The narrator introduces the audience to a joyous festival in Omelas, filled with vivid imagery and inviting them to imagine the beauty and happiness of this utopian city. The invitation to imagine Omelas serves two purposes. Firstly, it draws readers into a vividly painted world, allowing them to become emotionally invested in the details and atmosphere of Omelas. Secondly, when the narrative reveals the suffering child, it confronts the audience with a moral dilemma. This provokes readers to consider the moral compromises and price of utopian happiness.
The citizens of Omelas are aware of the suffering child’s existence, which forms a crucial part of their society’s moral and philosophical foundation. This awareness works as a test to see if people are willing to go along with the idea of sacrificing one person for the greater good, weighing society’s overall happiness and success against an individual’s suffering. It also gives citizens the option to either agree or disagree by walking away, as some ultimately do. This decision creates a moral dilemma in the story that makes readers think about their role in injustice and living comfortably while knowing someone else is suffering.
The text touches on issues in contemporary culture such as economic and social inequality by showing how one society’s prosperity relies on another’s suffering. It also prompts readers to consider their own role in societal injustices and criticizes the ethics of sacrificing a few for the happiness of many. Additionally, it addresses the abuse of power and human rights violations, paralleling real-world exploitation of the powerless for others’ benefit. The narrative reflects on moral choices and the price of societal happiness.
Walking away from Omelas represents the choice of some individuals to reject a society that bases its happiness on the suffering of an innocent child. Le Guin sees it as a right one, symbolizing the moral stance of refusing to participate in or be complicit in an injustice, even when the cost is not clearly defined. Those who walk away prioritize ethical integrity over comfort and happiness derived from unethical means. Choosing the unknown over living with guilt and complicity, they believe that no amount of societal happiness can justify the torture of an innocent individual. I agree with this choice, because I’m not willing to confine myself to the presented dichotomy – so walking away seems like the only option.
Handouts
Readings
- Aldiss, Brian–Supertoys Last all Summer
- Bacigalupi, Paulo–The People of Sand and Slag
- Bear, Greg–Shrodinger's Plague
- Bradbury, Ray–The Veldt
- Bradbury, Ray–There Will Come Soft Rains
- Butler, Octavia–Bloodchild
- Chiang, Ted–Lifecycle of Software Objects (long)
- Chiang, Ted–The Story of Your Life
- Dick, Philip K.–Autofac
- Dick, Philip K.–The Commuter
- Dick, Philip K.–We Can Remember it for You Wholesale
- Ellison, Harlan–I Have no Mouth and I Must Scream
- Forster, E.M.–The Machine Stops
- Hodgson, William–The Voice in the Night
- Kafka, Franz–In the Penal Colony
- LeGuin, Ursula–The Ones Who Walk Away from Omelas
- LeGuin–American Sci Fi and the Other
- LeGuin–Introduction to Science Fiction
- Lovecraft, H.P. –"From Beyond"
- Sterling, Bruce–The Bicycle Repairman
- Tiptree, James (Alice Sheldon)–The Girl Who Was Plugged in
- Tiptree, James (Alice Sheldon)–The Women Men Don't See
- Vinge, Vernor–The Blabber (long)
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Nice job recognizing the primary points of the text
Do you think your answer about leaving Omelas would change after spending an extended amount of time there?