The Ones Who Walk Away From The Omelas Summary

d. Children who are now orphans because their parents have been executed or put in jail wander the town looking for food and shelter (lines 297–298).

The author creates pathos by exposing the reader to whom and how conditions impact families and youth. Duffield writes:

The short story, “The Ones Who Walk Away from Omelas”, written by Ursula Le Guin, is about a so-called perfect society where the sacrifice of a child is what provides harmony, equality, and prosperity to the citizens of this city. As a reader, one is invited to create and visualize their own utopia, so that one is emerged with the reality of a moral dilemma: the happiness of many for the unhappiness of one. The symbol represented in the story reflects current and past society issues such as military sacrifice, slavery, and injustice.

In the short story “The Ones Who Walk Away From Omelas” by Ursula K. Le Guin the theme is that in order to be truly happy, one must stand up for what’s right, even if it means leaving everything that they know. Society creates traditions and ways of thinking that are not easy for everyone to follow. In Omelas, the citizens have the choice to ignore the suffering of a child locked in a cellar, or leave the life and the city they are familiar with. The people of Omelas must ask themselves whether it is better for a child to suffer for the city’s happiness and wealth, or should the city suffer, just to give the child a shot at happiness? It is ironic because Omelas is a

As previously stated, the narrator is the one who describes and foreshadows the scapegoat use of the child. The narrator described a lack of guilt in Omelas which leads to the idea of scapegoatism. Once the narrator reveals the child and the harsh conditions in which it lives, the narrator also reveals uses of the child. In fact, the narrator makes the reader aware of the scapegoat by stating, “They all know it has to be there,” (252). After the narrator explains how the people of Omelas know the child has to remain in its tortured cellar, he/she explains that their city and its beauty depends on it (252). The depiction of needing the child for the ultimate happiness of the utopia basically describes using him/her as the person to blame. Basically, the child is giving the people of Omelas someone to blame for all the minor flaws, so that they can continue their happy life. Lastly, the narrator explains the theme of ignorance being bliss when he/she describes, “Some of them have come to see it, others are content merely to know it is there,” (252). Since the narrator tells the reader that not everyone goes to see the child, he/she is telling the audience that some choose to not see it. If they don’t see the child suffering then they can pretend it is not, and they can

The town of Omelas is a deceptive dystopia that at the beginning, sounds like a world dreamed up by a child, full of joy and peace. Le Guin illustrates this environment of tranquility: “In the silence of the broad green meadows one could hear the music winding through the city

The characteristic of slow work repeats in the two types of stories told by Fr. Boyle. The one that grabs the readers’ attention more describes the lives of people in detail and with resolution. Whether the youth he met ends up going to a jail or finds a job and a home in Homeboy Industries, we know to an extent what their stories are. We can understand and imagine the lives of the youth from childhood, the problems they faced, the way they went about handling them, and what Fr. Boyle thought and did during those times. The other type consists of brief mentions of the people Fr. Boyle ran into. He can only tell us what happened and what he hoped at the time, but we are left without fuller stories of the people. These unsatisfying accounts, however, are proof of the author’s intention for writing this book. We are not supposed to read about the lives and, really, the challenging situations of the youth and attempt to find solutions. Especially as a stereotypical student studying at Georgetown University, I tend to think I need to fix the problem and make the world a better place. But the purpose of the book is really to teach me to have compassion. So, the readers can notice from the two types of stories Fr. Boyle

In “The Ones Who Walk Away From Omelas” by Ursula Le Guin, the informally-speaking narrator depicts a cookie-cutter utopia with perpetually happy citizens that sing and dance in the music-filled streets during the Festival of Summer. However, under one of the beautiful public buildings lays a child, no older than ten years-old, who lays in its own excrement. Although the citizens know the emancipated child is there, they refuse to act upon the child’s suffering, for their happiness depends entirely on the child’s abominable misery. Through ethos, the narrator illustrates this utopian society with a casual tone and frequently asks the audience for their input. Le Guin’s fairy-tale introduction of the story establishes her credibility through her extensive knowledge and understanding of the people of Omelas. Le Guin utilizes logos through the narrator’s second person point of view which incites the audience to draw their own conclusions about the city of Omelas and question their own justifications of the child’s existence. The concept of the happiness of many relying on the necessary suffering of one forces the reader to question their own morals and their justifications for the child’s physical and mental condition. Through ethos, logos, and pathos, Le Guin presents the contrast and divide between the citizens of Omelas and the child in the cellar in order to challenge the reader’s capacity for moral self-conception.

Self preservation and personal comfort, another consistent theme throughout the story is continuously perpetuated as generation-after-generation of residents are introduced to the unspeakable treatment of this helpless child. Ironically when first exposed to the atrocity, most children were more disgusted and outraged by the horrible predicament of the child than the adults who by all accounts should have been responsible for its protection. This obvious moral role reversal signifies a purity and innocence that is often present in a child’s perspective that is untarnished by corrupt societal teachings and norms. Additionally, the comparison between the moral integrity of

The story of a twelve-year-old girl named Nokubheka is told. She lives in a one-bedroom home with her brother

As the people of Omelas continued to accept the truth of their city, some have begun to see the child as more of an it than a person and regarded the child similar to a wild animal. “One of them may come in and kick the child to make it stand up. The others never come close, but peer in at it with frightened, disgusted eyes” (245). Not only do the residents accept the child’s misery, they have also

The citizens come to the consensus that nothing can be done for the child, and nothing should be done. To help this one miserable child would lead to the suffering of an entire city, after all. This is what the narrator persuades us to think. She uses many methods to prove her point. For instance, she tells us that if the child were to be saved, “in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed.” (1552). She defends the people of Omelas, who are not heartless, cruel, mindless “simple utopians,” but instead as passionate, intelligent, gentle people capable of sympathy. However, they understand that “the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars…the kindly weathers of their skies, depend wholly on this child’s abominable misery.” (1552). Not only this, but she asserts that the child is too “imbecile” to recognize love anymore; it has grown too used to the darkness of the cellar to ever revert back to normal civilized life. At every turn, she finds a way to argue against compassion and in favor of causing pain; she portrays the assessment the Omelasians make of the child to be so logical and responsible that even the reader starts to buy into it. Why help the child? There is no point, is there? Continuing this abusive treatment of it is for the good of the order, isn’t it? The narrator makes it extremely easy to

Men and women walk the streets, and weep at the fact of the child in the cellar. The child in the cellar is the existence of why the Omelas treat their children gentle but yet full of compassion and joyful love for happiness. The tearless rage, treatment, freedom, and acceptance of the Omelas to the child have long ever to be free and fearful.

The story begins in a rural house where a man and woman live without children, near a walled garden tended by a frightening witch. The first line of the story tells us that they yearn for a child. It is clear that there exists in this house an almost tangible feeling of desire

The story begins with the parents trying to decide upon a suitable birthday gift, a difficult task since he has "referential mania" (Nabokov, 1948), a mental condition that causes him to believe that inanimate objects conspire against him. "Man-made objects were to him either hives of evil, vibrant with a malignant activity that he alone could perceive, or gross comforts for which no use could be found in his abstract world" (Nabokov, 1948). To him, glass and pools are spies, coats are malicious, and clouds speak together about him, while storms and running water "are hysterical to the point of insanity" (Nabokov, 1948). From the son's point of view, we learn that he must be constantly vigilant of the objects interested in him, even if they are far away and beyond his vision. Indeed, his suicide attempts are his way of trying to "tear a hole in his world and escape" (Nabokov, 1948).