All God’s Children is a stunner. In this beautifully written historical epic, westward expansion, race relations and the nation’s mythical place as 'a shining city on a hill' collide in an explosive, lyrical reckoning. Gwyn’s strategy of telling [this story] using first-person for his white protagonist and third for his Black, not only heightens the suspense but underscores their disparate worth on the American scale ... Gwyn writes fresh, vigorous sentences, and many scenes pulse with tension, tenderness or both. He’s as adept at describing battles as his characters’ mercurial changes
All God's Children is about human beings, Americans in all their terrible and transcendent individuality, bravely insisting upon pursuing happiness, expanding the meaning of that term in the philosophical, eighteenth-century Enlightenment sense. Duncan and Cecelia are richly, distinctively drawn ... Chronological, parallel narratives, set in some of the most formative and transformative years of two young republics, eventually bring Duncan and Cecelia together, surrounded with the supporting cast they deserve. Gwyn provides complex backstories that inform his characters motivations and actions, though in the process he indulges in an unnecessarily lengthy exposition on the origins of Duncan’s compatriots in his ranging company. This is the only falter in the otherwise quick, smooth, steady pacing ... Gwyn possesses a distinctive voice that is, nevertheless, a recognizably Western rhythm ... His language is equal parts sophisticated imagery, evocative simile, and folksy. Dialogue is enriched with a smart, wholly unexpected humor that you will learn to look forward to with bright anticipation.