Since its publication in 1958, The Witch of Blackbird Pond has been reviewed or commented on many times, almost always favorably. Critiques range from nearly generic praise of the novel as an example of the right thing to use to teach young readers, as was the case in Christopher de Vinck’s 1987 op-ed piece on the subject in The New York Times, to praise of the novel simply for its entertainment value, as was the case in the anonymous 2003 review of the novel’s reissue in the School Library Journal.
When critics get more specific, their praise touches on several aspects of the novel. Critics who have some historical distance from Witch, such as Steve Eikenbery, writing for the English Journal in 1992, praise the novel for the “prescience of the author.” Almost a decade earlier (in 1987), Mary-Helen Thuente also discussed the novel for the English Journal; Thuente set out to explain the novel’s power and success, and argued that these came from Speare’s ability to balance the demands of realistic historical fiction with aspects of the folktale, arguing that “the meticulously detailed historical background and the character study of the heroine enrich a young adult novel emotionally and intellectually, but Speare has also written a masterfully structured work of art with the symmetry, symbolism, and universality of the folktale.”
Most critics, though, emphasize the first two elements—historical realism and character development—in their commendation of the novel. This is certainly true in the main book-length study of Speare published; scholar of children’s literature Marilyn Fain Apseloff focuses there and singles out two more elements for specific praise. Apseloff argues that Speare is especially adept at building suspense through foreshadowing in both structure and dialogue and, more importantly, that Speare makes a point of emphasizing values in her work in ways that demonstrate “the strong religious foundation of her life.”
While praise has been by far the dominant response to The Witch of Blackbird Pond, it is not the only reaction. In their study of young adult fiction featuring disabled characters, Notes From a Different Drummer, Barbara Baskin and Karen Harris objected to Mercy’s character, finding her both “highly idealized and taken for granted.” The article “A Feminist Look at Children’s Books,”...
(The entire section is 728 words.)
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