From Jupiter to Genesis: A Cal-Tech Grad's Testimony with an African-American-Israelite Book

Though L'Engle's storytelling improves after the dull previous outing of "A Wind in the Door", "Swiftly" fails in other more serious ways.

The biggest problem is her somewhat silly reliance on hereditary family names from generation to generation--names that endure for hundreds of years and somehow continue to intersect.

Madoc, Madog, Maddux, and Mad Dog; Gwydder, Gedder, and Gwen; Zyllie, Zyllah, Zylle; two Branwens and a Charles and a Chuck round out the cast. I think.

Something like four different generations are followed and each generation has its own version of each namesake. But it's not just one namesake per generation--the 1865 generation has a Zyllie in America and a Zyllah in South America. Or is it the other way around? Gedder wants a Maddux to get with his sister Zyllah and wants Gwen for himself, but that Maddux is engaged to the Zyllie in America. Confusing? Yes. Does this sound silly? Yes.

The first generation's usages of the names is fine. The second generation is interesting but gets a little confusing (like if the families married in the first generation, why are Maddocs still courting Zyllahs?). And by the third generation it's just absolutely ridiculous that L'Engle is still trying to play this name game.

All this nuttiness aside, our hero, Charles Wallace doesn't seem to really do much in the story. He travels within a particular person in each generation and kind of becomes them. But only in the first generation is it clear that Charles himself steps forward and directs his host to act in a certain way. After that, Charles' influence on his host--and therefore on the novel--is less distinct.

One can infer a few instances where his presence may have made a difference, but overall the effect is to make him seem more like a passive observer than active participant in saving civilization. And passivity is a serious flaw in any story.