Jimmy the Hand is the third Rift war collaboration book (outside the Janny Wurts Empire series) that Feist wrote with different authors. This time the author is S. M. Sterling. Sterling is the author of Dies the Fire, the only other book I’ve read penned by him.
Overall, Jimmy the Hand is an OK read. I wouldn’t recommend it to friends, but I wouldn’t slap it out of their hands if they picked it up to read it either.
I thought the book would revolve chiefly around the exploits of Jimmy the Hand and starts out as such, but Jimmy seems to lose favor with Sterling about a third of the way through when new characters are introduced and the story moves from Jimmy’s exploits to those of Laurie, Bram, and her brother Rip. There’s a witch hunter in here somewhere, but I forget his name—Ahh, Jarvis Coe (had to look it up), which is sad because Coe is a very interesting and new character in the Feist universe that hasn’t been explored before. I’d read an entire series on him if Feist decides to follow up on that some day.
There are parts that are written well enough, but these are overshadowed by those that are not. The biggest problem is the children protagonists. As many authors and readers know, writing a book with children in adult settings is difficult. Often the kids either act too old for their age, or act their age and the story doesn’t progress because they are children trying to do adult work. That’s the issue with Jimmy the Hand, both issues actually. Sterling develops some of the children as older than they are, or younger than they are, or older than they are and unable to think as an adult would, or older than they are and thinking better than most adults would. This story telling could work, but at least stick with one characterization and develop it more. Don’t have a child older than his years design a successful physical confrontation with a man, and later describe how just month before he put itching powder in someone’s underwear. I don’t know any adults how flop between mature and immature, let alone any children. Unlike Sterling, Feist has a knack of rendering younger characters as viable players in adult-driven stories. Feist doesn’t force his young actors into a role they are unfit to play outside the boundaries of their age limitations. This is lacking in this story.
At times it feels as if Rip was put in the story as a simple prop needed to propel the characters and the plot forward. His involvement has something to do with a strange power to sense family members, but this power is never explained nor fully developed. Neither is it fully developed as to why these powers are important to the baron, nor is there an explanation or development of how the baron knows the children he’s captured have different powers; such as Neesa. It reads more like Sterling is telling the reader that the magician did it.
Feist isn’t the world’s greatest writer, in regards to thought-provoking stories, but his works are entertaining and this entertainment is what draws readers in and keeps them fans for life. I believe Feist is OK with that, I know I’d be if I could write as he. Sterling, on the other hand, misses the mark with this one, just as he did with Dies the Fire.