Despite its differences from Lowry's other work, The Giver was universally well-received on publication. Gary D. Schmidt, writing in The Five Owls, stated: "This is a fantasy novel that does what fantasy at its best can do: make us see the reality all the more clearly. The questions it asks about the costs of love, the structure of the family, the role of painful memories, the nature of the perfect society are all timely." In a much longer, but equally enthusiastic review of "this intricately constructed masterwork," Patty Campbell, writing for Horn Book, began by drawing attention to the departure from Lowry's usual style. "Up until now, much of Lowry's work has consisted of [what one reviewer called] 'contemporary novels with engaging characters that explore something very rare—a functional family.' But The Giver is a dystopia, 'driven by plot and philosophy—not by character and dialogue,' and the picture of the functional family turns disturbingly awry as the story proceeds." Campbell takes advantage of the space allowed for an extended review to delineate what she sees as the exceptional advance in narrative skill shown in the novel. The opening of the novel, she argues, shows a mastery of "innuendo, foreshadowing, and resonance." Quoting the opening sentence, Campbell goes on to explain: "The word December is loaded with resonance: the darkness of the solstice, endings, Christmas, cold.... The name Jonas, too, is evocative—of the biblical Jonah, he who is sent by God to cry against the wickedness of Nineveh, an unwilling lone messenger with a mission that will be received with hostility. In one seemingly simple sentence Lowry sets the mood and direction of her story, foreshadows its outcome, and plants an irresistible narrative pull."
Proceeding to compare the novel with Margaret Atwood's The Handmaid's Tale , Campbell then analyzed the skill with which Lowry slowly reveals the unpleasant edifice upon which the initially appealing community is based, before admiring the ingenuity of the...
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