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"No matter how well the matter has been explained to them, these young spectators are always shocked and sickened at the sight. They feel disgust, which they thought themselves superior to. They feel anger, outrage, impotence, despite all the explanations. They would like to do something for the child. But there is nothing they can do. [...]". (Le Guin 534).
• Economic and religious faith - scapegoat, saccrifice
• Exploitation of the financially less fortunate
• The action of walking away from Omelas in the story represents the transformation of moving forward into a new life.
Laura O'Rafferty, Cassidy van Leeuwen,
Simeon Vong, Jonah Wiley
How much does the narrator’s point of view and attitude have an effect on the reader’s view of Omelas and its citizens?
The story mentions how the child has not always lived in the tool room; why do you think he was put there? Why is he subordinated by the people of Omelas/"the Terms"? Is there a class division/ social hierarchy in this utopia "without monarchy or slavery, [...] without the stock exchange, the advertisement, the secret police, and the bomb" (Le Guin 532)?
“houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings” (Le Guin 531)
“The air of morning was so clear that the snow still crowning the Eighteen Peaks burned with white-gold fire across the miles of sunlit air, under the dark blue sky” (531)
“bright-towered by the sea” (531)
Collins, Jerre. "Leaving Omelas: Questions of Faith and Understanding." Short Story Criticism, Ed.
Joseph Palmisano, vol. 69, Gale, 2004. Literature Resource Center, go.galegroup.com.library.sheridanc.on.ca/ps/i.do?p=LitRC&sw=w&u=ko_acd_shc&v=2.1&it=r&id=GALE%7CH1420056511&asid=63a602a89e2e38e07c4825ed7753f297. Accessed 1 Dec. 2016. Originally published in Studies in Short Fiction, vol. 27, no. 4, Fall 1990, pp. 525-535.
Kellerman, Henry. Dictionary Of Psychopathology. New York: Columbia University Press, 2009. eBook
Academic Collection (EBSCOhost). http://web.b.ebscohost.com.library.sheridanc.on.ca/ehost/detail/detail?sid=98a20527-f590-445d-8387-f7b71c0eaed5%40sessionmgr103&vid=0&hid=102&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=e000xna&AN=481378. Accessed 1 Dec. 2016.
Knapp, Shoshana. "The Morality of Creation: Dostoevsky and William James in Le Guin's 'Omelas'."
Short Story Criticism, edited by David L. Siegel, vol. 12, Gale, 1993. Literature Resource Center, go.galegroup.com.library.sheridanc.on.ca/ps/i.do?p=LitRC&sw=w&u=ko_acd_shc&v=2.1&it=r&id=GALE%7CH1100003066&asid=d4dc866f73016d8cf8b6ef3b212b5266. Accessed 1 Dec. 2016. Originally published in The Journal of Narrative Technique, vol. 15, no. 1, Winter 1985, pp. 75-81.
Le Guin, Ursula K. “The Ones Who Walk Away from Omelas.” The Art of the Short Story: 52 Great
Authors, Their Best Short Fiction, and Their Insights on Writing, Eds. Dana Gioia, and R. S. Gwynn New York, Pearson Longman, 2006. pp. 531-535.
"Scapegoat,." Britannica Academic, Encyclopædia Britannica, 19 Sep. 2016.
academic.eb.com.library.sheridanc.on.ca/levels/collegiate/article/66030. Accessed 1 Dec. 2016.
"The Talking Porcupine Liberates Utopia: Le Guin's 'Omelas' As Pretext To The Dance." Utopian
Studies 2.1/2 (1991): 6. Literary Reference Center Plus. Web. 1 Dec. 2016.
"In a basement under one of the beautiful public buildings of Omelas, or perhaps in the cellar of one of its spacious private homes, there is a room." (Le Guin 533)