Shetterly makes the transition from young adult (Elsewhere, 1991, etc.) to adult fantasy with assurance and aplomb. In 1959, Luke and Susan Nix travel with their family—four-year-old Chris, whose narrative is informed by hindsight; Little Bit, three; and Digger, two—to Dickison, Florida, to set up a tourist attraction: Dogland, a sort of canine zoo displaying dozens of different breeds of dog, along with a restaurant and gift shop. Their supportive neighbors include Maggie DeLyon, the Seminole owner of the Fountain of Youth motel, realtor Artie Drake, and the old black cook, Ethorne Hawkins, soon hired by Luke along with Ethorne's equally hardworking family, Mayella, James, and college boy Seth. Some locals resent Luke's color-blind approach, while others come to accept it. As the years pass, and new federal laws begin to bite, Luke writes to the local newspaper supporting integration and the banning of prayer in schools. Waitress Francine rejects her violent, bigoted husband, Cal, and runs off with James; attempting to stop them, Cal calls out the Klan, only to be outwitted by Luke and Ethorne. Dogland, meanwhile, receives a steady stream of visitors, many of whom may not be entirely what they seem. John Hawkins, a descendant of the original plantation owner, assisted by lawyer Nick Lumiere, opens a rival attraction, a pirate theme park, then tries to buy Luke out. Another neighbor, Gideon Shale, who serves hamburgers and Jesus, blows his brains out after Lumiere taunts him. Next, Maggie's Fountain of Youth succumbs to the Hawkins-Lumiere axis. Finally, when the Klan makes an all-out effort to run Luke off and defeat Ethorne, Chris calmly lets loose the dogs. Compelling, absorbing, hard-edged work, lit by glimpses of another, more fantastic reality: reminiscent of top-notch Orson Scott Card, child-centered but tackling adult themes fearlessly and with great charm.
Pub Date: June 1, 1997
ISBN: 0-312-85171-5
Page Count: 448
Publisher: Tor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1997
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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