This was played and replayed throughout the story with great consistency. ” As much as she may shift to one character, Le Guin never gave more than a few vague details about that character’s description. Even the child in the basement was only a “child” and the “boys and girls” ran around naked with “mudstained feet and ankles. Le Guin utilizes broad terms such as “the youths and girls, the merry women, old people and master workmen.īy using general identities for these characters, we fill in the gaps with our own imagination molding them to fit people known in our lives. ” The characters, though not drawn out in much detail, have such personalities as to make them recognizable in our own lives. The plot then allows enough room for the reader to imagine the living conditions under which the child lives in with “a little light seeping in dustily between cracks in the boards. The theme then takes over asking if one could accept the conditions that Omelas “happily” lives under. The reader finds himself/herself asking if the first part of the text is truly conceivable. Le Guin asks if one can truly believe in Omelas. Theme and plot collide into one sentence. ” We aren’t given names or descriptions of these people, so that we may relate to them as the “every person.
We picture the “houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees. We are initially given to a blissful, almost jubilant, Omelas.
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