Tatooine, the desert planet: Within the Star Wars mythos, this planet holds an auspicious significance, being both the birthplace of Anakin Skywalker and Anakin’s son, Luke. Arguably, it is also the birthplace of Darth Vader, the evil alter-ego of Anakin, borne from the grief and hatred that manifested itself in him after the death of his mother at the hands of Tusken raiders. (See “Episode II: Attack of the Clones”)
The galaxy that George Lucas created in 1977 was a hodge-podge of genres and stories that we had all seen before, but it was so masterfully and cleverly reworked as to become something new. Stories of the Old West, Arthurian legends, war movies, sword-and-sorcery fantasy, and pulp-era science fiction: all of these combined to create the universe that generations of fans have grown to love. Since ’77, hundreds of writers have expanded upon the worlds that Lucas created, in what has since become known as the Star Wars Expanded Universe (SWEU).
When Lucas sold the rights of his franchise to Disney, a decision was made to restart the film series with a new timeline, negating a well-established timeline set up by hundreds of writers in several series that are now labelled as “old canon” or “legends”. The so-called “new canon” encompasses the original trilogy, as well as Lucas’s prequel trilogy, but creates a new timeline of events leading up to “Episode VII: The Force Awakens”, released in 2015 by director J.J. Abrams. All subsequent novels published within the SWEU have followed this new timeline.
Fans have been torn, mainly due to the fact that much of the pre-Episode VII SWEU is now considered a part of an “alternate history” of Star Wars that has no place within the new canon. While dubious debate rages among SWEU fans, however, several books in the “Legends” line may actually fit within the new canon.
Case in point is John Jackson Miller’s 2013 novel “Kenobi”, an old-school western that attempts to fill in the gaps of the years following “Episode III: Revenge of the Sith” and “Episode IV: A New Hope” involving the life of young Luke, raised on Tatooine by his aunt and uncle, unaware of his importance in the grand scheme of things.
In “Kenobi”, the Jedi-in-hiding has chosen an ascetic life on Tatooine, keeping a watchful eye on the boy, child of Padme Amidala and Anakin Skywalker, while forever remaining in the shadows.
Miller’s novel works well perhaps because the character of Kenobi is such a mystery within the story. While we, as fans, know the dramatic and tragic back-story of the former Jedi, the other characters in the novel see him nothing more as a cipher; an odd, quiet man who keeps to himself.
In this story, Obi-wan “Ben” Kenobi becomes the archetypal western hero: a loner, with a past he is trying to escape or atone for, who simply wants to be alone but can’t, due to a heroic tendency or need to help those in need from suffering and oppression.
Following the western theme, the settlers of a backwater city known as The Oasis are the archetypal western settlers, trying to tame the wild west and set up a pocket of civilization in the desert. The roving bands of Sand People, or Tusken raiders---indigenous peoples of Tatooine---are, of course, the Native American tribes who see the settlers as intruders upon their homeland.
In the eyes of the settlers, the Sand People are merely savages that need to be wiped out. Thusly, the Sand People see the white settlers as abominations to their way of life, destroying the pristine desert ecology with their machines and their reckless ways.
Somewhere in the middle is Kenobi, who manages to see merely two groups of people who both want the same things: to live in peace and secure a future for their children.
Miller, whose collection of stories of pre-Republic Jedi and Sith wars, “Lost Tribe of the Sith” was decent but ultimately forgettable, impressed me greatly with “Kenobi”, probably because of my love for the western genre. Clearly, Miller has a knowledge of, and a respect for, the genre.
SWEU fans may not love “Kenobi” precisely because it is a western. There are no space battles. Droids play a limited, if any, role. The Jedi mythos is so downplayed as to be non-existent. The only thing that makes this a Star Wars novel is that we know who and what Kenobi is and what is motivating him, even if it is never overtly stated anywhere in the novel.
Disney Studios (the new owner of Lucasfilm) would do well to consider making “Kenobi” a part of the new canon. It is, in the grand scheme of things, a small story that would, in no conceivable way, interfere with the new timeline. Plus, it would make a fantastic film. Ewan McGregor, I’m sure, wouldn’t mind resurrecting the character, either.
Just throwing that out there as an idea to consider, Disney...