It seems clear that the works of rebellious Soviet writers have passed from the period of the "thaw" to that of power politics on an international scale. Certainly, Solzhenitsyn's world famous account of a Siberian labor camp, One Day in the Life of Ivan Denisovich, saw print principally because Khrushchev was able to use it as an anti-Stalinist ploy. Now with much fanfare, and against the wishes of the Kremlin, we have a "pirated" edition of The First Circle, probably Solzhenitsyn's major effort, a novel not only anti-Stalinist in strategy, or even anti-Soviet, but, at least in sensibility, profoundly anti-Communist as well. True, Rubin, one of the noblest characters, defends the faith, but he does so pretty much the way those Irishmen in Joyce defend Catholicism, all the while wishing to rid Ireland of churches and priests. Of course, despite the sly attitudes taken towards Marx or the scornful glimpses of Western fellow-travelers, what Solzhenitsyn really mourns is not les dieux ont soif, not the revolution consuming its children. Rather, like his "renegade" brethren, Pasternak and Pilnyak, Zamyatin and Bulgakov, for Solzhenitsyn what haunts the Bolshevik Heartbreak House is the wreckage of cultural continuity and individuation, the abandonment of reason to terror. Thus, his mammoth tale (the setting is Moscow and a grubby scientific institute where the technicians are political prisoners), though arranged in interlocking, multi-leveled scenes, and all manner of narrative incidents and types, ultimately draws its sustenance from one figure, the skeptical, inwardly sorrowing, unsubmissive Nerzhin, the hero as victim, the "survivor" with honor. Against him, in a short but extraordinary sequence, stands "The Boss," maniacally menacing, with burlesque touches: "Before a big war," says Stalin, "a big purge is necessary." Solzhenitsyn's not a graceful writer; in everything but ideology he's close to socialist realism. Still, at his best, he has composed a sardonic, shattering work, with the memorable scenes between prisoners ironically rivaling those in Gorky's The Lower Depths.... From Tsarist Russia to "The Boss," what a painfully repetitive uphill struggle, what a terrible world.
Pub Date: Sept. 1, 1968
ISBN: N/A
Page Count: -
Publisher: Harper & Row
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Sept. 1, 1968
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
A thoughtful and pensive tale with intelligent characters and a satisfying romance.
A promise to his best friend leads an Army serviceman to a family in need and a chance at true love in this novel.
Beckett Gentry is surprised when his Army buddy Ryan MacKenzie gives him a letter from Ryan’s sister, Ella. Abandoned by his mother, Beckett grew up in a series of foster homes. He is wary of attachments until he reads Ella’s letter. A single mother, Ella lives with her twins, Maisie and Colt, at Solitude, the resort she operates in Telluride, Colorado. They begin a correspondence, although Beckett can only identify himself by his call sign, Chaos. After Ryan’s death during a mission, Beckett travels to Telluride as his friend had requested. He bonds with the twins while falling deeply in love with Ella. Reluctant to reveal details of Ryan’s death and risk causing her pain, Beckett declines to disclose to Ella that he is Chaos. Maisie needs treatment for neuroblastoma, and Beckett formally adopts the twins as a sign of his commitment to support Ella and her children. He and Ella pursue a romance, but when an insurance investigator questions the adoption, Beckett is faced with revealing the truth about the letters and Ryan’s death, risking losing the family he loves. Yarros’ (Wilder, 2016, etc.) novel is a deeply felt and emotionally nuanced contemporary romance bolstered by well-drawn characters and strong, confident storytelling. Beckett and Ella are sympathetic protagonists whose past experiences leave them cautious when it comes to love. Beckett never knew the security of a stable home life. Ella impulsively married her high school boyfriend, but the marriage ended when he discovered she was pregnant. The author is especially adept at developing the characters through subtle but significant details, like Beckett’s aversion to swearing. Beckett and Ella’s romance unfolds slowly in chapters that alternate between their first-person viewpoints. The letters they exchanged are pivotal to their connection, and almost every chapter opens with one. Yarros’ writing is crisp and sharp, with passages that are poetic without being florid. For example, in a letter to Beckett, Ella writes of motherhood: “But I’m not the center of their universe. I’m more like their gravity.” While the love story is the book’s focus, the subplot involving Maisie’s illness is equally well-developed, and the link between Beckett and the twins is heartfelt and sincere.
A thoughtful and pensive tale with intelligent characters and a satisfying romance.Pub Date: Feb. 26, 2019
ISBN: 978-1-64063-533-3
Page Count: 432
Publisher: Entangled: Amara
Review Posted Online: Jan. 2, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
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