The Charlatan’s Boy: A Novel (Paperback)
by Jonathan Rogers
ISBN: 0307458229

Price: USD 11.89
45 used & new available from USD 3.09

The story of Grady, a boy with no knowledge of his family, as he travels with a cheating showman named Floyd. The golden age of their show used to be the “Wild Man of the Feechiefen Swamp” act, but now that feechiefolk have become a laughable legend, the traveling duo are forced to find other shows make money from. That is, until they hit upon a scheme that will force all of Corenwald to believe in feechies once more—and bring back an opportunity for their favorite bit of show business. As they travel back and forth across the land, Grady also begins to discover things about himself.

I found this story very entertaining. Though some characters appear only for a short time, many of them actually do tie back in later in the book. My main complaint was that most of the book involves them cheating the townspeople in one way or another, but Grady’s conscience still pesters him, and the story ends well. Readers of the Wilderking Trilogy (The Bark of the Bog Owl, The Secret of the Swamp King, and The Way of the Wilderking) can enjoy picking up on subtle tie-ins, while new readers can still enter and enjoy the world of Corenwald. Overall, definitely worth reading. According to the back of the book, there’s a sequel on its way later this year. I shall look forward to it.

(Eighth in a series of interviews with the Motiv8 Fantasy Fiction Tour authors.)

Jonathan Rogers grew up in Georgia near the swamps and river bottoms, where his The Wilderking series is based. He has a degree in English, and a Ph.D in seventeenth-century English literature. Recently, Incredibooks did a brief e-mail interview with Mr. Rogers.

Incredibooks: Why did you choose fantasy to work with instead of some other genre?

Jonathan Rogers: My favorite thing about the fantasy genre-broadly defined-is that it gives a writer a lot of freedom to mash together things that don’t normally go together. As the Wilderking took shape in my mind, I knew I wanted to use the David story as a way of talking about wildness and the role of wildness in a boy’s growing up. I didn’t want to do historical fiction for several reasons, one being the fact that I wasn’t comfortable making up dialogue to put in the mouths of actual Bible characters. Free from the constraints of historical fiction, I thought a medieval-esque, knights-and-castles setting would be a fun way to tell the story. And while I was at it, I decided to indulge myself by making the physical setting look like the swamps and forests of South Georgia and Florida. By that point, I really had nowhere else to go but an imaginary world. So for this story, the fantasy genre made sense. 

IB: How do you make your characters seem like real people instead of just figures who move the plot along?

JR: I spend a lot of time thinking about motives. I try to understand my characters well enough to know what would motivate them in a given situation. And I know my characters because I pay attention to the people around me. I’m forever asking myself what motivated a person to do this or that; I don’t so much mean the people I know as the people I don’t know. When you see a stranger do something unusual in public, all you have are the external facts: that guy is dressed in business attire and is sleeping on a bus bench. That’s interesting, of course, but more interesting is the game you play with yourself: Why is a guy in business attire sleeping on a bus bench? That’s where storytelling comes from. A good story is a constant back-and-forth between external facts and internal motivations: characters react to the external facts of their situations, characters change the external facts of their situations. Sometimes characters succeed in bringing their motivations to bear on a situation, and sometimes they don’t. When you think in those terms, character and plot begin to work hand-in-glove with one another.

IB: Who is your favorite character from all of your books so far, and why?

JR: That’s an easy one: the main character in the Wilderking books is a boy named Aidan, but my favorite is a wild swamp boy named Dobro Turtlebane. When he’s on the scene, something wild and funny is going to happen. His behavior seems erratic-courting danger, fighting with people he actually likes, etc.-but if you can accept a few basic premises about his unusual worldview, his behavior is actually quite logical. Dobro is a great example of what I was saying in an earlier question about character driving plot. He’s a game-changer, for sure.

IB: How do you work allegory or Christian themes into your books without it being blatantly obvious or sounding preachy or clichéd?

JR: The gospel speaks to human yearnings that are universal. Everybody, Christian or not, knows what it is to feel that we are living in a world that stirs up more desires than it can fulfill. Even people who don’t talk about sin know what it is to feel that you are broken and unable to fix yourself. Everybody hopes that love is stronger than hate, even if they’re not sure it really is. In short, everybody knows they need grace. I hope my writing is always, always about grace, in many forms. And grace, almost by definition, doesn’t lend itself to preachiness. It suddenly doesn’t feel like grace anymore if it’s given to you ungracefully, unbeautifully. Fiction and grace were made for each other. Think of the parable of the prodigal son. That’s great fiction, and it gets inside you in a way that a sermon can’t. I like sermons too, but they work in a different way.  

IB: Do you ever write something that you love, only to look at it later and discover it’s not as good as you thought?

JR: Yes. Something similar happens in one of my recurring dreams. In this dream I tell a joke and it’s the funniest thing I’ve ever heard. I laugh and laugh, and everybody around me agrees that I’m the wittiest man they’ve ever had the pleasure to know. Then when I wake up, I realize not only that the joke wasn’t funny, but it didn’t even make sense-not even grammatical sense. I’ve never written anything that was quite as bad as that, but suspect the dream comes from the same fear your question touches on: how do you know you’ve written something that is really good? I’m learning to trust my judgment, though: if I think something is interesting and funny, there’s a good chance a lot of other people will think it’s interesting and funny too.

This is the final interview. Our thanks to all of the authors from the Motiv8 Fantasy Fiction Tour!

The Bark Of The Bog Owl (The Wilderking Trilogy) (Hardcover)
by Jonathan Rogers
ISBN: 0805431314

Price: $0.01
53 used & new available from USD 0.10

In the island of Corenwald, 12-year-old Aidan Errolson longs for some adventure and writes often to King Darrow, asking for some kind of quest. (None of his fifteen letters are answered, however.) One day he hears the bark of the bog owl and meets Dobro Turtlebane, one of the feechiefolk, tribes of people who warn each other never to go near “civilizers.” The same day, Bayard the Truthspeaker pays a visit and proclaims that Aidan will someday be the Wilderking, the prophesied king who will come out of the forests and swamps.

And so the Wilderking Trilogy begins. This book is a fantasy, but is only so because it takes place at an unreal island. It seemed a little slow to me, but it’s still good. The Bark of the Bog Owl is written well so that it has some adventure, but is not gory.