Just so we’re not confused: We are posting another point of view on Brisingr by another reviewer for more perspective. MTG
Christopher Paolini’s Brisingr is the third book of four in the Inheritance series, and I read it because I had already trudged through the first two books and wanted to know where the epic-length tale was headed. The reason I had first delved into his series was simply out of curiosity; I mean, who wouldn’t want to read a story about a boy and his dragon, right? And after the reviewing world hailed the series a masterpiece, I thought I should see what all the hype was about.
Brisingr (the word for “fire” in the ancient language) begins with Eragon, the last of the free dragon riders, who seeks the destruction of the evil beings who wreaked havoc on his family. He continues seeking for truth: truth about his life, role, and beliefs. He still grapples with his role in the destruction of the evil ruler, a Sauron-like character, who fell from his place as dragon rider years earlier.
Christopher Paolini grew up in Montana and graduated from high school at the age of fifteen. At the age of nineteen he published his first bestseller, Eragon (which also became a movie shortly thereafter). I was skeptical of this new writer at first, thinking that the only reason for his book’s popularity was because of the author’s demographics.
Paolini uses the English language masterfully (and even some of his created Elvish and Dwarvish languages), and I especially enjoyed his employment of new and exciting vocabulary words. His fresh ideas on fantasy bring to life his story; he does his best to avoid the hackneyed fantasy plots where the good guy always defeats the bad guy, gets the girl, and lives happily ever after. He also does a very good job of creating characters who act consistently throughout the plot without being too predictable.
The book’s jacket notes some praise for Paolini’s series: U.S. News & World Report says that Brisingr is “the new ‘It’ book of children’s lit.” I would contend that this statement is indeed far from truth. Objectionable elements crop up throughout the entire seven-hundred-page book. The gore factor in this book has been elevated much from the first two; the author goes into great detail of the manners in which the men die. Foul language is also scattered here and there. Paolini occasionally uses the words in a correct sense, but a majority of the time he uses the words simply as profanity. He has also skillfully woven in philosophical and religious tones. In one situation, a pagan god appears to the dwarves and blesses them. At another time, Eragon wonders if the atheism of the elves is the right way to believe. The book seems ambivalent on the issues and lends itself to further study. I would not recommend this book to children or young adults, who are yet forming their world views, and I think that those who commit to reading this series (this book especially) should do so with caution.