos marriage, she becomes conscious that it is no longer proper for her to be a poet If one still wished, more than anything in the whole world, to write poetry, was it marriage? She had her doubts. (173). Yet Orlando propels herself forward into writing - or truth telling and this becomes the antidote to the social expectation that she be a properly married woman. This is similar to Shevek trying to find harmony between his writing and his relationship with Takver: Although [Takvers] existence was necessary to Shevek her actual presence could be a distraction. (156) Shevek also demonstrates the feminist privileging of perception over power through his process of overcoming Pae, his Shadow rather than picking something up and throwing it after Pae (228) after finding that he has been restricted to the University grounds, Shevek considers what he can best extract from Pae. Of the above texts mentioned, Orlando specifically suggests a strong correlation between Androgyny and fidelity to the truth. An individual who has attained psychic androgyny needs to have lost the sense of shame that would otherwise allow socially prescribed notions of gender to influence their selfperception. Instead, they need to value above all things their own perception to recognize that the emperor has no clothes on and, perhaps, that he is in fact a woman.
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Ego and the Unconscious

While the majority of those on Anarres share strong similarities to a Campbellian model of the journey finite and closed Shevek appears comparable to the Jungian model of individuation, asserting and developing his own ego rather than allowing his ego to abandon itself to the unconscious. The advantage of the ego is its mobility the ego is the subject of consciousness It is the ego that leaves behind the world of everyday consciousness and discovers the new world of the unconscious (Segal 19). It is his strong ego that allows Shevek to travel from Anarres to Urras, and back again symbolically, to rise and fall through strata of consciousness, to be master of the two worlds and have freedom to pass back and forth across the world division (Hero 229). The strength of Sheveks ego also drives his journey to individuation, on Anarres as well as Urras, causing him to live nomadically, dwelling only briefly at any one place or with any one group. While for Campbell, the effective annihilation of the human ego was accomplished and society achieved a cohesive organization (390)
The Jungian ideal is the establishment of a balance between the ego and the unconscious: just as the ego should not sever its ties to the unconscious, so it should not abandon itself to the unconscious. The ego gets supplemented, not replaced, by the self. Indeed, the ego remains the center of consciousness. (Segal 19-20)
The Self the totality of the psyche (Cambridge Companion to Jung 318) makes up for a deficiency in the ego. In the process of attaining selfhood then, the ego compounds rather than revamps. Le Guins Four Ways to Forgiveness expresses this sentiment in the context of truth.
I have seen a picture, Havzhiva went on. Lines and colors made with earth on earth may hold knowledge in them. All knowledge is local, all truth is partial No truth can make another truth untrue. All knowledge http://acoldandlonelystreet.blogspot.com/
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is a part of the whole knowledge. A true line, a true color. Once you have seen the larger pattern, you cannot go back to seeing the part as the whole. (160)
Havzhiva is referring to truth, using the analogy of a mandala that he has seen, to a tribal elder the Chosen - who fears that the move towards equality across the sexes will mean the end of all their tradition and cultural identity. Havzhiva grew up in an isolated, highly spiritual community only to find that beyond the lands of his town existed the cities of an intergalactic civilization whose ancestral roots he shared. Therefore, his reassurance to the Chosen is from the heart the future will not negate the past but rather supplement it. In reference to Havzhivas approach to reconciling his personal experiences, parallels can thus be drawn between Jungs attitude towards the endurance of the ego, and Le Guins development of her hero protagonists, be it Havzhiva or Shevek. The heros epiphanies on their path of self-discovery and self- development do not negate but rather enhance their prior self. Jungs respect for the continuity of the ego, as demonstrated above, should reassure Wehr that Jungs path of individuation does not endanger women whose egos are already underdeveloped because of patriarchal intimidation, and are tacitly and explicitly discouraged from gratifying their own needs or seeking fulfillment of their own desires. (100-1) Sheveks symbolic deaths are an effective method of simulating the experience of ego- annihilation, and subsequently personal growth, without an actual surrendering of the ego. Living and dying through his admirable peers proves to be an effective means for Shevek to develop himself. In watching the people he cares for die or suffer, he is, in Jungian terms, watching the sacrifice of his hero ideal:
If a man has a good brain, thinking becomes his hero and, instead of Christ, Kang, or Berson, becomes his ideal. If you give up his thinking, this hero ideal, you commit a secret murder that is, you give up your superior function. (Jung Analytical Psychology 48) http://acoldandlonelystreet.blogspot.com/
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Jung explains that the sacrifice of the hero ideal is necessary

