Sometimes I'm utterly blind-sided by the underlying aspects of colonialism, racism, and xenophobia in 20th century British children's fantasy. I feel like it's unfair to fault Jones' entirely, due to the environment in which she wrote and how our understanding of these elements has grown in the past few decades, but it doesn't make the content easier to digest at times.

The way Millie/The Goddess is ultimately depicted and described as less savage than her peers due to her adopting a more Western name and aspiring to live the British schoolgirl life is, eh, not great. Describing Tacroy, a person of color, as "one of the good ones" when compared to others of his ethnicity, is also a big yikes.

It feels so out of place in what is yet another engaging Jones fantasy. I had similar feelings when I read Castle in the Air, so I imagine it's only going to be a reoccurring thing when Jones focuses on any nonwhite civilization or people. Again, a product of its time, but it doesn't exactly make it age well.

That aside, it's a classic fantasy about a boy coming into his power, kicking and screaming all the way. He's a reluctant hero in the most bratty way possible, without even fully realizing how much of a terror he is to other people. There's a bit of humor in when he realizes this and tries to be better, much to the relief of the castle staff. 

This book is great for those that also feel between places most of the time, that find strength in discovering things on their own while also coming from a broken upbringing. While Christopher's innocence and loyalty is turned against him, it never leads him to betray those that matter most to him, only to realize there are better people to ally yourselves with than those who want you for only what you can give them.