However, the road to print has not been without its critics. When the first chapter of The Falcon’s Children was made available online in 2023, it drew the attention of seasoned book reviewers. Laura Miller, the prominent book critic for Slate, was notably unimpressed by the opening pages. In a sharp critique, Miller suggested that the prose struggled under the weight of its own world-building, stating that if the remainder of the novel followed the template of the first chapter, it would require a "top to bottom" rewrite.
Miller’s critique highlights a common pitfall for debut novelists coming from the world of opinion journalism: the tendency to prioritize "data-dumping" and structural lore over character-driven narrative. Douthat’s world is undeniably vast, supported by hand-drawn maps and exhaustive documents detailing the geopolitical history of Narsil. While these elements are catnip for a certain subset of high-fantasy enthusiasts, they can occasionally alienate readers looking for a more fluid storytelling experience.
Despite the critical pushback, the project maintains a dedicated following, particularly among those who share Douthat’s interest in traditionalist themes. The world of Narsil is not merely a backdrop for adventure but a canvas for exploring the dynamics of empire, faith, and historical memory. The inclusion of the "Nine Archangels" and other quasi-religious motifs suggests a narrative deeply rooted in a supernaturalist worldview, one that mirrors Douthat’s own critiques of modern secularism.
The anticipated audience for The Falcon’s Children remains a subject of curiosity. Some observers suggest the books will find a natural home among "young apparatchiks" and conservative families who are seeking fiction that aligns with their values without retreating into purely didactic or "preachy" territory. There is a clear market for "virtue-oriented" fantasy, as evidenced by the enduring popularity of the Chronicles of Narnia and The Lord of the Rings. Douthat seems to be positioning himself as a modern successor to this lineage, though the comparison to Tolkien and Lewis is a high bar for any contemporary writer to clear.
Critics of the project often point to other contemporary Christian writers as examples of a different, perhaps more nuanced, approach to faith and fiction. The original reporting on Douthat’s book suggests that readers looking for "open-hearted" and "non-regressive" Christian writing might instead turn to the work of Christian Wiman. A poet and essayist whose work has appeared in the New Yorker, Wiman is often cited for his ability to explore the human condition and the complexities of faith in a way that feels more grounded in the modern experience than the high-fantasy tropes of archangels and empires. Wiman’s books, such as My Bright Abyss and Zero at the Bone, offer a reflection on belief that is often described as more intimate and less concerned with the "magical thinking" of world-building.
