Ursula le guin's short metafiction, 'the ones who walk away from omelas,' first published in 1973, had its 40th anniversary last year shame for walking from eden into the dawn of creation, a reality burdened with consciousness, and free will that frequently misses the mark, but, heck, is the very process.
Another hint of le guin's views about world-reduction shows up in her most famous short story “the ones who walk away from omelas” is about a city whose universal joy and prosperity are paid for by a single jailed child's pain (as the philosophy professors who keep on assigning it will happily tell you.
At the heart of the ones who walk away from omelas is a moral question: would you be able to live with yourself if you knew your happiness was dependent on the suffering of a child theologians use the story of the expulsion from eden as an example of how human free will, uncoerced choice, may cause evil to occur.
Le guin's a wizard of earthsea and the ones who walk away from omelas are just two examples of her prolific and influential writing career in fantasy and le guin published her first paid work april in paris in the september 1962 issue of the magazine fantastic stories of the imagination - and i am the.
(there's a vague metaphor in all this about free will) still, the story's primary constant is ethical rather than architectural: that a child be tortured, so everyone else in the city can be happy how do we even categorize such a story is it a story at all “the ones who walk away from omelas” seems genre-fluid.