In order that a new adaptation can be made; in short, it is connected with the sacrifice of the superior functions in order to get at the libido necessary to activate the inferior functions (48).
Each death that takes place in The Dispossessed causes Shevek immense suffering, yet each leads to an awakening and retrospection - as Shevek explains to Takver, The way to see how beautiful life is, is from the vantage point of death. (158) In these symbolic deaths that mark the achievement of his maturity (Man and His Symbols 123), he is able to reflect upon and judge the earlier stages of his life, such as Gvarabs memorial service when he criticizes himself for the three years hes wasted at Abbenay (135). At each death, there is a rebirth, both in Shevek and through Shevek - considering that the recounting of the air accident during the forestation project and his deduction that suffering is inevitable deeply influence Takver and Bedap (54). The most significant and visible symbolic death that takes place in the novel occurs during the early stages of the forestation project. Shevek is frustrated that mindless labor claims the time that otherwise could be occupied by intellectual work. Yet in the forestation project, he is able to engage his physical self: building up his strength, connecting with rage, understanding the nature of suffering and rejection, as well as becoming well versed in sex, are all the benefits that develop from ceasing to waste his brain on code-messages and his semen on wet dreams (49). His inferior functions proceed to serve him well later by helping him avoid being the subject of Takvers contempt (154). Moreover, it is by moving away from his overly intellectual (48) childhood friends, and connecting with a woman and his planet, that he is able to start to coherently form an idea of what he wants to research and study. The murder of Sheveks higher-functions resumes however when Takver and he split up during the drought: the expectation at Elbow is that he will not stop to think what it means to be fed while another is not, and to ignore those dying around him. His sense of compassion is being murdered by his community (Analytical Psychology 48). While he tolerated the earlier death of his heroic ideal because of
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how proud you felt of what you got done this way, all together what satisfaction it gave (43-4), he walks away from Elbow because he is being asked to give up too much in return for too little. This point marks the beginning of his attempts to break free of the unconscious. The Anarresti, by refusing to return, indicate that they have surrendered to the unconscious - in this case, the collective unconscious often demonstrated during the Anarresti chapters. Maedda, a young woman in Old Town on Urras, shows that Anarres is the site of the dissolution of the ego: Do you know that when people here want to wish each other luck they say, May you get reborn on Anarres! (243). Too often, Maeddas perception is an accurate reflection - the Anarresti, having been absorbed into the group mind the collective unconscious - do not think for themselves. Segal notes the appeal of dissolution.
The strongest temptation is the prospect of returning to ones original state: the state of absorption in the cosmos The temptation is to surrender oneself to it and thereby to lose the responsibility entailed by individuality. (19)
Sheveks first trip into space illustrates this temptation, where death becomes synonymous with dissolution.
He was clearly aware of only one thing, his own total isolation. The world had fallen out from under him, and he was left alone. He had always feared that this would happen, more than he had ever feared death. To die is to lose the self and rejoin the rest. He had kept himself, and lost the rest. (9)
Shevek describes the Anarresi as sons born in exile, (76) denoting that their collective journey is incomplete. If Shevek were to fail to acknowledge his roots and return to Urras, and then back again to Anarres, it would mean [his] utter failure, not his success: it would mean his failure to break free of the unconscious. (Segal 21)
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The Community
As impressive as the parallels between Campbells key and the mandala are, however, it is difficult and indeed impractical to consider the hero in isolation from their community. Sheveks journey, as Rochelle notes, embodies many other people.
Shevek is on a Quest like the traditional monomyth heroes. But he is seeking a double grail, which intertwines the personal and the public, the scientific and the social. (44)
Sheveks journey is a cultural event. He redeems his world, as Campbell would explain, by virtue of being a hero yet he also actively participates in his societys mythology by playing the Prison Guard, the Beggarman, and finally enabling Ketho to play the Capitalist. Firstly, this highlights that Shevek is continuing Tirins work, which emphasizes the hero as role. It is at Elbow that Shevek takes the torch from Tirin (269), because Tirin himself is no longer capable of carrying it. Shevek leaves his post and reunites with Takver not only out of refusal to write lists of who was fed and who did not he leaves because he sees how the social organism had destroyed his childhood friend. By taking the torch from Tirin and traveling to Urras, Shevek is myth building adopting the figure of the Beggarman and, like a contemporary actor with an ancient script, re-interpreting that figure and recasting the mold. The symbolic and vicarious deaths experienced by the hero, illustrate that Shevek is living through his community, taking their deaths personally the same blood that runs through his ammari runs through him. Shevek is also an expression of his community. Though he travels solo, his journey is a collective project with the community traveling inside him. While on Urras, for instance, Shevek thinks of Rulag, Sabul, and Takver in terms of their virtues and vices. He wishes he had the empathy of Takver when he sees the horse; looking into a mirror, he realizes how much he looks like Rulag when he puts on a suit; he acknowledges that his socially encouraged single- mindedness at the A-Io University is reminiscent of Sabul; and he sees that Oiies interaction with his children and wife is almost identical to
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Sheveks interaction with his own children (123). Reading this allegorically, these cases collectively suggest that Shevek carries with him the archetypal figures read literally, they suggest that Shevek is carrying the essence of his community within him. Sheveks reconciliation and assimilation of the Beggarman, and the anima and shadow archetypes also indicates the heros ability to draw from the collective unconscious the wellspring of his peoples culture. Shevek may be eternally egotistical, thinking always of the right of the individual to self-determination (295), and travels to Urras in order to do the work that he cannot do while on Anarras, yet his journey, driven by self-interest, helps cross-pollinate the two planets. Thus, he facilitates both his personal growth and the growth of his community. In contrast to Campbells closing words in Hero with a Thousand Faces, it is society that guides and saves our creative hero Shevek the last glimpse we have of Shevek is not of him experiencing the silences of his personal despair (391) but celebrating his imminent return to Anarres as a whole being (319). Rather than carrying the cross of the redeemer (Hero 391), Sheveks hands are empty, as they had always been (319).
Passing the Torch

