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[TV] A Whitewashed Earthsea

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  • chiayuan25
    A Whitewashed Earthsea How the Sci Fi Channel wrecked my books. By Ursula K. Le Guin Posted Thursday, Dec. 16, 2004, at 6:14 AM PT On Tuesday night, the Sci Fi
    Message 1 of 1 , Dec 17, 2004
      A Whitewashed Earthsea
      How the Sci Fi Channel wrecked my books.
      By Ursula K. Le Guin
      Posted Thursday, Dec. 16, 2004, at 6:14 AM PT

      On Tuesday night, the Sci Fi Channel aired its final installment of
      Legend of Earthsea, the miniseries based—loosely, as it turns out—on
      my Earthsea books. The books, A Wizard of Earthsea and The Tombs of
      Atuan, which were published more than 30 years ago, are about two
      young people finding out what their power, their freedom, and their
      responsibilities are. I don't know what the film is about. It's full
      of scenes from the story, arranged differently, in an entirely
      different plot, so that they make no sense. My protagonist is Ged, a
      boy with red-brown skin. In the film, he's a petulant white kid.
      Readers who've been wondering why I "let them change the story" may
      find some answers here.

      When I sold the rights to Earthsea a few years ago, my contract gave
      me the standard status of "consultant"—which means whatever the
      producers want it to mean, almost always little or nothing. My agency
      could not improve this clause. But the purchasers talked as though
      they genuinely meant to respect the books and to ask for my input
      when planning the film. They said they had already secured Philippa
      Boyens (who co-wrote the scripts for The Lord of the Rings) as
      principal script writer. The script was, to me, all-important, so
      Boyens' presence was the key factor in my decision to sell this group
      the option to the film rights.

      Months went by. By the time the producers got backing from the Sci Fi
      Channel for a miniseries—and another producer, Robert Halmi Sr., had
      come aboard—they had lost Boyens. That was a blow. But I had just
      seen Halmi's miniseries DreamKeeper, which had a stunning Native
      American cast, and I hoped that Halmi might include some of those
      great actors in Earthsea.

      At this point, things began to move very fast. Early on, the
      filmmakers contacted me in a friendly fashion, and I responded in
      kind; I asked if they'd like to have a list of name pronunciations;
      and I said that although I knew that a film must differ greatly from
      a book, I hoped they were making no unnecessary changes in the plot
      or to the characters—a dangerous thing to do, since the books have
      been known to millions of people for decades. They replied that the
      TV audience is much larger, and entirely different, and would be
      unlikely to care about changes to the books' story and characters.

      They then sent me several versions of the script—and told me that
      shooting had already begun. I had been cut out of the process. And
      just as quickly, race, which had been a crucial element, had been cut
      out of my stories. In the miniseries, Danny Glover is the only man of
      color among the main characters (although there are a few others
      among the spear-carriers). A far cry from the Earthsea I envisioned.
      When I looked over the script, I realized the producers had no
      understanding of what the books are about and no interest in finding
      out. All they intended was to use the name Earthsea, and some of the
      scenes from the books, in a generic McMagic movie with a meaningless
      plot based on sex and violence.

      Most of the characters in my fantasy and far-future science fiction
      books are not white. They're mixed; they're rainbow. In my first big
      science fiction novel, The Left Hand of Darkness, the only person
      from Earth is a black man, and everybody else in the book is Inuit
      (or Tibetan) brown. In the two fantasy novels the miniseries
      is "based on," everybody is brown or copper-red or black, except the
      Kargish people in the East and their descendants in the Archipelago,
      who are white, with fair or dark hair. The central character Tenar, a
      Karg, is a white brunette. Ged, an Archipelagan, is red-brown. His
      friend, Vetch, is black. In the miniseries, Tenar is played by
      Smallville's Kristin Kreuk, the only person in the miniseries who
      looks at all Asian. Ged and Vetch are white.

      My color scheme was conscious and deliberate from the start. I didn't
      see why everybody in science fiction had to be a honky named Bob or
      Joe or Bill. I didn't see why everybody in heroic fantasy had to be
      white (and why all the leading women had "violet eyes"). It didn't
      even make sense. Whites are a minority on Earth now—why wouldn't they
      still be either a minority, or just swallowed up in the larger
      colored gene pool, in the future?

      The fantasy tradition I was writing in came from Northern Europe,
      which is why it was about white people. I'm white, but not European.
      My people could be any color I liked, and I like red and brown and
      black. I was a little wily about my color scheme. I figured some
      white kids (the books were published for "young adults") might not
      identify straight off with a brown kid, so I kind of eased the
      information about skin color in by degrees—hoping that the reader
      would get "into Ged's skin" and only then discover it wasn't a white

      I was never questioned about this by any editor. No objection was
      ever raised. I think this is greatly to the credit of my first
      editors at Parnassus and Atheneum, who bought the books before they
      had a reputation to carry them.

      But I had endless trouble with cover art. Not on the great cover of
      the first edition—a strong, red-brown profile of Ged—or with Margaret
      Chodos Irvine's four fine paintings on the Atheneum hardcover set,
      but all too often. The first British Wizard was this pallid, droopy,
      lily-like guy—I screamed at sight of him.

      Gradually I got a little more clout, a little more say-so about
      covers. And very, very, very gradually publishers may be beginning to
      lose their blind fear of putting a nonwhite face on the cover of a
      book. "Hurts sales, hurts sales" is the mantra. Yeah, so? On my
      books, Ged with a white face is a lie, a betrayal—a betrayal of the
      book, and of the potential reader.

      I think it is possible that some readers never even notice what color
      the people in the story are. Don't notice, don't care. Whites of
      course have the privilege of not caring, of being "colorblind."
      Nobody else does.

      I have heard, not often, but very memorably, from readers of color
      who told me that the Earthsea books were the only books in the genre
      that they felt included in—and how much this meant to them,
      particularly as adolescents, when they'd found nothing to read in
      fantasy and science fiction except the adventures of white people in
      white worlds. Those letters have been a tremendous reward and true
      joy to me.

      So far no reader of color has told me I ought to butt out, or that I
      got the ethnicity wrong. When they do, I'll listen. As an
      anthropologist's daughter, I am intensely conscious of the risk of
      cultural or ethnic imperialism—a white writer speaking for nonwhite
      people, co-opting their voice, an act of extreme arrogance. In a
      totally invented fantasy world, or in a far-future science fiction
      setting, in the rainbow world we can imagine, this risk is mitigated.
      That's the beauty of science fiction and fantasy—freedom of invention.

      But with all freedom comes responsibility. Which is something these
      filmmakers seem not to understand.

      Ursula K. Le Guin is the author of the Earthsea series and many other
      books. Her most recent book is Gifts.

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