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There is still Internet available. Surviving AIs maintain the network for people in exchange for data about the people. The AIs also maintain research, space infrastructure, probes launched to study the universe — all to the extent that it doesn't interfere with the ecosystem. Ursula K. Le Guin‘s Folk/Electronica Album Can Teach Us a Lot About Storytelling” by Erin Bartnett, Electric Literature (28 March 2018) Ursula K. Le Guin & Todd Barton. “A Teaching Poem”. Music and Poetry of the Kesh. Freedom to Spend, 2019. Bernard Selinger, " Always Coming Home: The Art of Living," in his Le Guin and Identity in Contemporary Fiction, University of Michigan Press, 1988, pp. 127-47. Significant Wardrobe Shift: A person starts wearing proper clothing (instead of just covering the essentials) at puberty, and dyed clothing upon taking on a sexual partner.
Patricia Linton, "The 'Person' in Postmodern Fiction: Gibson, Le Guin, and Vizenor," Studies in American Indian Literatures, Fall, 1993, pp. 3-11. Although Always Coming Home is innovative, there are connections between it and Le Guin's earlier work. She had begun to interpolate mythic and historical material into her narratives in both The Left Hand of Darkness (1969) and the Earthsea trilogy. She has also interwoven material from her knowledge of North American Indians in earlier works. Her idealized cultures, including the dream world in The Word For World Is Forest (1976) as well as the Earthsea trilogy, are pastoral, nontechnological societies. The Indian way of life is also depicted in the post catastrophic image of the western United States in City of Illusions (1967). The poem functions as the Hope of Pandora’s box. Pandora, in classical mythology, was a beautiful mortal endowed by Zeus with insatiable curiosity and told not to open the box given her, which, she soon learned, contained all the world’s evils. She looses these horrors of war, famine, pestilence, and greed, only managing to retain Hope at the bottom. Le Guin’s Pandora, too, feels responsible for the Hitlers, the atom bombs, the dead babies, but like that first Pandora, “giver of All,” Le Guin’s Pandora keeps Hope. This final poem connecting the Kesh to the present can, therefore, be viewed as Pandora’s Hope, Le Guin’s gift to a despairing world. A collection of essays on Le Guin's early fiction. Various methodologies, literary theories, and critical approaches are used. We Will Have Euthanasia in the Future: It is completely normal in The Valley, subject to proper discussion beforehand.
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Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; Hersh, George (1991). "The Making of Always Coming Home: A panel at Mythopoeic Conference XIX Berkeley, California, July 31, 1988". Mythlore. 17 (65): 56–63. ISSN 0146-9339. JSTOR 26812610. Submerged California, the setting of the book. The Old Straight Road is the SR 29, the Grandmother Mountain (Ama Kulkun) is Mount Saint Helena. Heyiya-if, a holy symbol for the Kesh. The Kesh aiha alphabet
Always Coming Home allows Le Guin to question not only her craft, but contemporary notions of progress. Le Guin pits the Kesh, who do not use technology and are successful, against the Condors, who insist on using technology and ultimately fail. Le Guin maintains throughout this novel that technology without a connection to the universe is meaningless. The Condors fail to produce a massive killing machine because the technology saturated culture necessary for such a machine does not exist. The Kesh succeed because they have put technology in balance with nature, making real progress. Awesome, but Impractical: The Dayao attempt to build a few airplanes as a Superweapon Surprise. In the Post-Peak Oil setting, they are forced to resort to biofuel production, and it turns out the whole food production of their city (built in a spot rather bad for agriculture at that) is insufficient to provide enough, even without accounting for, you know, the people's need to eat. Always Coming Home, was published in 1985 with an accompanying cassette tape on which we can hear the music, poetry and soundscapes of the Kesh. Le Guin asked her friend and composer Todd Barton to help turn her musical intuitions into compositions—“I began wanting to hear the music. I got a real yearning to hear the literature. I could hear the words, but I couldn’t hear the music. So I asked a composer friend, whom I had come to know and respect, ‘Would you write the music for a non-existent people?’”. Always Coming Home was germinated in 1983 when Ursula’s husband Charles took sabbatical from teaching. This enabled the couple to settle for some months at her family ranch “Kishamish”, in the Napa Valley. She had spent the summers of her childhood there, with her brother Karl and parents Alfred Louis and Theodora Kroeber, both anthropologists. As a child, two Native American friends of her father’s, also spent time with the family at “Kishamish”. Exposed to Native American Indian culture from a young age, thanks to her father’s friendship with Juan Dolores, a Papago, and Robert Spott, a Yurok, Ursula was well aware of California’s history and the depth and richness of its autochthonous cultures.Every Kesh child knew how to make a flute, and there seemed to be endless kinds of flute in the Valley, endblown and sideblown, with or without reeds, made of wood, metal, bone, and soapstone. […] By applying subtle pressure to the reed-holder the player could create stunning microtonal glides, and by sliding the fingers on and off the five holes could produce strange, piercing, wailing, birdlike tones.” (Attebery & Le Guin, 2019: 522)
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