After concluding his quest, Campbells hero appears obliged to slay his father (Hero 349), contradicting the necessary stage of Atonement with the Father (130). Campbell fails also to provide a reason for having faith in a father who could just as easily be a Bluebeard (Estes 43) as compassionate guardian, just as easily a Sabul as a Palat, and just as easily a product of Urras as Anarres. Campbells argument can teach us that the hero must be constantly constructive or else become destructive (Hero 338n.21) when insufficiently engaged. What sets the lasting hero apart from the demon is the practice of creativity. The hero can ensure that they do not succumb to stasis, entropy, and decay (see Sullivan), which are sustainable only through cannibalism (Hero 337), by taking on a student to
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guide and not possess.

Not only does the child need a mentor as a role model of the virtues that he or she hopes to activate from the unconscious, but the adult also benefits from the nurturing relationship that allows him or her to get in touch with promptings of the unconscious. [Through the mentorship] Children may cultivate their underdeveloped faculties of introversion, sensation, and, thinking, while adults may discover their latent potential for extraversion, intuition, and feeling. (Byrnes 43-56)
This occurs with Sheveks relationship with Ketho: upon his journey on the Terran starship to Anarres, the story no longer concerns Shevek. He is a Senex a person of any age who is at the end of a developmental process (Levinson 211). His journey has finished, and anothers is yet to begin: that person is Ketho, Sheveks new apprentice, or Peur - a person of any age who is at the start of a developmental process (211). Kethos fate is to try Anarchy out for himself and so he descends into the underworld of Anarres, turning Sheveks world of innocence into the world of experience. Shevek, as a mentor-figure, appears in Kethos life where insight, understanding, good advice, determination, planning etc. are needed but cannot be mustered on [his] own resources (Jung Archetype 216). While Ketho will take Shevek down to Abbenay Space Port in the landing craft (315), Shevek will become his guide the moment that Ketho steps onto Anarres. A culture that values a system of mentoring, by ranking spirit guide figures higher than heroism, encourages individuals to adopt an apprentice and become teachers (Rochelle 109) and helps avoid the appearance of the nemesis: the fully grown hero (Richie). If the protagonists journey is structured, as Le Guin does, so that they become spirit guides instead of an Ogre, a vicious cycle of successors to would-be Ogres slaying their infanticidal fathers may be broken. Just as Shevek is mentored, albeit briefly, by his father, Palat, who introduces to him the logarithm tables (30) so too does Shevek act as mentor and guide to Ketho, the Hainishman, to Anarres and its culture. Palat provides the first step to Sheveks quest to break through barriers, to reconnect with his past - while Shevek provides for Ketho, and the whole of the
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Hainish league the chance for a future (287). This need is highlighted by Le Guins inversion of Byrnes stereotype of the introverted elder and extraverted youth in the mentorship of the forty-year old Shevek and the thirty year-old (315) Ketho: Shevek laughs, while it is Ketho, indicative of his race the Hainish, who is old before their time (Byrnes 48). Yet just as Shevek passes the torch to Ketho, so too does Shevek receive the torch from Odo, the philosophical founder of Anarres, who becomes the focus of Le Guins prequel to The Dispossessed in the short story The Day before the Revolution. Shevek is the word of Odo made flesh (244), and his presence on Anarres can be said to represent Odos metaphysical journey to the moon. Yet he is also Odos son, born in exile, yet opting to make a kind of return and so his journey to Urras completes Odos journey. An additional journey is available for inclusion considering that Odo did more than simply initiate the Odonian movement which is realized through the settlement on Anarres, but lived her own life parallel to the discontents in Omelas. It is also necessary to recognize the sacrifices Odo makes: her period in prison where she produces the work that subsequently becomes the elixir of her followers, the loss of her husband, and her stroke (Le Guin Winds Twelve Quarters 301).
The Spiral-Shaped Journey

