Not that there aren’t pranks and envelope-pushing quips aplenty. Sure signs that the creative wells are running dry at last, the Captain’s ninth, overstuffed outing both recycles a villain (see Book 4) and offers trendy anti-bullying wish fulfillment. All characters are White.īeautiful writing cannot compensate for weaknesses in worldbuilding. Atmospheric daguerreotypes front each chapter. Among other horse-related slip-ups, novice rider Silas manages a 12-hour day without either himself or the pony dropping from exhaustion.
The eponymous Pony drives several plot points but doesn’t come across as a real equine. government, plays into unfortunate tropes of Indian nations no longer existing. A conversation between Silas and a White settler, following a scene in which Silas encounters the ghosts of Native people massacred by the U.S. The presentation of the ghosts is also inconsistent: Some can see each other, others can’t Silas recognizes some as ghosts but thinks others are living people. Palacio writes smoothly, with engaging details, but narrator Silas sometimes seems far younger than 12 and other times too adult. Pa promises he’ll return in a week, but the next morning, when a pony one of the men was leading returns to the farm, Silas decides to ride after him, though it means braving the ancient and terrifying Woods, more ghosts, and his own fears. One night, three armed strangers on horseback insist that Pa come do some sort of business with them. Silas Bird, 12, his father, a Scottish immigrant bootmaker and experimental photographer, and Mittenwool, a ghost only Silas can see, live near the fictional Ohio town of Boneville in 1860. A boy, accompanied by ghosts and a bald-faced pony, sets out to rescue his father.
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