Although I loved the writing, by the end of the third story I was getting a bit antsy at the lack of female characters. Granted, the second novel is set in the female enclave of a temple complex, but the thrust of the novel is the intrusion into it of Ged, the main (male) character of books 1 and 3, who is there to steal an artefact, and who also steals away the main female character, Tenar. While the women in that book are written truthfully and with great skill, to me it still felt a male story, in that there's a sense of simply waiting for something to happen before Ged arrives, as if the story only really starts with him, and Ged rescues Tenar from what is in effect a prison. True, he can only save her because she has first saved him, but nonetheless he is older, wiser, calmer, more capable and more accepting, which only highlights her youth and general ignorance in a somewhat paternalistic way. As to books 1 and 3 themselves, good as they are, the women characters can be counted on the fingers of one hand.
Then I got to the fourth novel, Tehanu, and that was a complete revelation – a female book from start to finish, despite the presence of many men in it. Tellingly, of the two important wizards we have seen before, one dies within a few pages and the other has lost his power and is therefore seemingly, in his eyes at least, emasculated (though in fact that loss allows him to become more of a man...). The theme of the novel is very much the hidden power of women, and the abuse of power men exercise over them, not just physical power, though we see and hear of male atrocities, but the constant belittling and devaluing of women's experience. I was also delighted to read the telling details so often ignored by male writers, which, for me, is part of that same masculine arrogance that proclaims male interests and activities are more important than those of women and therefore more deserving of space in a novel. Wonderful.