Star Ratings (out of 5 stars):
Characters: **** (4 stars)
Character Development: **** (4 stars)
Plot: *** (3 stars)
Writing: **** (4 stars)
Overall: **** (4 stars)
Age range recommendation: 8 and up
Just to say: I read an advanced readers’ copy of this book, so some details may have changed by publication.
The Islands of Chaldea is a middle grade fantasy adventure which was nearly completed by Dianna Wynne Jones before her death. (I’m still not over that tragedy. Waaahh.) Her sister, Ursula Jones, put the finishing touches on the book. That being said, the story-telling and sense of magic absolutely feel like something out of a Dianna Wynne Jones book, full stop. This is a stand-alone novel, so anyone can start reading it without having prior knowledge of Jones’s impressive bibliography, and there’s no unresolved ending to trample our souls. The plot and world-building in The Islands of Chaldea aren’t quite as impressive as in some of my favorite D.W.J. books, but it was an enjoyable read and brought me back to happy days reading this sort of book in the library when I was a 5th grader. Any book which would have made 5th grade Sarah happy makes 23 year old Sarah happy, too.
It’s a fairly traditional story, described with Dianna Wynne Jones’s beautiful language. Aileen’s aunt Beck is a wise-woman of Skarr, and young Aileen will be one too. That is, she’s supposed to become a wise-woman someday. When she doesn’t witness any magical visions at her initiation it looks like she might not have any special powers after all. There’s not much time to worry about that, though, because Aunt Beck and Aileen are soon sent on a quest by the high king: a voyage across the great magical barrier to the island of Logra, where the prince has been held captive. In order to get across the barrier, which has separated Logra from the other islands for political reasons largely unknown, Beck and Aileen will have to bring one individual from each island with them on their quest. Joined by Aileen’s favorite whiny prince; a castle servant who got left on the wrong side of the barrier; an invisible cat; a sprightly man with an omniscient bird; and some artistic distant cousins, Aileen and Aunt Beck will do their best to find the prince and finish their mission. Along the way they meet mythical figures reminiscent to the Tuatha De Danann; suspicious sailors; and magical monks, all the while weird weather and strange luck greets them at every turn. Too bad there are people who don’t want them to succeed at all. People like evil enchanters and a queen who likes turning people into donkeys, but also someone from Skarr who may be hoping they don’t ever make it safely home.
The not-so-merry band of heroes cover an awful lot of ground on their quest, so it’s no surprise that the world-building in The Islands of Chaldea was a bit rushed. However, the setting here is quite similar to what we encounter in so many fantasy stories – a magical land heavily influenced by European geography and mythology – so the brief encounters with faraway lands aren’t necessarily hard to imagine. I like how Jones pushed the similarity between typical old-timey fantasy worlds and our own world to the point of obvious parallels; with Skarr being so very much like Scotland (plaids and all), Bernica’s green hills and Leprechauns as Ireland, and the other British Isles represented as well. Each island has an animal spirit associated with it, and those guardians had wonderful personalities of their own. Even though Aileen and her companions don’t get a chance to thoroughly explore each island on their way to Logra, their quick but memorable encounters do make a strong impression. It could be the authors’ ability to boil down the essence of a place into a few anecdotes which keep the pace moving so swiftly, or it could just be the sense of familiarity which would strike any reader of similar fantastical children’s books. The former option seems quite likely, though, especially given Jones’s legacy of creating wonderful fantasy worlds which always have a twist or two to keep them unique. (The Dark Lord of Derkholm, for example, bends the magical land with traditional fantasy creatures rules so very amusingly with its Earthly tourists.) Chaldea isn’t nearly so inventive as some of her other settings, but the story staged on these islands is a traditional, comfortable tale. The recognizable landscapes, one after another, still seem magical because of the adventures they host and the wonderful characters who dwell there.
The plot was pretty detailed but not so complex as other DWJ books. I think that The Islands of Chaldea is aimed at a slightly younger crowd than my favorites of hers. Books like Fire and Hemlock are packed full of legendary references and fairy-tale traditions, but featuring twisty plots which are staggeringly unique. Her earlier works are so rich in detail, they invite multiple re-readings and have almost always surprised me with something new even years later. This book is more up front, and the twists are more predictable. Compared to the Chrestomanci books, which are good for a similar age range of readers, the plot of the first 300 pages in The Islands of Chaldea is a little tame. The last few chapters of the book threw a whole bunch of action and twists into relatively few pages. Things get nicely resolved – perhaps they even fall into place a little too nicely – but I felt that the conclusion was rushed, with so much complexity appearing all of a sudden. It’s the writing and the characters which make it such a likeable fantasy book, then. Because it really is likable. The descriptions are lovely, feeding our imaginations with the sights, sounds, scents, and atmosphere of Aileen’s surroundings without straying from the young narrator’s believable point of view.
The characters are just so much fun. I want to be Aunt Beck when I grow up. She’s snappy and impressive and looks really great in plaid. Her relationship with Aileen is brusque but caring, and when their authoritative roles get reversed due to a curse gone wrong halfway through the adventure I found the ensuing character development to be quite satisfying. Prince Ivar and his teenaged servant Ogo are banterous and amusing; they act as nice foils to the girls’ attempts to keep things in relative order. The animals have wonderful personalities, too, and the various travelers who join up on the quest ensure that things stay interesting along the way. Alas, the villains were a little underdeveloped, mostly appearing in the already-rushed end of the novel. But Aileen’s personal journey as she tunes in to her own powers and the magic of her lands is the real pulse of The Islands Of Chaldea, and not so much the results of the quest itself, and she becomes a very interesting young lady by the story’s end.
I would say that it was an enjoyable escape into a good old-fashioned fantasy world, and will appeal to fans of Dianna Wynne Jones who still aren’t ready to say goodbye. New readers will probably like The Islands of Chaldea as well, especially anyone who likes wise women who don’t stand for any nonsense (fans of Morwen in Patricia C. Wrede’s Enchanted Forest Chronicles, for example), or likes the traveling bits of high fantasy more than the political entanglements. For older readers who want something a little more challenging and inventive, I would recommend Fire and Hemlock, Howl’s Moving Castle, or The Dark Lord of Derkholm. Really, pick up anything by the late and very great Dianna Wynne Jones, and you’ll have a magical experience ahead of you. She was one of the best.