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This paper examines the spatial narration of Ursula K. Le Guin’s American Taoist “home” by analyzing “The Ones Who Walk Away from Omelas,” City of Illusions and other Hainish SFs. Suggesting that the European binary opposition is the cause of violence in Le Guin’s Omelas, the paper considers the necessity of deconstructing the binary opposition by installing the Taoist thought. The paper further investigates the features of Le Guin’s “home” in her Hainish SFs. Le Guin has taken a long journey to reconstruct her Taoist “home” for over 40 years. However, her Taoist home is not a complete mimic of Lao Tzu’s Taoism, but is instead an American adaption.
