There is lots to love about this book. A great title, a great first line, and moments of brilliance throughout. The story moves at a fine clip and carries the reader along to an exciting finish. My kids read this book as part of their schooling and they adored it, so I wanted to read it also. I can see why they were taken with it! It certainly leaves the reader wondering what will happen next at each chapters’ end. And while I enjoyed reading this book, I wanted to enjoy it more. There were a few hindrances and shortcomings that impeded that enjoyment. As a debut novel, I say bravo and well done! If I were to write a first novel this good, I’d be a happy man indeed. And so I offer some thoughts – in a spirit of constructive criticism – on what kept this book from being, to my mind, on par with the classics.
First, while the breadth and playfulness of a fertile imagination is on display throughout the book, there is a certain lack of cohesion and gravitational center to that imagination. The worlds, characters, landscapes, buildings, and monsters are all fantastical and creative, but it felt like there was something lacking that would draw them all into a narrative that fit together well. This unpredictability can give the reader a kind of whiplash as she tries to keep pace with the story. A few unexpected twists and turns makes a story interesting; but constant unexpected turns undermines the stability of the narrative and gives it a chaotic feel.
Second, and related to the first point, is the issue of world-building. This is the bread and butter of all fantasy-fiction. The author must build a world that is believable. But believable does not mean it must conform to our world. As Tolkien said, the key is that world must be internally consistent – what happens there must make sense within the framework of that world. This is the secret ingredient that explains why some fantasy worlds feel real, like Middle-Earth, Narnia, and Aerwiar, and others don’t. The author here shows real promise in the world that he creates, and yet fails to fully convince the reader that this place is so real in his own mind that all this could really take place.
Third and last, stories are irreducibly moral. The best stories are deeply moral, for it is the moral instinct in myself as a reader that makes me care deeply about the characters. On this point, once again, the author does a good job with some characters but does not quite pull off a complete victory. We see some development in Peter Nimble, but not a whole lot. His moral character remains quite static, while his self-understanding grows as he discovers his true identity and steps into the role he has been destined for. Sir Tode seems to me to be more promising, for we find out he is largely a fraud and has not truly earned his knighthood. Yet this assumed persona of a brave knight seems to draw out his courage and moral fibre and self-sacrifice. By the end of the book, despite the dubious origins of his knighthood, he has grown into the true picture of knighthood. This seems to exemplify something that C.S. Lewis pointed out: when growing in virtue, we often start by behaving as if we were more virtuous than we really are, which can feel like a kind of pretending or false persona. But if persevered in, this is often the route by which we do really become virtuous.
The best stories have a moral depth that speaks deeply to the reader about right, wrong, goodness and evil. While the book had a pretty clear moral compass (unlike the nihilistic morally-relativistic nonsense that sometimes gets passed off as modern fiction these days), it would have been improved, and would leave a deeper impression on the reader, if the characters’ moral trajectory had been explored more deeply.
All in all, a very fine book. I look forward to reading some more of Auxier’s fiction and seeing how he has grown as an author over the years.