The proposed model for the heros journey that follows embodies the idea that the communitys heroism is a single strand that runs through the ages, yet made up of individuals attaining Selfhood. This key, shaped like a spiral, portrays heroism as a role adopted by individuals of each generation, with each individuals journey being both a continuation of their communitys previous hero, and a prelude to the subsequent hero. The spiral key is open, outward looking, and suggests an interdependent relationship between the generations of heroes. Odo and Ketho are important in including in a representation of Sheveks journey as they reflect the
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important role that the inter-generational, and even interplanetary and interstellar community plays in enabling Sheveks self-realization. Including Ketho also highlights the important role that accepting apprentices plays in offering an alternative to Campbells argument that heroes are required to usurp their fathers throne, and in time to be usurped themselves by their heir. The presence of Odo and Ketho as participants in the same narrative as Shevek, however, raises issues regarding subject-position from whose position is the story to be told when one persons underworld is another persons home? (This is an important consideration in The Teachings of Don Juan, which highlights the lack of distinction made by a Native American shaman, between consensual reality and the supernatural realm, or Le Guins The Word for World is Forest, where the indigenous people of an exploited planet do not privilege waking over dreaming.) Because of Tirins observation on the hill that Our earth is their Moon; our Moon is their earth (37), and the challenge to view Sheveks life on the planet of Anarres as Odo living on her planets moon, both Shevek and Kethos journeys could be said to take place in their respective underworlds. Consequently, Campbells horizontal line strictly delineating the threshold of adventure is redundant. The spiral key will include a marking of the times in the individuals life spent immersed in the unconscious realm, or within the unconscious, yet since Jung, unlike Freud, refused to privilege the ego over the unconscious, the location of the heros journey into the underworld will not be specifically located in the underside of the spiral. Lack of closure is a narrative feature of The Dispossessed as well as a thematic feature, with Sheveks emphases that the revolution must have no end, lest it never have started (185). Presence of arrows at head and tail of the spiral, suggesting infinite extension in either direction, draws attention to this openendedness. It is tempting to set up players in a discourse as binaries - for example Freud versus Jung in Psychology, or Campbell versus Pearson and Pope in Comparative Mythology. Yet it is by no means reasonable to separate the intertwined histories of
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the above critics. Just as Jung rebelled against Freud, Pearson and Pope rebelled against Campbell, and the remnants of the predecessors legacy live on in the reactionary results of the rebellion. To argue that Jung and Campbell are at opposite ends of the spectrum in regards to portrayals of the egos journey towards Self is appealing yet faulty. Instead, Campbell has created a dual-product of Jung and Freuds schools of Psychology. Likewise, though it would be satisfying to proclaim that Pearson and Popes hero has matured to fit in to the twenty-first century, the truth appears to resemble more that Pearson and Pope have created a model of the female hero that accommodates the narratives of female characters and to balance out Campbells phallocentric model of the hero. The structure of the heros journey remains circular only the heros gender has changed to protect the critics who fear to venture into a territory of androgynies.
Reconciliation with the Persona

