Diane Duane and I were introduced by a friend in my junior year of high school. I fell in love with her Young Wizards quickly.
I’ve since then read and reread each book in the series up through the seventh (Wizard’s Holiday), and have only failed to continue on because the books (beyond the first few) are difficult to find in bookstores and must be ordered online.
Rereading most recently the first of the series, So You Want to Be a Wizard, I was again blown away by both the power and beauty of Duane’s prose, the intricacy of her world(s), and the beautiful blending of magic and fantasy with (Christian) mythology and science.
There’s a lot that Duane does well and a lot that I love.
1) Duane blends different mythologies (one Power claiming to have gone by the names Athena, Prometheus, Thor, Lugh, and the Archangel Michael) and scientific theories into a single, cohesive myth. I did not for some time recognize so starkly that what Duane was doing was creating a magic system to work against the background of Christian mythology. The fifth book, The Wizard’s Dilemma, (if I remember rightly) is the first to name the Starsnuffer or Lone One as the fallen Lucifer and the first to name the One as God. Many ideas have been shared throughout time by Christians and Christian theologians about the power (or lack thereof) behind other gods: that all gods are God, that those other gods as demons, that they are men’s inventions and powerless. In Duane’s myths, the other gods are angels (or both angels and the other gods are Powers), servants of God but not God Himself. I could argue and have argued with myself about this issue, but Duane’s interpretation, though I know she writes it primarily as a work of fantasy, sits well with me—which perhaps is good and perhaps is dangerous. I choose not to overthink it. I don’t think that her interpretation has any real effect upon my interpretation other than to exist as another opinion.
2) Duane’s magic is affected primarily by the Speech, a language spoken by all things (or which all things can speak, but some forget). The Speech is used both to ease negotiations because of its universality and, because one cannot lie in the Speech and promises made in the Speech must be kept, to help to persuade an object or person to change or to remind it what it should be, a wizard’s purpose being to help and to aid Life. It falls into a category with other fantasies that laud the power of words, language, or secret names. Especially, Duane’s Speech reminds me of the Old One’s speech from Susan Cooper’s The Dark Is Rising Sequence and the way that knowing the true names of things gives one power in Ursula K. LeGuin’s Earthsea books and the very similar idea that Rick Riordan borrows from Egyptian mythology for The Kane Chronicles. Of those, I feel like Duane best uses language (you all can disagree with me; LeGuin’s prose I admit comes very close to having the same power as Duane’s, but LeGuin is writing for a different audience, and I prefer Duane’s speed and immediacy to LeGuin’s epic style). I feel Duane embodies with her prose what she preaches by giving her words the power that words possess in the Speech. Her imagery is vivid and poetic so that what should not or cannot be I can see clearly in my mind almost without fail.
3) There is little diversity in fantasy. Most human heroes and heroines resemble an Anglo race (probably because we are all secretly emulating Tolkien, who was British in a time when Britain was less diverse than it now is). Kit Rodriguez is a rare example of a Hispanic American in a fantasy where his race is not made into an issue or highlighted in any way. He simply is Hispanic and his family speaks Spanish mixed with English not as an act of defiance, I feel, against the fantasy-world norm, but as a matter of fact. Yes, Kit’s ethnicity is more obvious than Ged being copper-skinned but because Duane can include snippets of a recognizable language that is not the language in which the book is primarily written, her fantasy being low rather than high. (Snippets of a high fantasy language build a fantasy world but can only infrequently be a ready identifier for readers of a race different from other characters of the same world. For example, without them being labeled as such, would a casual reader recognize any difference between Dothraki, Braavosi, or High Valyrian? Or Elvish, Dwarvish, and Orcish for that matter? High fantasies have in some ways to work harder to create ethnicity because the reader knows none of the ethnic identifiers before entering the fantasy world.)
4) This first novel in particular is almost an anti-bullying book, with Nita Callahan deciding to try to befriend her bully at the end of the novel, [SPOILER] having just realized that even the most wicked can be exchange their ways for good if given the chance to do so. [END SPOILER]
This first novel, So You Want To Be a Wizard, reads more than some of the others as a simple, late middle-grade fantasy adventure. There is a clear villain against which the young heroes must compete for the fate of the world. The conflict is a simple, primarily external one. Later novels delve deeper into difficult issues (parent’s death, cancer, autism), but even in this first, Duane creates or borrows a terrifying villain and doesn’t shy from killing protagonists—or rather allowing them to sacrifice themselves for the cause.
Duane, Diane. Young Wizards, Book 1: So You Want To Be a Wizard. Orlando: Magic Carpet-Harcourt, 1996. First published by Delacorte 1983.
This review is not endorsed by Diane Duane, Magic Carpet Books, Harcourt, Inc., or Delacorte Press. It is an independent, honest review by a reader.
As a note: this is a review of the original text. Diane Duane is currently working on updated versions of the stories subtitled as The New Millennium editions, which, I hear, include updated technology and corrected facts and figures.
Title borrowed from the song from [Title of Show], “Nine People’s Favorite Thing.”