Review: The Timekeepers

The Timekeepers by Jill Archie
My rating: 3 of 5 stars

Unusually for a steampunk/clockpunk novel, this one has very few vocabulary errors. The rule of thumb seems to be that you can have an airship in your book, or you can use vocabulary correctly, but not both. Perhaps the reason this one is comparatively clean in this regard is that the voice reflects the sheltered 16-year-old protagonist, and the author doesn't try to use any fancy vocabulary.

Unfortunately, at least in the pre-publication version I had via Netgalley, it does have not only most of the other errors that 70-80% of authors typically commit, including sometimes punctuating dialog tags as separate sentences (and numerous dangling modifiers, and commas and apostrophes in the wrong places, and frequently missing past perfect tense), but also some issues I see less often: the wrong form of the word used sometimes when it is in the past perfect, and in general a number of sentences that aren't quite grammatical, or don't mean quite what they're obviously intended to mean, or aren't as clear as they should be about who is doing what. An editor is credited; the fact that she didn't fix all of these doesn't mean that she's not a good editor, necessarily, just that there may have been too many issues to deal with in the time allotted.

Not every reader cares about this kind of thing, but if you do, be advised that there is a lot of it, and that even if you don't notice the specific issues, you may find you're confused occasionally.

For example, quite often there's a sentence of the pattern "Onyx did X when Y happened," which sounds like it means that she did X triggered by Y and the effect is being described before the cause, but actually makes more sense if you include the past perfect and say "Onyx had done X when Y happened," and the sentence becomes about two separate, independent events that happened in sequence. Another example where a sentence isn't as clear as it could be: "She used a fresh handkerchief to wipe away the small streak of blood from her shoulder." In this sentence, "she" is one female character and "her shoulder" belongs to a different female character, so that even though the plain meaning of the sentence is that character 1 is wiping her own shoulder, the reader has to infer from context that character 1 is actually wiping character 2's shoulder.

The plot is a simple one, quite predictable, and relies heavily on the main character making bad choices. At one point, for example, her father is kidnapped and the kidnapper sends a ransom demand: Send me the McGuffin by return of post! The heroine then proposes that she and her two companions instead go to where her father is being held (which they can discover from the means the villain used to send the message), unarmed, and take the McGuffin with them. The companions, both of whom are older and more experienced, praise this as a great idea and see no issues with it whatsoever. She then recruits someone she knows is a slightly unhinged radical to help them, by promising something she knows she can't deliver. Exactly the problems you would expect ensure.

The worldbuilding involves a world that is spread across the main gears of an enormous clock, of which the main character's father is the Timekeeper. It's consistent in its aesthetic - lots of gears and springs and brass - but not especially realistic; I don't think it's meant to be. It's there to create a vibe, not to be a serious science-fictional speculation. If that's the case, it does its job, and at least it's original. Still, even giving physics a holiday, there are parts of the setting or the events that didn't make sense to me. I never did get straight in my mind what the scale of the tower that holds the clock hands was, for example, and I couldn't figure out how a mirror at the top of a staircase could possibly make it look as if the stairs continued up. There were a number of other minor examples where my suspension of disbelief stuttered, not because of the steampunk aspects, but just because of something incidental which looked like it had been invented on the fly to make the plot work, despite not being particularly credible. For example, the obviously misanthropic airship inventor conveniently has two spare bedrooms in his airship - the exact number needed by the characters to, among other things, have a series of interactions that forward the plot - even though the author flat-out says that he didn't seem the type to entertain guests (and even though, in what is intended to be the fastest airship in existence, you would probably want to save as much weight as you could, but that's a physics thing, and I did say I was going to give the physics a pass).

Overall, for me it fell short of being a book I'd recommend. This is primarily because, at the sentence level, the prose frequently doesn't do its basic job of accurately and clearly conveying the author's intent. But also, a plot based largely on the incompetence of the main character (who's still supposed to be some sort of special chosen person), who must be opposed by incompetent villains in order for her to succeed, doesn't work for me, and I constantly struggled to maintain my suspension of disbelief about secondary details.

There's some light philosophy about living in the moment and not fearing death. It doesn't have enough depth to raise the rating.

It engaged me enough to finish, but I was constantly distracted by the many issues, so it gets three stars.

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