Arthur C. Clarke's Childhood's End is one of the classics of modern SF, and perhaps justifiably so. It incorporates into some 75,000 words a large measure of the virtues and vices distinctive to SF as a literary art form…. Unfortunately, and this is symptomatic of Clarke's work and of much SF, its vision is far from perfectly realized. The literate reader, especially, may be put off by an imbalance between abstract theme and concrete illustration, by a persistent banality of style, in short, by what may seem a curious inattention to the means by which the author communicates his vision. The experience of the whole may be saved by its general unity of tone, of imagery, and of theme, but not without some strain being put on the contract implicit between author and reader to collaborate in the "willing suspension of disbelief." (p. 196)
From the moon-bound rockets of the "Prologue" to the last stage of the racial metamorphosis of mankind, familiar science fictions guide us gradually if jerkily through Childhood's End. Besides futuristic technological hardware, we are shown three rational utopian societies and mysterious glimpses of extrasensory powers. Reducing all of these, however, practically to the status of leitmotifs, the theme of alien contact is expanded to include something close enough to the infinite, eternal, and unknowable that it could be called God; yet even this being, called the Overmind, is rationalized, and assumed to be subject to natural laws.
