Usuário:Caio!/Testes: diferenças entre revisões

Between 1979, when she published ''Malafrena'', and 1994, when the collection ''[[A Fisherman of the Inland Sea]]'' was released, Le Guin wrote primarily for a younger audience.{{sfn|Cadden|2005|pp=114–115}} In 1985 she published the experimental work ''[[Always Coming Home]]''.{{sfn|Cadden|2005|pp=115–116}} She wrote 11 children's picture books, including the ''[[Catwings]]'' series, between 1979 and 1994, along with ''[[The Beginning Place]]'', an adolescent fantasy novel, released in 1980.{{sfn|Bernardo|Murphy|2006|p=170}}{{sfn|Cadden|2005|pp=114–115}}{{sfn|Spivack|1984|pp=116–117}} Four more poetry collections were also published in this period, all of which were positively received.{{sfn|White|1999|p=111}}{{sfn|Cadden|2005|pp=114–115}} She also revisited Earthsea, publishing ''[[Tehanu]]'' in 1992: coming eighteen years after ''The Farthest Shore'', during which Le Guin's views had developed considerably, the book was grimmer in tone than the earlier works in the series, and challenged some ideas presented therein. It received critical praise,{{sfn|White|1999|pp=107–111}} and led to the series being recognized among adult literature.{{sfn|Cadden|2005|pp=80–81, 97}}

 

Le Guin returned to the Hainish Cycle in the 1990s after a lengthy hiatus with the publication of a series of short stories, beginning with "[[The Shobies' Story]]" in 1990.<ref name="Lindow 2018">{{citar periódico|último =Lindow |primeiro =Sandra J. |data=janeiro de 2018 |título=The Dance of Nonviolent Subversion in Le Guin's Hainish Cycle |url=http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html |periódico=The New York Review of Science Fiction |número=345 |acessodata=27 de setembro de 2018 |arquivodata=28 de setembro de 2018 |arquivourl=https://web.archive.org/web/20180928044519/http://www.nyrsf.com/2018/04/sandra-j-lindow-the-dance-of-nonviolent-subversion-in-le-guins-hainish-cycle.html |urlmorta= não}}</ref> These stories included "[[Coming of Age in Karhide]]" (1995), which explored growing into adulthood and was set on the same planet as ''The Left Hand of Darkness''.<ref>{{citar livro|último =Thomas |primeiro =P. L. |url=https://books.google.com/books?id=PgjFBAAAQBAJ |título=Science Fiction and Speculative Fiction: Challenging Genres |publicado=Springer Science & Business Media |ano=2013 |isbn=978-94-6209-380-5 |página=89 |acessodata=16 de agosto de 2019 |arquivodata=3 de fevereiro de 2021 |arquivourl=https://web.archive.org/web/20210203224810/https://books.google.com/books?id=PgjFBAAAQBAJ |urlmorta= não}}</ref> It was described by scholar Sandra Lindow as "so transgressively sexual and so morally courageous" that Le Guin "could not have written it in the '60s".<ref name="Lindow 2018" /> In the same year she published the story suite ''[[Four Ways to Forgiveness]]'', and followed it up with "[[Old Music and the Slave Women]]", a fifth, connected, story in 1999. All five of the stories explored freedom and rebellion within a slave society.{{sfn|Cadden|2005|pp=37–38}} In 2000 she published ''[[The Telling]]'', which would be her final Hainish novel, and the next year released ''[[The Other Wind]]'' and ''[[Tales from Earthsea]]'', the last two ''Earthsea'' books.{{sfn|Nicholls|Clute|2019}}<ref>{{citar jornal|último =Sacks |primeiro =Sam |data=17 de novembro de 2017 |título=Review: The Works of Ursula K. Le Guin, Sublime World Builder |obra=[[The Wall Street Journal]] |url=https://www.wsj.com/articles/review-the-works-of-ursula-k-le-guin-sublime-world-builder-1510943367 |acessodata=27 de setembro de 2018 |arquivodata=28 de setembro de 2018 |arquivourl=https://web.archive.org/web/20180928044502/https://www.wsj.com/articles/review-the-works-of-ursula-k-le-guin-sublime-world-builder-1510943367 |urlmorta= não}}</ref>