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Le Guin read both classic and speculative fiction widely in her youth. She later said that science fiction did not have much impact on her until she read the works of [[Theodore Sturgeon]] and [[Cordwainer Smith]], and that she had sneered at the genre as a child.<ref name="Paris Review" /><ref name="earlyinfluences" /> Authors Le Guin describes as influential include [[Victor Hugo]], [[William Wordsworth]], [[Charles Dickens]], [[Boris Pasternak]], and [[Philip K. Dick]]. Le Guin and Dick attended the same high-school, but did not know each other; Le Guin later described her novel ''[[The Lathe of Heaven]]'' as an homage to him.{{sfn|Spivack|1984|pp=2–3}}<ref name="Paris Review" /><ref>{{citar web|data=25 de maio de 2017 |título=A Wizard of Earthsea: Reader's Guide – About the Author |url=http://www.neabigread.org/books/awizardofearthsea/readers04.php |arquivourl=https://web.archive.org/web/20120414201640/http://www.neabigread.org/books/awizardofearthsea/readers04.php |arquivodata=14 de abril de 2012 |website=The Big Read |publicado=National Endowment for the Arts}}</ref><ref>{{citar periódico|data=25 de julho de 2014 |título=Ursula K. Le Guin: Still Battling the Powers That Be |url=https://www.wired.com/2012/07/geeks-guide-ursula-k-le-guin/all/ |urlmorta= não|periódico=[[Wired (magazine)|WIRED]] |arquivourl=https://web.archive.org/web/20141111162517/http://www.wired.com/2012/07/geeks-guide-ursula-k-le-guin/all/ |arquivodata=11 de novembro de 2014 |acessodata=11 de novembro de 2014}}</ref> She also considered [[J. R. R. Tolkien]] and [[Leo Tolstoy]] to be stylistic influences, and preferred reading [[Virginia Woolf]] and [[Jorge Luis Borges]] to well-known science-fiction authors such as [[Robert Heinlein]], whose writing she described as being of the "white man conquers the universe" tradition.<ref name="LA Times 2009">{{citar jornal|último =Timberg |primeiro =Scott |data=10 de maio de 2009 |título=Ursula K. Le Guin's work still resonates with readers |obra=[[Los Angeles Times]] |url=http://www.latimes.com/entertainment/news/arts/la-ca-ursula-leguin10-2009may10,0,1005055.story |urlmorta= não|acessodata=5 de junho de 2012 |arquivourl=https://web.archive.org/web/20120307204243/http://www.latimes.com/entertainment/news/arts/la-ca-ursula-leguin10-2009may10,0,1005055.story |arquivodata=7 de março de 2012}}</ref> Several scholars state that the influence of mythology, which Le Guin enjoyed reading as a child, is also visible in much of her work: for example, the short story "[[The Dowry of Angyar]]" is described as a retelling of a [[Norse myth]].{{sfn|Spivack|1984|pp=2–3}}{{sfn|White|1999|p=71}}
 
The discipline of [[cultural anthropology]] had a powerful influence on Le Guin's writing.{{sfn|Spivack|1984|pp=4–5}} Her father Alfred Kroeber is considered a pioneer in the field, and was a director of the [[Phoebe A. Hearst Museum of Anthropology|University of California Museum of Anthropology]]: as a consequence of his research, Le Guin was exposed to anthropology and cultural exploration as a child. In addition to myths and legends, she read such volumes as ''The Leaves of the Golden Bough'' by [[Elizabeth Grove Frazer|Lady Frazer]], a children's book adapted from ''[[The Golden Bough]]'', a study of myth and religion by her husband [[James George Frazer]].<ref name="Salon Profile">{{citar web|último =Justice |primeiro =Faith L. |data=23 de janeiro de 2001 |título=Ursula K. Le Guin |url=http://www.salon.com/2001/01/23/le_guin/ |urlmorta= não|arquivourl=https://web.archive.org/web/20121103163715/http://www.salon.com/2001/01/23/le_guin/ |arquivodata=3 de novembro de 2012 |acessodata=22 de abril de 2010 |website=[[Salon (sítio eletrônico)|Salon]]}}</ref>{{sfn|Spivack|1984|pp=4–5}}<ref>{{citar periódico|data=13 de dezembro de 1924 |título=Leaves from the Golden Bough |periódico=Nature |volume=114 |número=2876 |páginas=854–855 |bibcode=1924Natur.114R.854. |doi=10.1038/114854b0 }}</ref><ref name="GuardianQ&A">{{citar jornal|data=9 de fevereiro de 2004 |título=Chronicles of Earthsea: Edited Transcript of Le Guin's Online Q&A |obra=The Guardian |url=https://www.theguardian.com/books/2004/feb/09/sciencefictionfantasyandhorror.ursulakleguin |urlmorta= não|acessodata=10 de novembro de 2013 |arquivourl=https://web.archive.org/web/20131002164434/http://www.theguardian.com/books/2004/feb/09/sciencefictionfantasyandhorror.ursulakleguin |arquivodata=2 de outubro de 2013}}</ref><ref>{{citar livro|último =Ackerman |primeiro =Robert |url=https://books.google.com/books?id=s_k4AAAAIAAJ |título=J G Frazer: His Life and Work |publicado=Cambridge University Press |ano=1987 |isbn=978-0-521-34093-9 |página=124 |acessodata=29 de agosto de 2019 |arquivodata=3 de fevereiro de 2021 |arquivourl=https://web.archive.org/web/20210203224842/https://books.google.com/books?id=s_k4AAAAIAAJ |urlmorta= não}}</ref> She described living with her father's friends and acquaintances as giving her the experience of [[Other (philosophy)|the other]].<ref name="Paris Review" /> The experiences of Ishi, in particular, were influential on Le Guin, and elements of his story have been identified in works such as ''Planet of Exile'', ''City of Illusions'', and ''The Word for World Is Forest'' and ''The Dispossessed''.<ref name="Salon Profile" />
 
Several scholars have commented that Le Guin's writing was influenced by [[Carl Jung]], and specifically by the idea of [[Jungian archetypes]].{{sfn|Spivack|1984|pp=5–6}}{{sfn|White|1999|pp=12, 17}} In particular, the shadow in ''A Wizard of Earthsea'' is seen as the Shadow archetype from Jungian psychology, representing Ged's pride, fear, and desire for power.{{sfn|Cummins|1990|pp=28–29}}{{sfn|White|1999|p=17}}{{sfn|Bernardo|Murphy|2006|pp=100–103}} Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture.{{sfn|White|1999|p=17}} She stated elsewhere that she had never read Jung before writing the first ''Earthsea'' books.{{sfn|Cummins|1990|pp=28–29}}{{sfn|White|1999|p=17}} Other archetypes, including the Mother, Animus, and Anima, have also been identified in Le Guin's writing.{{sfn|Spivack|1984|pp=5–6}}
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== Temas ==
=== Gênero e sexualidade ===
Gender and sexuality are prominent themes in a number of Le Guin's works. ''The Left Hand of Darkness'', published in 1969, was among the first books in the genre now known as [[feminist science fiction]], and is the most famous examination of [[androgyny]] in science fiction.<ref>{{citar livro|url=https://archive.org/details/womensciencefict00reid |título=Women in Science Fiction and Fantasy |volume=Volume 2: Entries|publicado=Greenwood Press |ano=2009 |isbn=978-0-313-33589-1 |editor-sobrenome =Reid |editor-nome =Robin Anne |páginas= 9, 120 |url-access=limited}}</ref> The story is set on the fictional planet of Gethen, whose inhabitants are ambisexual humans with no fixed [[gender identity]], who [[Biology in fiction|adopt female or male sexual characteristics]] for brief periods of their sexual cycle.{{sfn|Cummins|1990|pp=74–77}} Which sex they adopt can depend on context and relationships.{{sfn|Spivack|1984|pp=44–50}} Gethen was portrayed as a society without war, as a result of this absence of fixed gender characteristics, and also without sexuality as a continuous factor in social relationships.{{sfn|Reid|1997|pp=51–56}}{{sfn|Cummins|1990|pp=74–77}} Gethenian culture was explored in the novel through the eyes of a [[Earth|Terran]], whose masculinity proves a barrier to cross-cultural communication.{{sfn|Reid|1997|pp=51–56}} Outside the Hainish Cycle, Le Guin's use of a female protagonist in ''The Tombs of Atuan'', published in 1971, was described as a "significant exploration of womanhood".{{sfn|Cummins|1990|p=171}}
 
[[File:Ursula K Le Guin.JPG|thumb|upright|Le Guin at a reading in [[Danville, California]] (June 2008)]]
