Planet of Exile, the second in Le Guin’s early Hainish trilogy, is a significant improvement on the first, Rocannon’s World. The story is much more coherent, the world wonderfully drawn, and the characters far better developed than in the first novel. Planet of Exile is actually one of my favourite books by Le Guin; it’s a beautiful, evocative and, at times, frightening story.
Set at the beginning of winter on a planet in which seasons last 5000 days (around fourteen earth years), Rolery, a young woman from an indiginous hunter-gatherer tribe, visits the city of Landin, a place inhabited by aliens who came to her world hundreds of years ago. They keep themselves apart and are known by her people as the Farborns. While walking on the beach below the city, Rolery is almost caught by a fast moving tide and only escapes because one of the Farborns, Jakob Agat, warns her telepathically using mindspeech, inadvertently creating a bond between them.
I just love the opening. It’s so atmospheric with its images of the giant causeway leading out to the tower rock and the roaring of the tide as it chases Rolery back towards the city and Jakob.
Planet of Exile further develops one of Le Guin’s Hainish tropes, ‘Mindspeech’, a form of telepathy which first appears in Rocannon’s World – it becomes apparent that the ‘Farborn’ are the descendents of Semley and Mogian’s people from that novel. Mindspeech seems to be something that most people can develop with practice, but some have a natural aptitude, including Rolery, much to the surprise of the people of Landin who believe only they have the skill.
Planet of Exile is about the relationship between Rolery and Jakob and the relationship between their two peoples, as they prepare for the long winter and face a common enemy, the aggressive Gaal from the South who are coming in vast numbers to invade their lands and take their resources.
The Farborn are a dwindling people, their colony abandoned centuries ago by the League of All Worlds. They don’t know why they have been left in this exile, ‘Their records say only that the ship left. A white spear of metal, longer than a whole city, standing on a feather of fire.’ Now fewer children are born every year, so they turn to the Askatevar for help.
Jakob Agat goes to the chief of Rolery’s people, her father, an old man named Wold, to propose an alliance against the Gaal. Wold listens, but he must convince his own people and the other tribes which will be difficult. Jakob, meanwhile, struggles with the attitudes of his own people who look down on the Askatevarans. Neither really regard the other as ‘human’. Cultural tensions are inflamed by a burgeoning romance between Rolery and Jakob. Before they can heal the divide, the Gaal attack and the surviving Askatevarans take refuge in the city of Landin where both peoples must get over their prejudices and preconceptions and work together as they prepare for siege. The representation of the people of Tevar is deeply imbibed by Le Guin’s interest in anthropology, perhaps so much as to feel a bit unsubtle now.
There is a theme in the book of old ways dying out so that something new can emerge. This is symbolised in the two old leaders, Alla Pasfal in Landin and the old chief Wold in Tevar. Both are stubborn and difficult people and Wold’s attitudes are misogynist, but there is something powerfully moving in his ‘last foray’ as he leads the women with young children across the causeway to the league hall, ‘across the vasty dizzy air-road to the black and terrible house’.
‘To die, then, he must return across the bleak, changeless landscape of his boyhood, he must reenter the white world of the storms.’
The middle section of the book is a long seige of the city which Le Guin manages to make tense and exciting, but perhaps most frightening is the introduction of the Snow Ghouls, terrifying creatues of the winter with their small heads swaying on their long, curving necks as they run across the snow towards their prey.
During this time, Rolery and Jakob establish their relationship as two people who have found freedom in their very differences. Separate, they were frustrated and unhappy with their roles in life, but together they have joy and possiblity. I really like the representation of their love story and, if I have a complaint, I wish Le Guin had given it more time. The novel ends with Jakob and Rolery hopeful that they will be able to have children together, even as they face the daunting prospect of winter: ‘Five thousand nights of winter, five thousand days of it, the rest of their youth and maybe the rest of their lives’.
In some ways, Planet of Exile feels like the precursor to The Left Hand of Darkness, which features an even longer winter, a deep relationship between two people from different worlds and has mindspeech as a central trope. But Planet of Exile is its own book too, one in which we see Le Guin really starting to play to her strengths as a writer of science fiction.
This post is the second in my Hainish Cycle re-read.