Ursula le Guin is best known for her ‘soft’ science fiction novels (a term I dislike, but I use for lack of a better one). So-called ‘soft’ sci-fi focuses more on characters, relationships, societies, psychology, and sociology, as opposed to ‘hard’ sci-fi which focuses on scientific accuracy and plausible future technology. Le Guin typifies this approach in her examinations of future societies and how they might affect human psychology and behaviour, for example Winter in The Left Hand of Darkness and Annares in The Dispossessed. Always Coming Home is no exception to this, but goes one step further: it is less a novel than an anthropological document of a culture that does not yet exist.
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Hannibal Lecter is probably the most famous fictional serial killer ever created. Ever since his debut in 1981’s Red Dragon, he has captured the imaginations of millions worldwide. It’s unlikely he would have been as popular, though, had Thomas Harris not followed it up with The Silence of the Lambs. In this novel, Lecter took centre stage, after his comparatively small role in Red Dragon, and met his match in FBI trainee Clarice Starling.
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