[Madeleine L'Engle's A Wind in the Door] attempts to get to the spiritual by way of fantasy/science fiction. But she also takes other routes as well: namely both the "dragon" road and that familiar street that runs through the unnoticed gap in the everyday and into the beyond. The result is that, in terms of wonder, we get nowhere. Mrs. L'Engle really can't make up her mind whether she wants the reader to be involved in the realistic dimension of her story (which is rendered with superfluous and unselective detail) or to be caught up in the discovery of the "other" in our lives. The idea for this story is a promising one: the discovery (by the children) of the presence, in the strange illness of one little boy, of a whole universe of struggle between good and evil, order and chaos, integration and disintegration. This is the same territory C. S. Lewis worked, both in the chronicles of Narnia and in the Perelandra series for adults. The difference is that genuine wonder is never present in A Wind in the Door. The problem appears to be one of writing, primarily. For not only is there a confusion of routes (lack of commitment?) but also the spiritual (galactic) dimension, once moved into, is simply too confusingly vague and obscure to win acceptance. In addition, the treatment of the realistic point of departure is too charmingly eccentric, even, finally, clichéd—that is, cliché ideas of charmingly eccentric people. Moreover, A Wind in the Door shares what appears to be the burden of all fantasy/science fiction: only the idea really interests the writer. (p. 174)
Wayne Dodd, in Children's Literature: Annual of The Modern Language Association Seminar on Children's Literature and The Children's Literature Association, Vol. 4, edited by Francelia Butler (© 1975 by Francelia Butler; all rights reserved), Temple University Press, 1975.
