Tag: Story

Peter Nimble

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.

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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.

A Too-Good-Not-To-Share Paragraph on the Problem of Evil from G.K. Chesterton

Be warned, a paragraph for ol’ Gee-Kay is a five page article for most of us, but nevertheless, here ’tis.

Context: He is here near the end of his book, and working to show how Christianity differs from both mythology and philosophy. I’ve adjusted the formatting for improved ease of reading, since as superiorly intelligent people in the age of the perpetual interruption we are quite unable to follow a train of thought or argument for more than a dozen or so words.

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But if it is not a mythology neither is it a philosophy. It is not a philosophy because, being a vision, it is not a pattern but a picture. It is not one of those simplifications which resolve everything into an abstract explanation; as that everything is recurrent; or everything is relative; or everything is inevitable; or everything is illusive.

It is not a process but a story.

It has proportions, of the sort seen in a picture or a story; it has not the regular repetitions of a pattern or a process; but it replaces them by being convincing as a picture or a story is convincing.

In other words, it is exactly, as the phrase goes, like life. For indeed it is life.

An example of what is meant here might well be found in the treatment of the problem of evil. It is easy enough to make a plan of life of which the background is black, as the pessimists do; and then admit a speck or two of star-dust more or less accidental, or at in the literal sense insignificant. And it is easy enough to make another plan on white paper, as the Christian Scientists do, and explain or explain away somehow such dots or smudges as may be difficult to deny. Lastly it is easiest of all, perhaps, to say as the dualists do, that life is like a chessboard in which the two are equal; and can as truly be said to consist of white squares on a black board or of black squares on a white board.

But every man feels in his heart that none of these three paper plans is like life; that none of these worlds is one in which he can live. Something tells him that the ultimate idea of a world is not bad or even neutral; staring at the sky or the grass or the truths of mathematics or even a new-laid egg, he has a vague feeling like the shadow of that saying of the great Christian philosopher, St. Thomas Aquinas, ‘Every existence, as such, is good.’ On the other hand, something else tells him that it is unmanly and debased and even diseased to minimise evil to a dot or even a blot. He realizes that optimism is morbid. It is if possible even more morbid than pessimism.

These vague but healthy feelings, if he followed them out, would result in the idea that evil is in some way an exception but an enormous exception; and ultimately that evil is an invasion or yet more truly a rebellion.

He does not think that everything is right or that everything is wrong, or that everything is equally right and wrong. But he does think that right has a right to be right and therefore a right to be there; and wrong has no right to be wrong and therefore no right to be there. It is the prince of the world; but it is also a usurper.

So he will apprehend vaguely what the vision will give to him vividly; no less than all that strange story of treason in heaven and the great desertion by which evil damaged and tried to destroy a cosmos that it could not create. It is a very strange story and its proportions and its lines and colors are as arbitrary and absolute as the artistic composition of a picture. It is a vision which we do in fact symbolize in pictures by titanic limbs and passionate tints of plumage; all that abysmal vision of falling stars and the peacock panoplies of the night.

But that strange story has one small, advantage over the diagrams.

It is like life.