It follows The Castle of Llyr and precedes The High King in the series The Chronicles of Prydain, which takes place in a setting inspired by Welsh myth.

Initially, Alexander had not intended to write this volume, going straight from The Castle of Llyr to The High King, but his publisher convinced him to do so in order to more satisfyingly depict Taran's arc.

[4] [5] [6] Lloyd Alexander attributed the setting and arc of The Chronicles of Prydain to lifelong fascinations with Arthurian legend and mythology more generally.

[8] Notably, Taran Wanderer was not initially planned, as Lloyd Alexander's outline went straight from The Castle of Llyr to The High King.

With Dallben's permission, he and Gurgi depart for the Marshes of Morva to ask Orddu, Orwen, and Orgoch for insight on Taran's parentage.

To prepare for this new goal, Taran and Gurgi seek aid in Cantrev Cadiffor, the realm of King Smoit.

They become embroiled in a feud between Lords Gast and Goryon, vassals of Smoit who bicker constantly, largely about the possession of the magical cow Cornillo.

Taran both hates and admires the shepherd, as Craddoc is a good man who has also shattered his ambition of marrying Princess Eilonwy.

In gratitude, Annlaw tells him the location and nature of the Mirror of Llunet: a pool of water a short journey away from the Free Commots.

Upon release, Taran Wanderer was hailed as "a wise and noble book" by Phyllis Cohen of the Young Reader's Review.

[10] Jean Fritz, writing for the New York Times Book Review, said that "Lloyd Alexander's triumph is that while his plots follow a slashing heroic pattern, his quest is into the subtleties of manhood itself.

For example, Marek Oziewicz argues that a reverence for tradition and American values of hard work intertwine with ancient and medieval Welsh myth and folktale.

Oziewicz particularly highlights the glorification of everyday folk and craftsmanship in Taran Wanderer as straddling the barrier between American and Welsh legend.

Liam Butchart, a psychiatrist and literary critic, argued in 2019 that Alexander fused Jungian archetypes and Campbell's monomyth into a universal coming-of-age tale.

Further, he argues that the novel "seems to be at the center of a nexus of different approaches and goals" and serves an example of the broad potential in young adult fantasy literature as a catalyst for identity formation.