It’s a lot of fun, too, once disbelief has been suspended and tongue tucked firmly into cheek.
“They were the footprints of a gigantic dove!” Sherlock Holmes meets the Brahmins in this lively, imaginative mashup, done in trademark Simmons (The Abominable, 2013, etc.) fashion.
In 1893, writes Simmons by way of an opening, Henry James, “for reasons that no one understands (primarily because no one besides us is aware of this story),” decides to leave this cruel world, unhappy at his lack of literary success. Family members and friends have been dying all around him, so the time seems right. Meanwhile, Sherlock Holmes has plunged over the waterfalls in Switzerland, locked in mortal struggle against Professor Moriarty. Naturally—well, not at all naturally, in fact—Holmes and James connect. James even pops Holmes on his famous beaker, prompting the uncharacteristic reply, “I’m sorry, James. Especially since I’ve come to think of you as a friend and I really have no friends.” Of the events leading up to such esprit de corps it might be observed that the more improbable, the better, though at least Simmons’ yarn is generally free of the steampunk affectations of the Guy Ritchie film series. Instead, Simmons posits a deliciously political plot involving President Grover Cleveland, Irene Adler, Henry Adams, half the anarchists east of the Mississippi and an extremely well-made rifle, all calculated to combine to produce chaos. Moriarty has seldom been more evil than when he sneers, “This one hour on the first of May, starting with the public execution of the chief executive of the United States of America, will make Haymarket Square look like the tiny, insignificant rehearsal it was.” Take that, Snidely Whiplash! It’s up to Holmes and James to fend off mayhem at the pass. Readers without grounding in Gilded Age history may want to keep an encyclopedia nearby, and of course, though Holmes needs no introduction, most will know Henry James only as the author of books about ghosts and perhaps furniture. Still, Simmons’ yarn is nicely self-contained.
It’s a lot of fun, too, once disbelief has been suspended and tongue tucked firmly into cheek.Pub Date: March 24, 2015
ISBN: 978-0-316-19882-0
Page Count: 640
Publisher: Little, Brown
Review Posted Online: Jan. 7, 2015
Kirkus Reviews Issue: Jan. 15, 2015
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
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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