In The Dispossessed, there are three noteworthy attempts by Shevek and his peers while on Anarres to reconnect publicly with their cultural and archetypal roots. In Jungian terms, this takes place through the deliberate, calculated, and temporary assumption of a persona, or public mask. The first is when Shevek and his friends enter the mindset of a prison guard with Tirin and Givesh when they lock up Kadagv (31-7), and then Shevek insists that they release him not out of respect for Kadagv but out of respect for himself. This experience informs the rest of Sheveks life, explaining his phobia of locked doors, and his desire to pull down the invisible walls separating people and races. The second is when Tirin dresses up as the Beggarman at Sheveks farewell party, crying Bay me, bay me for just a little money (51). The third is when Tirin goes on to extend his stage skills in isolation, producing a satirical play about a capitalist coming to Anarres. (269) Shevek personally and consciously rejects imprisonment and scapegoating
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for himself by playing the prison guard. In Jungian terms, Sheveks actions could be read as reviving latent archetypes in order to discard them. He sees his cultures past, acknowledges it, and turns away, never needing to return; when given the opportunity to go to the decommissioned prison that held Odo on Urras, he declines, knowing what a prison cell was like. (75) Tirin is, by contrast, adventurous in his experimentation of theatre, and unlike Shevek, makes his findings (as he plays on the edge of Anarresti culture) public: writing and performing the play of a capitalist coming to Anarres. This play actively and verbally satirizes the Anarresian fear of invasion a fear that remains unvoiced in the novel except by those who wish to play on racism, such as Rulag. Tirins play mocks the notion that Abbenay could be effectively invaded and Odonian society undermined. As Bedap comments in the PDC meeting, having an open door policy with Urras says to the Urrasti and to themselves that they are strong enough to face the capitalists as equals (293). Yet Tirins attempt to reinforce his peers sense of community strength and integrity comes is received as an insult and he is subsequently ostracized. This suggests that as well as myth being a medium for a culture to express its repressed nature (Knapp 7) and for that repressed nature to be resurrected, it is also an opportunity to reconcile with our shadow, to name our dark side, our forgotten or misinterpreted history, and our fears. Moreover, having named our Shadow we can subsequently control it. Shevek has the fail-safe within him since the prison-guard playacting, that will prevent him from ever tolerating luxury and comfort at the expense of another, while Tirins play begins to bring down walls, reassuring the Anarresi that they need not fear their home planet. Yet the practice of persona-assumption by Shevek takes on a more serious tone, and the stakes become bigger, during his time on Urras. While as a child on Anarres Shevek is trying to fit in with the demands of society, on Urras he is using play as a means of assimilating the world, making sense of their experience in order to make it part of [himself] (McMahon 2). In going to Urras, Shevek re-enacts Tirins play-acting of the Poor Urrasti, the Beggarman (51). Shevek appears to be attempting to recapture the fun and playfulness of youth but not relating completely
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to his own youth. Instead, he is trying to resurrect the Tirin that he knew when they were both nineteen years of age. The level of energy that both Tirin and Shevek possessed in their late teens is in sharp contrast to their state preceding Sheveks departure to Abbenay Tirin is broken by the reaction to his play (270), and Shevek (301) is working towards regaining the level of independence he possessed as an 18 year old Uninfluenced by others (51). He is pretending to be Tirin pretending to be an Urrasi. By calling himself the Beggarman, Shevek is able to think as an Urrasi. Shevek experiments: he tries meat; he tries alcohol; he tries shopping; he tries being a tourist; and he tries to initiate an affair. Each attempt fails but it is in this playacting, this attempt at empathy, that he comes closer to both his racial Shadow and his personal Shadow. While on Urras, Shevek begins to adopt the characteristics of the negative figures on Anarres for instance, while studying furiously in his room at the University It occurred to him that he was getting to be like Sabul possessive and secretive. A psychopathy on Anarres was rational behavior on Urras (229). And He scowled at the touch, straightened up, and turned away form the mirror; but not before he had been forced to see that, thus clothed, his resemblance to his mother, Rulag, was stronger than ever (111).
Shevek accumulates money, clothes for himself, chocolates for Vea, color photographs for Pilun (173), and the scraps of paper with theory written on them. Each experiment concludes with a reflection on the value of each of the exercises: he takes what he can from the experience, and rejects the rest. Having played the Beggarman, he tacitly repeats Tirins words Bay me! Bay me! (51) - And he is bought. An aspect of his play therapy on Urras is pretending that he both imagines and practices being in control (McMahon 2), which he eventually learns is not the case They owned him. He had thought to bargain with them, a very nave notion (225). Yet it is an illusion that serves its purpose, allowing him to leisurely experiment with being an A-Iotian. The University in A-Io becomes a playground provided to him by the parent-like
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government to protect (him) from intrusions from the outside world (McMahon 2). When Shevek realizes that the game he is playing is a deadly political one, he is able to break out of the playground. In addition, just as he earlier accumulates objects, he begins surrendering them. When he escapes from his room and the University by taxi, he leaves all the clothes except those he is wearing. He runs into a drunken beggar and gives him all the money he has. We can assume that he gives the scraps of paper to Keng to transmit to all of the Ekumen, and on the Terran space ship on the way to Anarres he laments that he does not have the photo of the sheep with him (319) to give his daughter. He gradually strips himself until all he has are empty hands. This is in contrast to Atro who says to Shevek regarding the League of Worlds, We should come in like noblemen, with a great gift in our hands. (120) Sheveks time on Urras, and the fact that he returns to tell his tale challenges the Anarresi myth of the Beggarman. Shevek proves that Anarresi can travel to Urras and return as an Anarresi, unconverted. Though the A-Iotian government manages to own him, this is temporary (225). Unlike the Poor Urrasti of Anarresi mythology that Tirin plays (51), Shevek does not go to Urras with the intention to sell himself, for them to bay him. When Shevek asks himself, Having locked himself in jail, how might he act as a free man? (225), he is clearly revoking his self-appointed role as the Beggarman, and has changed back to the more familiar role of the Anarchist. Tirins case, on the other hand, highlights the importance of being able to distinguish the ego from the persona, in order to avoid persona possession. When an individual lives out the communitys Shadow, he or she becomes the canvas on which the community members project their collective dark side the receiver of Shadow projection. Tirin falls victim to the temptation to play the victim, or Scapegoat, and consequently he is sent off into the wilderness. Shevek, having shed the mask of the Beggarman, escapes the University. His subsequent journey to Joking Lane (239) is a trek into history, into aged depths symbolically into A-Ios aged unconscious: in Old Town, the shops and people are run- down; the guide to his destination is the owner of a Pawnshop (241) selling used goods; and the refuge from the riot-police is in a basement under a used-furniture
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store (245). Shevek here is reminiscent of Euripides play The Bacchants, where a personified Dionysus walks the streets of Thebes, a city whose anima is unintegrated [having been] rejected by the ruling conscious order (Knapp 6) the side hidden from Shevek by his keepers. Yet he himself has been incapable of entering the mazelike corridors of A- Ios old capital until now, for the labyrinth represents the unconscious and only a highly developed individual can make their way through (Man and His Symbols 118). That Shevek finds the representative of the Syndicates and Socialist Workers in Joking Lane suggests that the Urrasi psyche is still in the Tricksters stage, still immature but striving to ascend to some greater level of self (Man and His Symbols 103; For more information on the Trickster figure, refer to CW 9:I par. 456-88). During and after the rally, Shevek is involved in and privy to an internal dialogue with the mind of the A-Iotian capital. During the rally there is singing (246); Shevek speaks (247-8); the helicopters come shouting the meaningless word (248); a protestor writes DOWN in broad-smears of blood (249) later the word was washed off the wall but it remained; it had been spoken; it had meaning. From the basement, hiding from the police, Shevek hears Soldiers giving orders to each other (251). Finally, there is silence a silence of death (253). This dialogue is between A-Ios conscious (the owners) and unconscious (the people of Old Town). When the unconscious attempts to speak out coherently, a shout silences it instantly. Shevek escapes from the capital and seeks refuge in the moat-girt Terran Embassy (277). Since Water is the commonest symbol of the unconscious (Archetype 18), the crossing of the moat marks the end of Sheveks journey into his unconscious, which began when he and Takver made the bond beside the running river (149). Sheveks life work is complete and he is free to return home.
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Conclusion
Literary Active Imagination implies an introspective, psychological reading of a text, where our role is to use the text as a mirror to ourselves, rather than a window into the author. This suggests a new mode of literary criticism that surrenders any desire of understanding the mind of the writer, and leaves the literary critic with the task of using the text to understand themselves. I encourage an approach to reading that is receptive to characteristics of protagonists and themes of the text that do not abide by existing conventions such as those offered by Campbell. In the analysis of how The Dispossessed encourages a reevaluation of the monomyth, I show that Le Guins romance of Jungian and Feminist concepts is able to transcend Campbell. It is my hope that I have presented a model of the heros journey that can accommodate female and male heroes equally, and inspire men and women to equal degrees. I also encourage criticism of strongly thematic fictional texts to focus on the schools of thought that are known to have strongly inspired, or can be seen to strongly resemble, the ideas pertaining to the author of the fictional text. By showing a school of thought at work, we can gain a better understanding of the ideology. A benefit of a Jungian reading unexplored in these pages is an analysis of the process of male projection of notions of womanhood and the feminine onto women, as well as female projections of notions of manhood and the masculine onto men. Yet more pertinently and outside the Jungian mind-space, is that the notion of projection and possession provide us with a rewarding inside perspective of how a man, Jung, and his male and female followers, the Jungians, perceived, explained, and rationalized gender as patriarchal subjects. Whether Jungs theories are archaic or not, a reading of the Jungian or Jung-like features of a novel highlight how his ideas have permeated modern writing, and have had a lingering influence on views on human nature.
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Appendix - Synopsis
While it is my hope that my arguments within these pages do not require a thorough understanding of The Dispossessed, I have provided the below synopsis of Le Guins novel for where my intentions have not translated into reality. For the sake of clarity, the following synopsis of The Dispossessed will be presented in the chronological order of Sheveks life, rather than the actual order of the chapters that alternate between Sheveks early life on Anarres with the period he spends on Urras in his later life. However, the original structure carries immense dramatic importance by allowing a constant juxtaposition between features of the two societies. A novel that utilizes a very similar structure to the juxtaposition in The Dispossessed between Urras and Anarres, is Marge Piercys 1976 utopian text Woman on the Edge of Time. This novel follows Connie Ramos incarceration at a mental hospital, where she sporadically blacks out and inadvertently astral-projects herself into the future amongst the members of a Utopian community. These juxtapositions help highlight the inadequacies of contemporary forms of helping people find psychic harmony. In the present, a society that assumes the right to fix Connie misdiagnoses her and locks her up. The people of the future society, however, attaches no stigma to psychological imbalance instead, the peers of those who proclaim themselves mad provide them with the time and support to engage in what appears to be a vision quest to heal them.
Chapter 2 (25-54)
A baby sits in a nursery cot. The father Palat confers with the matron, explaining that the mother, Rulag, has accepted a job on Anarres capital Abbenay leaving the child with Palat. As the father and matron watch on, the child refuses to allow another baby to experience the warm column of light he has found in the centre of the room earning him a chastisement from the matron, and he is moved away from the warm light. The enraged, propertarian infant subsequently burst into tears. This is Shevek our hero.
