A Wrinkle in Time (1962)

by Madeleine L'Engle (Madeleine L'Engle Camp), b. 1918

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• The main point of this story is that individuality must be earned through a struggle--but it is one's greatest achievement.
• The problem faced by Meg, Charles Wallace and Calvin (the heroes) is how to rescue Mr. Murry (the father of Meg and Charles Wallace) from an uncertain fate.
• The resolution comes about through the assistance of three superhuman (if not supernatural) beings, Mrs. Whatsit, Mrs. Who, and Mrs. Which, who lead the children on a journey of self-discovery and enable them to overcome the evil totalitarian being, IT, who holds Mr.Murry captive.
• The child appeal of this story is due to the far-flung scope of this sci-fi-tinged spiritual quest.
• The parent/teacher appeal of this story is in the enabling message--finding oneself regardless of other people's opinions.

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My notes while reading the book

• Charles Wallace's character, while very likeable, could have been more effective if we were more consistently shown, not just told, that he's five.
  • After all, Charles Wallace is the same age as Christopher Robin in Winnie-the-Pooh. The tension that could exist between believably childish behavior and unusual gifts is missing.
  • After a few telling details in the initial kitchen scene (he strives to learn new words each day), the writer stops making an effort to keep him in character, and Charles Wallace becomes essentially ageless.
• Meg is really looking to shed responsibility in her quest to find her father. The encounter with IT comes at just the right moment to show her the folly of such an attitude.
  • Her almost-hysterical struggle not to take on the task of rescuing Charles Wallace is the last remnant of her old self--before she finds her new self and prevails over IT.
  • Conversely, her ultimate success shows that her strengths could only appear as "faults" in an unsupportive environment (narrow-minded schoolmates, teachers, townspeople).
• Gender roles only partially questioned.
  • Meg punches those who tease Charles Wallace, but only because she's a "tomboy". She does not argue with the fact that it is the (male) twins' proper role to fight.
  • Meg's mother is an overachieving scientist, but she's also stunningly beautiful. And Calvin finds that the latter asset is the key to believing that her husband hasn't deserted her.
  • Then again, gender distinctions may not matter at all to this author--Mrs. Whatsit in chapter 4 is "She? he? it?"
• The "generation gap" in this book is one of belief--parents (and adults in general) fail to believe fully in the unseen and are unable to provide effective solutions.
  • The Murry adults are set up as symbols of pure reason in opposition to the spirituality of the three "witches". The eventual outcome vindicates the latter view.
  • The author, however, generously apportions good intentions to all--validated by redeeming sacrifices: the Murrys are riven apart, Mrs. Whatsit is a spent star, Mrs. Which has lost her capacity to fully materialize, Mrs. Who quotes the words of others because she has lost the ability to devise her own.
  • While the helper trio is generally regarded with the seriousness due to guardian angels, there are key elements of levity in their depiction. See for instance their "inside joke", spoofing traditional fairy tales in their appearance (especially witch-like Mrs. Which). As Charles Wallace remarks: "They get a lot of fun out of using all the typical props."
• Several aspects of the book reflect closely the milieu in which it was written:
  • Struggle against totalitarianism--the communist one as well as other, more subtle and insidious varieties (Meg sees on Camazotz the sameness she remembered seeing in subway riders on Earth).
  • Like several other books from approximately the same period (The Phantom Tollbooth, The Lion, the Witch, and the Wardrobe), this one too has a strong undercurrent of skepticism (if not outright contempt) towards the educational establishment. Meg dreads school, Charles Wallace plays dumb to get by, Calvin has to renounce his true self.
  • The national fever over the space program in general and the "race to the moon" in particular had turned scientists into media celebrities. It was again acceptable to speak with unalloyed admiration of the wondrous achievements of science--a brief interlude made possible by receding images of atom bomb slaughter, and just before awareness of environmental disaster took hold.
• That opening line--it's ironic, right? Maybe it's my declining sense of humor, but I don't see her doing anything with that irony. Maybe we should ask Snoopy...

Class discussion

• This was written in 1962, in the middle of the Cold War. It was strongly influenced by the fear of a totalitarian takeover--both from the outside (USSR) and the inside (50s conformity).
  • The propaganda may be missed by children who are probably more interested in the adventure plot.
  • Camazotz, the planet in the grips of Evil, is smothered by arcane red tape. Part of the book's argument against "Big Government".
  • The Dark Thing "shadowing" Earth suggests that the same oppressive and mindless conformity ruling Camazotz could establish itself here as well--as indicated by the gossipy, bigoted townsfolk in the Murrys' hometown.
  • References to Christianity are consistent with the overall attack on "godless communism".
    • The religious theme is centered on messianic hope, avoiding commitment to any one established church.
• Message repeated again and again is the value of individuality.
  • Each child contributes in unique ways.
  • Each child, even perfect Charles Wallace, turns out to be flawed after all. Meg, who starts out thinking she's a loser, prevails thanks to her 'faults'.
  • The Declaration of Independence is used as a defense against IT.
  • Great individuals in Earth's history are exalted.
  • The appeal of IT is the same as that of religious cults--the desire to let go and simply be told what to make of our lives.
    • Charles Wallace, advocating conformity on behalf of IT, reminds Meg and Calvin of the trouble they go through at home because they're not like everyone else.
• The Murry family is shown as extremely close-knit in spite of adversities, with the children looking up to their parents. Meg's disillusion with her Dad--he simply turns out not to be perfection itself--is an essential plot element in the book (it drives Meg to action), as well as being a fundamental passage in children's lives.
  • Mr. Murry has become especially mythical for his daughter because of his prolonged absence. Hence, the letdown is especially great when it becomes apparent that Dad can't in fact fix everything.
  • Meg's "tantrums", under the influence of the Dark Thing she crossed to land on Ixchel, are meant to test her father and the limits of her own independence.
    • This will resonate with children mustering the courage to find their own way.
    • At the last minute, when Meg has finally found the resolve to return to Camazotz and rescue Charles Wallace, both Mr. Murry and Aunt Beast play the role of possessive parent figures unwilling to let the child go.
    • Meg saving her Dad may have a poignancy for older readers as well--those who find themselves having to take care of aging parents, and adjusting to the role reversal: from being taken care of, to caregivers.
  • Calvin is depicted as likeable--in spite of his dysfunctional family. He's popular at school, has everything going for him, but the book shows that below the surface he has secret problems to struggle with.
• Young readers will be attracted to the great character development, engrossing plot, identification with misfit theme. Vivid writing.
  • The suspense element makes this into a page turner, driven by an almost-impossible quest.
  • The awards the book won may be due to its positive message, but the story still stands on its own.
  • The happy ending is not presented as an ultimate victory against evil. It acknowledges that the struggle is an ongoing one--matching growing children's budding awareness of bad things happening around them.
  • The overall reading level is 4th-5th grade, but some references (such as the rules of the sonnet form of poetry, used in chapter 12 to explain free will) go beyond that level. The book is encouraging the reader to stretch, but it may end up losing today's children in that age group--while failing to attract older readers because of its theme.
• Girls and boys are about equally protagonists in the story.

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