A rousing SF tale that stars a warrior hero with a strong moral center.
A freelance armed security guard in a post-apocalyptic North America tries not to lose his humanity—or his life—as he becomes embroiled in violent action against the power-hungry, ruling “Network.”
Fisher’s debut SF combat novel has a hero in Mark Northfield, a former military man who survived a vaguely described attack on the United States 10 years earlier that effectively destroyed most of the world’s civilization. The globe is shrouded in a deadly yellow atmosphere that kills in seconds. But in North America, populations manage to survive in cities ruthlessly overseen by the Network, an organization that outfits people (the ones who can pay, anyhow) with breathing masks and filters. Haunted by recurring thoughts of his dead young wife and the horrors he has seen, Northfield dwells on the dangerous outskirts of Network territory, taking occasional mercenary gigs to provide security escorts from community to community. He is especially on guard against “Yellowbacks,” a cultlike bandit gang with its own respiratory apparatuses. Yet even in battle, Northfield still strives for altruism and ethical behavior—one of the few to do so in a savage milieu. Then, he is tricked into accepting a Network task to assassinate a stranger—to refuse the job means Northfield's elimination by the dictatorship’s unsubtly named “Death Corps.” It is no surprise when Northfield learns his target happens to be no ordinary, enemy-of-the-state dissident but one who holds the key to reversing the deadly climate change (the lethal airborne toxin is not chemical but rather a nanotechnology smart weapon). Once Northfield decides which side he is on and where to go, the plot becomes a rather basic A to B mission, albeit with much cinematic action and scintillating John Woo–style gun battles. And the hero, a conscience-wracked Lutheran, argues at length with other characters or in interior monologues with his beloved’s memory and a silent Almighty about moral equivalency, mercy, and the right thing to do. (“Everyone’s a dog that eats each other out here,” a man says to Northfield. “Sometimes you don’t have a choice in it all. Sometimes doing bad things is what you gotta do.”) Even if the straightforward plot makes few deviations, newcomer Fisher’s prose is sure-footed, and the combo of God, guts, and guns should especially appeal to readers of “prepper” SF.
A rousing SF tale that stars a warrior hero with a strong moral center.Pub Date: Nov. 12, 2020
ISBN: 978-1-7923-4656-9
Page Count: 338
Publisher: Self
Review Posted Online: March 25, 2021
Kirkus Reviews Issue: June 1, 2021
Review Program: Kirkus Indie
Suspenseful, frightening, and sometimes poignant—provided the reader has a generously willing suspension of disbelief.
A man walks out of a bar and his life becomes a kaleidoscope of altered states in this science-fiction thriller.
Crouch opens on a family in a warm, resonant domestic moment with three well-developed characters. At home in Chicago’s Logan Square, Jason Dessen dices an onion while his wife, Daniela, sips wine and chats on the phone. Their son, Charlie, an appealing 15-year-old, sketches on a pad. Still, an undertone of regret hovers over the couple, a preoccupation with roads not taken, a theme the book will literally explore, in multifarious ways. To start, both Jason and Daniela abandoned careers that might have soared, Jason as a physicist, Daniela as an artist. When Charlie was born, he suffered a major illness. Jason was forced to abandon promising research to teach undergraduates at a small college. Daniela turned from having gallery shows to teaching private art lessons to middle school students. On this bracing October evening, Jason visits a local bar to pay homage to Ryan Holder, a former college roommate who just received a major award for his work in neuroscience, an honor that rankles Jason, who, Ryan says, gave up on his career. Smarting from the comment, Jason suffers “a sucker punch” as he heads home that leaves him “standing on the precipice.” From behind Jason, a man with a “ghost white” face, “red, pursed lips," and "horrifying eyes” points a gun at Jason and forces him to drive an SUV, following preset navigational directions. At their destination, the abductor forces Jason to strip naked, beats him, then leads him into a vast, abandoned power plant. Here, Jason meets men and women who insist they want to help him. Attempting to escape, Jason opens a door that leads him into a series of dark, strange, yet eerily familiar encounters that sometimes strain credibility, especially in the tale's final moments.
Suspenseful, frightening, and sometimes poignant—provided the reader has a generously willing suspension of disbelief.Pub Date: July 26, 2016
ISBN: 978-1-101-90422-0
Page Count: 352
Publisher: Crown
Review Posted Online: May 3, 2016
Kirkus Reviews Issue: May 15, 2016
PROFILES
BOOK TO SCREEN
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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