Le Guin's attitude towards gender and feminism evolved considerably over time.{{sfn|Lothian|2006|pp=380–383}} Although ''The Left Hand of Darkness'' was seen as a landmark exploration of gender, it also received criticism for not going far enough. Reviewers pointed to its usage of masculine [[Gender-specific and gender-neutral pronouns|gender pronouns]] to describe its androgynous characters,{{sfn|White|1999|pp=45–50}} the lack of androgynous characters portrayed in stereotypical feminine roles,{{sfn|Cummins|1990|pp=78–85}} and the portrayal of [[heterosexuality]] as the norm on Gethen.{{sfn|White|1999|pp=70–77}} Le Guin's portrayal of gender in ''Earthsea'' was also described as perpetuating the notion of a male-dominated world; according to the ''Encyclopedia of Science Fiction'', "Le Guin saw men as the actors and doers in the [world], while women remain the still centre, the well from which they drink".{{sfn|Nicholls|Clute|2019}}<ref>{{citar enciclopédia|título=Modern Children's Fantasy |enciclopédia=The Cambridge Companion to Fantasy Literature |publicado=Cambridge University Press |url=http://eprints.uwe.ac.uk/16508/1/Modern%20Children%27s%20Fantasy.pdf |data=2012 |editor-sobrenome =James |editor-nome =Edward |páginas=224–235 |doi=10.1017/CCOL9780521429597.021 |isbn=978-0-521-42959-7 |último1 =Butler |primeiro1 =Catherine |editor-first2=Farah |editor-last2=Mendlesohn |acessodata=24 de setembro de 2019 |arquivodata=12 de julho de 2018 |arquivourl=https://web.archive.org/web/20180712200817/http://eprints.uwe.ac.uk/16508/1/Modern%20Children's%20Fantasy.pdf |urlmorta= não}}</ref><ref>{{citar periódico|último =Hatfield |primeiro =Len |data=1993 |título=From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu |periódico=Children's Literature |volume=21 |número=1 |páginas=43–65 |doi=10.1353/chl.0.0516 |hdl-access=livre |hdl=10919/25443}}</ref> Le Guin initially defended her writing; in a 1976 essay "Is Gender Necessary?" she wrote that gender was secondary to the novel's primary theme of loyalty. Le Guin revisited this essay in 1988, and acknowledged that gender was central to the novel;{{sfn|White|1999|pp=45–50}} she also apologized for depicting Gethenians solely in heterosexual relationships.{{sfn|White|1999|pp=70–77}}
 
Le Guin responded to these critiques in her subsequent writing. She intentionally used feminine [[pronoun]]s for all sexually latent Gethenians in her 1995 short story "Coming of Age in Karhide", and in a later reprinting of "[[Winter's King]]", which was first published in 1969.{{sfn|Cummins|1990|pp=78–85}}<ref>{{citar periódico|último =Walton |primeiro =Jo |data=8 de junho de 2009 |título=Gender and glaciers: Ursula Le Guin's The Left Hand of Darkness |url=http://www.tor.com/2009/06/08/the-poetry-of-anthropology-ursula-le-guins-the-left-hand-of-darkness/ |website=Tor.com |acessodata=13 de julho de 2016 |periódico= |arquivodata=27 de agosto de 2016 |arquivourl=https://web.archive.org/web/20160827211823/http://www.tor.com/2009/06/08/the-poetry-of-anthropology-ursula-le-guins-the-left-hand-of-darkness/ |urlmorta= não}}</ref><ref>{{citar livro|último =Ketterer |primeiro =David |url=https://books.google.com/books?id=Xh5wFOn256wC |título=Flashes of the Fantastic: Selected Essays from the War of the Worlds |publicado=Greenwood Publishing Group |ano=2004 |isbn=978-0-313-31607-4 |páginas=80–81 |acessodata=16 de agosto de 2019 |arquivodata=13 de junho de 2020 |arquivourl=https://web.archive.org/web/20200613031852/https://books.google.com/books?id=Xh5wFOn256wC |urlmorta= não}}</ref> "Coming of Age in Karhide" was later anthologized in the 2002 collection ''[[The Birthday of the World: and Other Stories|The Birthday of the World]]'', which contained six other stories featuring unorthodox sexual relationships and marital arrangements.{{sfn|Lindow|2012|p=205}} She also revisited gender relations in ''Earthsea'' in ''Tehanu'', published in 1990.{{sfn|Cadden|2005|p=106}} This volume was described as a rewriting or reimagining of ''The Tombs of Atuan'', because the power and status of the female protagonist Tenar are the inverse of what they were in the earlier book, which was also focused on her and Ged.<ref>{{citar periódico|último =Hollindale |primeiro =Peter |data=setembro de 2003 |título=The Last Dragon of Earthsea |periódico=Children's Literature in Education |volume=34 |número=3 |páginas=183–193 |doi=10.1023/A:1025390102089 }}</ref> During this later period she commented that she considered ''The Eye of the Heron'', published in 1978, to be her first work genuinely centered on a woman.<ref>{{citar periódico|último =Cadden |primeiro =Mike |data=2006 |título=Taking Different Roads to the City: The Development of Ursula K. Le Guin's Young Adult Novels |periódico=Extrapolation |volume=47 |número=3 |páginas=427–444 |doi=10.3828/extr.2006.47.3.7}}</ref>
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