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Four boys, including Shevek, Tirin and Bedap, aged in their mid-teens, seek refuge from the suffocating presence of women on a hill beside the Northsetting Regional Institute. Above them floats the sister-planet, Urras. The night before Shevek is due to depart to Abbenay to further his studies, his classmates hold a party in his honor. Touched by the number of people who turn up, there is great merriness, small instances of gluttony, performances, and reflection. Tirin, Bedap, Shevek, and Takver now just a woman with a crumb on her chin discuss suffering. Brotherhood Shevek argues Begins in shared pain. Where does it end? another asks. However, he cannot answer yet.
Chapter 4 (78-105)
At the Institute in Abbenay, he finds the truth of the warning from his former lecturer that his Physics supervisor will try to possess him: Sabul claims credit for the work that Shevek writes, and censors what he doesnt like. This leads to a quiet confrontation where Shevek brings to light the hypocrisy of Sabul. His (Sheveks) gentleness was uncompromising; because he would not compete for dominance he was indominitable. While Shevek wins the battle against Sabul, he departs aware that he has lost the war. Dismayed, he marches back to his dorm in the rain. He passes Takver, yet she disappears before he can call out her name. The following day, after a night of torturous fever, he drags himself to the local clinic to be diagnosed with pneumonia. There, after recovering, he meets Rulag, the mother, and she gives him a tempting invitation: to gain, from her, the skills and resources necessary to play against Sabul in his own game. Yet, fiercely loyal to the memory of his late father, and for himself both deserted by Rulag he declines, and is left to his own sorrow, and loneliness.
Chapter 6 (129-59)
After rejecting Rulag from his life, and finding his profession dissatisfying, Shevek attempts to make a connection with others - concerts, work groups, social groups,
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academics, the opposite sex. Bedap appears (131) - catalyst to his adventure. Shevek begins to awaken. Shevek meets Takver on a hike; they fall in love, and soon move in together.
Chapter 8 (194-223)
The drought is likely to last for several more years. With Takver drawn to the coast with the child Sadik, Shevek tries to continue his physics research. Against Sheveks clear conviction of the value of his work, however, Sabul ejects him from the institute. Cast adrift, Shevek leaves the city to join the growing effort to help alleviate the pressures of the drought, unaware of when he will again see his family.
Chapter 10 (254-76)
After running into his childhood friend, Tirin, broken by the social organism and working as a janitor, Shevek abandons his post and reunites with his family. They have been apart for four years yet the bond is as strong as ever. Soon the drought is over, yet the mood of self-sacrifice remains. Power, which had slowly centralized on Abbenay and the PDC, has settled there. Shevek, Bedap and others form the Syndicate of Initiative to publish otherwise censored work, and set up a radio station with the Urrasi. With growing antagonism directed towards Shevek, those around him are suffering the fall out including Sadik, the child. Thus, Takver and Shevek accept her back into their fold, aware that if those close to them receive love from them, they must also receive pain through them.
Chapter 1 (5-24)
To continue his life work, Shevek boards a rocket to Urras, leaving his family behind. The culture shock is significant. He is the first person from Anarres to land on Urras in almost two hundred years, and becomes a celebrity. A room, and a job, awaits him at the Ieu Eun University.
Chapter 3 (55-77)
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Shevek is a babe in the woods. Several Urrasti Physicists meet with him, including Saio Pae, Atro, Chifoilisk, and Oiie, who are more than a little disappointed that he has no written notes on his theories that they believe will allow instantaneous travel. He begins a period as a tourist yet he is lonely, and homesick.
Chapter 5 (106-28)
Shevek begins lecturing and developing his theory. He goes shopping with Pae an experience that horrifies Shevek. Chifoilisk the foreign Physicist and agent to his government in Thu approaches Shevek and invites him to return with him to his homeland. Shevek declines, knowing that as much danger he is in at the University of being co-opted, it is also where he can do the most good. He learns from Atro the xenophobia that the Urrasi hold towards the Hainish and Terran off-world visitors. From dinner with Oiie and his family, he discovers a redeeming quality of the Urrasi, and a feature that the Anarresi share with them love of family.
Chapter 7 (160-93)
Shevek receives an enigmatic message from Urrasi dissidents pleading that he assists their like-minded cause. He meets Oiies sister, Vea, and they form a friendship of sorts. But the bubble is beginning to burst for Shevek civil war breaks out in the nation of Benbili, and the internal-pressure is mounting on Shevek to take a political stand. Shevek spontaneously leaves the university and travels to the city, hoping to make contact with the underclass. However, frustrated by his separation from the proletariat, he resorts to contacting Vea, and they spend the day and evening together. Their conversations are enlightening for both, yet at a party hosted by Vea things begin to fall apart Shevek gets drunk, falls into a heated debate with some of the other guests, misreads Veas flirtations as an invitation (with disastrous consequences), and throws up over the finger food.
Chapter 9 (224-53)
Shevek wakes up with an immense hang over, and deep shame, back at the
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University. Pae informs him that with the governments recent decision to become involved in the civil war in Benbili means that Sheveks will be restricted to the University grounds. Shevek has a brainwave in regards to his theory, and spends the next few days in a state of intense contemplation, followed by an epiphany that sees his formula complete. With the help of his manservant, he escapes from the University and heads to Old Town, where many of the politically active proletariat is located. He writes articles in protest against the government involvement in the civil war, and later speaks at a rally. Armed helicopters open fire on the crowd, and there is a massacre. Shevek escapes, helping a severely wounded protestor. They find refuge from the riot-police, who are shooting to kill, in a dusty basement. There, the protestor eventually bleeds to death.
Chapter 11 (277-89)
