Superstar
Ross MacKenzie is rapidly establishing himself as a rising superstar of children's fantasy fiction. I loved his imaginative and engaging previous book, The Nowhere Emporium, when I read it in May '15. (See my post of that date.) It subsequently won a Scottish Children's Book Award and the Blue Peter Best Story Award for 2016. I was delighted but not at all surprised. A winner is exactly what it is.
A big however
His recent book, Shadowsmith, is very special too. In basic concept it is perhaps not quite so startlingly original as its predecessor. It is essentially about a boy whose mother is in a deep coma, following a freak accident, and may or may not pull through. The fantasy element of the story is, in no small part, a metaphor, an externalisation of his own working through of the anger and fear he understandably feels. It has to be said that variations on this sort of idea have already been explored in a good many children's books, some of them deserved classics.
However - and it is a very big however - what Ross MacKenzie lacks here in originality he more than makes up for in the quality of his writing, his vivid imagining, his sensitive truthfulness and his compelling storytelling. The feelings of protagonist Kirby are beautifully handled and developed, as are his 'real world' relationships, most particularly his rather awkward one with his father. These elements of the story ring painfully true and are often very moving. This is thanks not only to the writer's ability to imagine himself very truthfully inside the boy's skin, but also to his writing which is both masterfully controlled and very appropriately pitched for his young readership. He is never patronisingly blatant in his exposition, allowing circumstances and emotions to be deduced from the unfolding narration. Yet neither is he so subtle or obscure as to fail o communicate effectively. Empathetic children have much to gain, and those whose interest is perhaps initially more in the book's spooky fantasy, much to learn.
A dark tale
As flagged by both title and cover, the fantasy element in Shadowsmith is of a sinister and somewhat ghoulish kind that may not be to all tastes. Even though it is essentially more dark Disney than Denis Wheatley, it does involve some powerfully evoked encounters that are quite chilling and could well be experienced as genuinely frightening. Yet, for those who can cope, this is an important part of the book's power and potency. Kirby's experiences and emotions are deeply troubled too. And many young readers will revel in these elements of the story, not despite, but because of, their evocation of nightmare. Those who enjoy the darkness of the later Potter books will feel perfectly at home here.
The girl in the yellow raincoat
It is in these fantasy elements of this tale that Ross MacKenzie's quirky and vivid imagination comes most into evidence. His storytelling is masterful. It is never less than compelling as he builds through numerous twist and turns, chilling encounters and breathtaking climaxes, to a conclusion that holds back even more surprises until the very end. His villains and ghastly adversaries are strongly imagined and vividly conjured, not least the spiders. This is no story for arachnophobes. However at the very heart of his fantasy story-weaving is his most brilliant and engaging creation, Amelia Pigeon, the girl in the yellow raincoat. Her intermittent involvement throughout, and the gradual unfolding of exactly who she is, was and wants to be, makes Shadowsmith truly magical fiction of the highest order. Her relationship with Kirby is richly meaningful and deeply affecting.
More please
This is a dark book with a very warm heart. It is not to be missed by any fans of spooky fantasy - because it is that, and far more.
I an still looking confidently to Ross MacKenzie to pick up fully on the amazing originality he showed in The Nowhere Emporium. Meanwhile this book gives further strong reason why his titles should not be left on the shelves for very long.