In Book 1 of The Wind on Fire trilogy, Nicolson weaves a tale of high fantasy in which he creates a world apart from the world as we know it, or has he? On the surface, the dystopian city of Aramanth seems unlike our world in every aspect. Families are given housing and privileges according to a caste system identified by color, which in turn indicates their position in society. “Mudpeople,” who are very loving, inhabit the world under the city streets and “old children” zap the life out of anyone they touch. Aramanth is not as it had been prior to turning over the voice of an aeolian pipe organ known as the Wind Singer to the dictatorial leadership of Morah. Now the city is forced into a society governed by academic achievement driven by testing, which begins at the age of two. Legend says, if the voice of the organ is returned to the tower of the Wind Singer, harmony will return to Aramanth. As is dictated by high fantasy, a hero comes forth, many trials and tribulations are experienced, and the society is saved. In this instance, the heroes are children. Kestrel, her twin brother, who has supernatural abilities, and a learning-disabled classmate, Mumpo, are the ones who encounter giant eagles and wolves, an army of zombies, and being sucked into the mud in the underworld to save the fate of Aramanth. The story is difficult to follow at times, but somehow propels the reader to complete the journey with Kestrel, her brother, and the tag-along, Mumpo. Children who really enjoy fantasy, and will not allow themselves to leave a book unfinished, will make their way through Nicholson’s story. Others will lose interest too quickly. Young readers are not interested in analyzing the world, therefore the parallels between the story and what is happening in society today will not stimulate their desire to read. (Trade Book)
Reviewer: Charlotte Skinner
Sparks, Co-Editor
Sparks Home Table of Contents Books Authors & Illustrators Contributing Publishers
ASU COE Teacher Ed Dr. Owens Dr. Skinner Dr. Williams
