Tin

January 1, 2019
Isaac Asimov's Three Laws of Robotics get a middle-grade twist.Christopher thinks he's a 12-year-old boy. He lives with Absalom, an unlicensed engineer who uses his robot inventions to grift vulnerable people out of their money, and an endearing cast of other mechanical creations. When Christopher gets hit by a car selflessly trying to rescue one of his metallic friends, he accidentally discovers that he is also a robot--a highly illegal one, as he's clearly "ensouled"--and is promptly whisked away by men purporting to be from the government agency overseeing such matters. Worried, Christopher's friends, constructs and flesh, go on a quest to save him. They even enlist the help of the most renowned engineer in history, the man who created Christopher to fill a void in his own family. Points of view bounce around confusingly, with prose that feels in need of some tightening and oiling. In this post-World War I England, all the nonmetallic characters seem to be white given that even the flesh affixed to robots is described as a "white mixture" that develops "a fleshy pallor." Hard-to-follow action sequences and pseudoscientific terminology blunt the emotional stakes, which are felt more in the side characters than the main quest.Young science-fiction aficionados will appreciate this story despite its malfunctions. (Science fiction. 8-12)

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Starred review from March 1, 2019

Gr 5-8-Christopher works as an engineer's assistant, living with mechanical children who together make up a small but loving family in spite of the illegal nature of their owner's pursuits and the conditions of the workshop. When an accident reveals Christopher's true nature and a rival engineer with unscrupulous aims kidnaps him, the other children search for him and find a recluse in a closed-off town of mechanicals who becomes their only means of rescue. This dark and bittersweet tale of friendship, family, and loss is carried along by the likeable ragtag bunch of mechanical children on which it is centered, and explores complex questions about the nature of a soul and emotions. The nonstop action includes some scenes of mechanicals being injured or dismembered that might best suit mature readers. There is an underlying sadness throughout the story that is reminiscent of Lauren DeStefano's middle grade titles. The ending is happy yet reflective of the young characters' strength as they overcome sorrow to find a home and security, together. VERDICT This inventive, emotionally compelling fantasy is a strong fit for school and public library middle grade collections alike, and would be an excellent choice for book discussions.-Kerry Sutherland, Akron-Summit County Public Library

Copyright 2019 School Library Journal, LLC Used with permission.

May 13, 2019
Echoes of classic sci-fi and fantasy enrich Kenny’s spirited yet flawed debut set in early-20th-century England. The Laws of Mechanics dictate that only registered engineers can confer sentience on Britain’s childsize automatons via inscribed magical glyphs; creating adults or animating mechanicals with souls is illegal. After a car accident reveals a jarring truth about 12-year-old orphan Christopher, he is abducted from the junkyard of opportunistic unlicensed engineer Gregory Absalom by sadistic henchmen Reeves and Dunlop, allegedly on behalf of the law-enforcing Agency. Absalom’s motley band of lovable mechanicals—Jack, Round Rob, Manda, and Gripper—endeavor to rescue Christopher with the help of their Flesh friend, resolute skin-maker Estelle Wilkins, as well as that of peevish, disgraced “father of engineering” Philip Cormier. Meanwhile, Christopher discovers the identity of his true kidnapper, who harbors far more sinister plans than any that the Agency could devise. Unfortunately, the story suffers from anemic worldbuilding and too-frequent perspective shifts, and a dearth of diversity undermines a condemnation of imperialism and themes about the importance of found family. Still, the novel raises interesting metaphysical questions, especially prescient for readers growing up in an age when conversations vis-à-vis the ethics of AI are becoming increasingly relevant. Ages 8–12. Agent: Sophie Hicks, Sophie Hicks Agency (U.K.).