A Wrinkle in Time [is] a fantasy which uses many of the devices of science fiction, but which does not rely on its machinery to produce story. Space and time fantasy can have fully developed character, and yet retain the ingenuity we find in science fiction. Even though the characters of A Wrinkle in Time have special mental powers, they do not lose their humanness. Father, the brilliant scientist, through sheer human weariness has lost his fight with IT, the huge, disembodied brain. Meg struggles to hold back Charles Wallace, who—arrogantly believing in the superiority of mind—is drawn into IT's control. Meg's human stubbornness helps her rescue her father, but in the process she leaves Charles Wallace. Sustained by the strength of an indomitable human force, love, Meg returns to rescue her brother and reunite the family. These are round, three-dimensional characters; they can be found in science fiction. We can be made to care about the action, the ideas, the characters, and their relationships—when the characters are believable. (p. 27)
Rebecca J. Lukens, in her A Critical Handbook of Children's Literature (copyright © 1976 by Scott, Foresman and Company; reprinted by permission), Scott, Foresman, 1976.
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