A slight but well-crafted and heartfelt effort.
Vaughn, who's competent in many subgenres, eschews werewolves (Kitty Saves the World, 2015), superheroes (Dreams of the Golden Age, 2014), dragons (Refuge of Dragons, 2017), and spacefarers (Martians Abroad, 2017) for a smaller-scale story, an intimate post-apocalyptic mystery.
Several decades after the Fall—a series of epidemics and devastating storms that have killed off most of the human population—survivors in California live in an interdependent confederation of towns along what they now call the Coast Road. Every household produces only what it needs and can't have children unless granted a banner for one by the town committee. The brown-clad investigators both look into suspected violations (including bannerless pregnancies) and mete out appropriate judgments. When Sero, an unpopular but skilled handyman, dies under suspicious circumstances, Enid, a young investigator, travels to Pasadan to determine the truth. As she and her colleague Tomas examine the evidence, Enid confronts both the resistance of the townspeople and the memory of a journey which marked a turning point in her life. Despite the worldwide apocalypse, this is actually a deeply personal story about one woman and the mores of small-town living, a deft portrait of a society departed so completely from the complexities of the now-destroyed civilization (except for some technological scraps) that survivors don’t even understand what it is they’ve lost. This is exemplified by a performance of “Dust in the Wind”; the musician believes that it is a song from Kansas rather than a song by Kansas—either way, Kansas is so impossibly distant so as to border on the mythical. Perhaps surviving humans (with the exception of a few desperate scavengers) would develop into a community where murder is rare, most crimes are petty, and shunning is a devastating punishment; it would be nice to think so. The characters definitely aren't angels, but they're still a pleasant and reasonably plausible departure from the grim sort that usually populate this subgenre.
A slight but well-crafted and heartfelt effort.Pub Date: July 11, 2017
ISBN: 978-0-544-94730-6
Page Count: 272
Publisher: Mariner/Houghton Mifflin Harcourt
Review Posted Online: May 1, 2017
Kirkus Reviews Issue: May 15, 2017
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
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
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