Gory fun thanks to the narrator’s appealing voice.
Facing a zombie apocalypse, a man journals about his survival in this first book of Philbrook’s (The Failed Coward, 2014, etc.) eight-part saga.
Narrator Adrian Ring describes himself as “moderately successful” at life: He had a job, a condo, a girlfriend, a cat. But by the time readers meet him after the zombie apocalypse, Adrian has lost almost all of his old life. Now, instead of his girlfriend, he’s facing dangerous zombies; instead of his condo, he has a fortified school campus; instead of his job, he has a collection of weapons; and instead of his cat—well, good news, he still has his cat. Through it all, Adrian writes in a casual, humorous style that doesn’t spare the expletives: “I know, this shit is grody, but I’m recording history for posterity, so fuck you if you’re sensitive and offended.” Interspersed throughout the diary are occasional stories from other characters’ points of view, e.g., the clerk who sold Adrian his guns and who loses his will to live. Though not as humorous or personal as Adrian’s diary, these related stories broaden the view of the apocalypse. Adrian is an amusing and realistic protagonist in some ways, as when he expresses a desire to update his Facebook status; at the same time, he’s heroic yet likably nerdy enough to survive a zombie apocalypse. He’s the book’s most compelling part: The zombies are rather typical, the plot is somewhat episodic, and the end of the book doesn’t feel like any kind of grand resolution. But for readers who like zombie fiction, it’s nonetheless an amusing ride thanks to Adrian’s being the tour guide. Occasionally, he even drops the humor and gives a glimpse of real feeling; while anti-zombie preparation is fun, Adrian is more engaging when he mourns over the loss of childhood wonder and innocence.
Gory fun thanks to the narrator’s appealing voice.Pub Date: Oct. 23, 2013
ISBN: 978-1493568710
Page Count: 266
Publisher: CreateSpace
Review Posted Online: March 6, 2014
Review Program: Kirkus Indie
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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