Wanted by the A-Io government for his part in the workers demonstration, Shevek finds refuge in the Terran embassy
Chapter 13 (313-9)
And safe passage back to Annaras on the Hainish Interstellar, Davenant. Since his departure to Urras, the Syndicate of Initiatives has grown but so too has the resistance to it. This does not dissuade Ketho, the ships second officer, who asks to accompany Shevek back to the planet of anarchists. Shevek accepts Kethos request. Later that night Shevek stands alone in the Davenants gardens, twenty minutes before he begins his descent back to Annaras. He thinks of Takver, of Saleb, of Pilun and Bedap, and with empty hands, watches the Cetian sun rise above the ocean.
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Press, 1976. Harper, Mary Catherine. Old West-New West: Centennial Essays. Moscow: University of Idaho Press, 1993. Harris, Daniel A. Androgyny: The Sexist Myth in Disguise. Womens Studies 2 (1974): 171-84. Hauge, Michael. Writing Screenplays That Sell. Ringwood: Penguin, 1989. Heilbrun, Carolyn G. Writing a Womans Life. New York: W.W. Norton and Company, 1988. Hillman, James. Archetypal Psychology: A Brief Account. Dallas, Texas: Spring Publications Inc., 1983. Holland, Norman. Shakespearian Tragedy and the Three Ways of Psychoanalytical Criticism. Psychoanalysis and Literature. New York: Dutton, 1964. ---. Psychoanalysis and Shakespeare. New York: Octagon Books, 1976. Hooks, Bell. Feminism Is for Everybody. Cambridge MA: South End Press, 2000. Howard, Barbara, ed. Old West-New West: Centennial Essays. Moscow: University of Idaho Press, 1993. Ireland, David. Woman of the Future. Ringwood, Melbourne: Penguin, 1979. Jackson, Rosemary. Fantasy: The Literature of Subversion. London: Methuen, 1981. Jensen, Jan Lars. Shiva 3000: A Novel. London: Macmillan, 2000. Jong, Erica. What Do Women Want? London: Bloomsbury Publishing, 1999. Keulen, Margarete. Radical Imagination: Feminist Conceptions of the Future in Ursula Le Guin, Marge Piercy and Sally Miller Gearhart. New York: Frankfurt am Main, 1991. Knapp, Bettina L. Machine, Metaphor and the Writer: A Jungian View. University Park: The Pennsylvania State University Press, 1989. Kurosawa, Akira. Seven Samurai (Shichinin No Samurai). Ed. Akira Kurosawa: Cowboy Pictures, 1954. Laozi. Tao Te Ching: A Book About the Way and the Power of the Way. Trans. Ursula K. Le Guin. 1st ed. Boston: Shambhala, 1997. Le Guin, Ursula K. Always Coming Home: A Novel and Archaeology of the Future. First published in the USA 1985 by Harper & Row, Publishers, Inc., New York. London: Victor Gollancz, 1986. ---. City of Illusions. First published in Great Britain by Victor Gollancz Ltd 1971. London: Granada Publishing, 1973. ---. The Eye of the Heron & the Word for World Is Forest. London: Victor Gollancz, 1991. ---. The Lathe of Heaven. First published in Great Britain by Victor Gollancz Limited 1972. http://acoldandlonelystreet.blogspot.com/
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Frogmore, St Albans, Herts: Panther Books, 1974. ---. The Left Hand of Darkness. 25th Anniversary ed. New York: Walker, 1994. ---. Planet of Exile. Copyright 1966; Originally published by Charter Communications, Inc. London: Victor Gollancz, 1979. ---. Rocannons World. Originally Published in the United States by Ace Books, Inc., 1966. London: Universal-Tandem Publishing Co, 1972. ---. The Telling. London: Gollancz, 2000. ---. The Other Wind. 1st ed. London: Orion Childrens Books, 2001. ---. Tales from Earthsea. London: Orion, 2002, c2001. Lessing, Doris. Marriages between Zones Three, Four and Five. London: Harper Collins, 1994. Lewis, Sinclair. Babbitt. New York: New American Library, 1961. Mair, Victor H., ed. Experimental Essays on Chuang-Tzu. Honolulu, HI: Center for Asian and Pacific Studies, University of Hawaii: University of Hawaii Press, c1983. McLuhan, Marshall. Understanding Media: The Extension of Man. New York: New American Library, 1964. McMahon, Linnet. The Handbook of Play Therapy. New York: Routledge, 1992. Mitchison, Naomi. Memoirs of a Space Woman. Copyright 1962; First NEL Paperback Edition April 1977. Science Fiction Master Series. Ed. Brian Aldiss and Harry Harrison. New York: Berkley Publishing Group, 1973. More, Thomas. Utopia. Trans. Paul Turner: Penguin, 1965. Morris, William. News from Nowhere. New York: Harper, 1953. Murdock, Maureen. Heroines Journey Workbook. Boston: Shambhala Publications, 1998. Nietzsche, Friedrich. Beyond Good and Evil: Prelude to a Philosophy of the Future. Trans. Michael Tanner. Ringwood: Penguin, 1990. Noble, Kathleen. Sound of a Silver Horn. New York: Fawcett Columbine, 1994. Pearson, Carol. Womens Fantasies and Feminist Utopias. Frontiers: A Woman Studies Journal.2, no. 3 (1977): 50-61. Perera, Syliva Brinton. Descent to the Goddess: A Way of Initiation for Women. Toronto: Inner City Books, 1981. Phelps, E.J. The Maid of the North: Feminist Fairy Tales from around the World. New York: Henry Holt and Company, 1981. Pipher, Mary. Reviving Ophelia. Mooreband: Transworld Publishers, 1996. Pomeroy, S.B. Goddesses, Whores, Wives and Salves. New York: Schocked Books, 1975. http://acoldandlonelystreet.blogspot.com/
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A Jungian Reading of The Hero's Journey in Le Guin's The Dispossessed

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A Jungian reading of the heros journey in Le Guins

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Chapter 1: The Hero and the Shadow

A Jungian reading of the heros journey in Le Guins The Dispossessed

I believe that it can.

Literary Active Imagination

A Jungian reading of the heros journey in Le Guins The Dispossessed

with the unconscious. (Chodorow 10-11)

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Implications of Literary Active Imagination

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Reconciliation with the Shadow

In addition, as Whitmont writes:

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Chapter 2: The Hero and Androgyny

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Reconciliation with the Anima

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Chapter 3: The Hero and their Community

Jung also writes in his memoirs

A Jungian reading of the heros journey in Le Guins The Dispossessed

only at the beginning (Memories, Dream and Reflections 222)

Vision and Truth

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Ego and the Unconscious

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Jung explains that the sacrifice of the hero ideal is necessary

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Passing the Torch

A Jungian reading of the heros journey in Le Guins The Dispossessed

guide and not possess.

A Jungian reading of the heros journey in Le Guins The Dispossessed

The Spiral-Shaped Journey

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

Reconciliation with the Persona

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed

A Jungian reading of the heros journey in Le Guins The Dispossessed