A tale that offers mesmerizing worldbuilding and complex explorations of gender relations in a frightening dystopia.
In the near future, a teenager tries to navigate growing up in a world where women are treated as property in this debut YA novel.
For the past three years, 16-year-old Valley Bickerstaff has raised bees under the guidance of her beloved grandmother. Living in a river bottom, one of the few places that the insects can still flourish, Valley faces a world in which most of the planet’s bees were killed by pesticides years earlier, leading to environmental devastation in the form of famines and plague. Countries seem to have broken down into simple townships, each run by its own local leaders, and society has sadly regressed when it comes to women, who are once again considered chattel to be sold for land and money. The tale truly kicks off when Valley’s cruel Uncle Jacob promises her hand in marriage to the son of a nearby official, Mayor Tellar, who arranges a hasty wedding. “Now, I know how you young ladies like to plan these things yourself,” the mayor tells Valley. “But, your uncle wanted our agreement consummated as soon as possible. I assume you understand how important this marriage is to your family.” This leads her to immediately plan an escape. Webster has written a richly detailed work whose world feels legitimate and lived-in, letting readers gradually, seamlessly experience it rather than overwhelming them with exposition. Meanwhile, Valley is an empathetic, compassionate protagonist who feels three-dimensional from start to finish. Her caring for the bees establishes an instant connection with the reader. The complications of her friendship with another teenager, Reyna, who has fallen in love with her, as well as the intricate bonds that tie her to her family make for an engrossing drama. Furthermore, her relationship with her grandmother, as well as the unfolding of a number of buried family secrets that cause her to question a great deal of what she thought she knew, provides a brilliant throughline. The love triangle involving two young men vying for her affections is less intriguing, and at times the book’s slow pacing can lead to lulls. But if one surrenders to its gentler rhythms, the story delivers a captivating and thought-provoking read.
A tale that offers mesmerizing worldbuilding and complex explorations of gender relations in a frightening dystopia.Pub Date: March 1, 2017
ISBN: 978-1-5407-5778-4
Page Count: 398
Publisher: CreateSpace
Review Posted Online: April 12, 2017
Kirkus Reviews Issue: June 1, 2017
Review Program: Kirkus Indie
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the...
Brown presents the second installment of his epic science-fiction trilogy, and like the first (Red Rising, 2014), it’s chock-full of interpersonal tension, class conflict and violence.
The opening reintroduces us to Darrow au Andromedus, whose wife, Eo, was killed in the first volume. Also known as the Reaper, Darrow is a lancer in the House of Augustus and is still looking for revenge on the Golds, who are both in control and in the ascendant. The novel opens with a galactic war game, seemingly a simulation, but Darrow’s opponent, Karnus au Bellona, makes it very real when he rams Darrow’s ship and causes a large number of fatalities. In the main narrative thread, Darrow has infiltrated the Golds and continues to seek ways to subvert their oppressive and dominant culture. The world Brown creates here is both dense and densely populated, with a curious amalgam of the classical, the medieval and the futuristic. Characters with names like Cassius, Pliny, Theodora and Nero coexist—sometimes uneasily—with Daxo, Kavax and Sevro. And the characters inhabit a world with a vaguely medieval social hierarchy yet containing futuristic technology such as gravBoots. Amid the chronological murkiness, one thing is clear—Darrow is an assertive hero claiming as a birthright his obligation to fight against oppression: "For seven hundred years we have been enslaved….We have been kept in darkness. But there will come a day when we walk in the light." Stirring—and archetypal—stuff.
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the future and quasi-historicism.Pub Date: Jan. 6, 2015
ISBN: 978-0-345-53981-6
Page Count: 448
Publisher: Del Rey/Ballantine
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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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