Roughly divided in two, the first half of One Earth, One People presents theoretical material. From Vico to the present, Oziewicz unpacks relevant books, essays, papers, and studies in the area of mythopoesis. The works of Jung, Freud, Frye, Eliade, Campbell, and others, including the non-fictional output of the Inklings Tolkien and Lewis, are discussed with an eye toward underpinning the value of fantasy in literature as a whole. Informative yet absorbing, at no time does Oziewicz lose focus of the point at hand, guiding his narrative through these scholars and writers’ works with quality and quantity. Though some readers may feel the quotes excessive (Oziewicz really packs the text full), fluency is never lost, a great deal of care placed in the writing of the book from a readability viewpoint.
Having established the theoretical context of mythopoesis' relevancy to literature, the second half of One Earth, One People examines and analyzes four fantasy series. Not homogenous, each series is presented through one of the many lenses of holistic mythopoeia. Le Guin’s Earthsea is examined as a “quest for balance and harmony between sexes, races, religions, and species”. Alexander’s Prydain Chronicles are presented as “an example of how a particular mythic tradition… may be reworked and adapted into a future-oriented vision for peace and well-being in the real world”. L’Engle’s Time Quartet envisions “spirituality as a way of life akin to the spirit of genuine scientific inquiry”. And lastly, Orson Scott Card’s Tales of Alvin Maker are dealt with in such a fashion as to establish a “map of ecological relationships” and “the ideological resurrection of nature’s sacredness” (9-10).
Each series chosen specifically for its individual qualities, the scope of analysis is complementary to the nature of holism. Two of the authors selected are male, while two are female, not to mention that each is a decade-by-decade representative of fantasy in the latter half of the 20th century: Prydain made his mark in the 50s, Le Guin started Earthsea in the 60s, L’Engle published her series predominantly in the 70s, and Card wrote the majority of his in the 80s. Moreover, the lenses—environmentalism, social harmony, epistemology, and visioning the future through the past—provide Oziewicz four platforms on which to build pertinent argumentation in support of his claims toward mythopoeic holism in fantasy, the analysis bearing fruit for it.