Lyrical writing and a suspenseful story fall apart when anachronisms and lazy plotting undermine them.
A math genius figures out how to communicate with Martians but not with the earthlings who love her.
In Chatagnier’s debut novel, humans have been exchanging messages with Martians since 1894 by carving giant symbols into the Earth’s surface, filling the grooves with petroleum, and setting them on fire at the exact moment of Mars’ opposition. The first message earthlings sent was three parallel lines, which the Martians answered with four parallel lines of their own. In subsequent oppositions, the Martians used a Socratic system of quizzes to teach humans the Martian notational system and increasingly sophisticated mathematics until nobody alive on Earth was smart enough to solve the extraterrestrial puzzles except Einstein, and finally not even he could. Then the Martians fell silent for decades, ignoring our puny attempts at communication. As the novel begins, in the winter of 1960, five MIT math grad students are driving west to dig Martian notation into the Arizona desert in time for the next opposition. The group comprises the narrator, Rick Hayworth; his girlfriend, Crystal Singer, the genius whose formula they’re planning to beam to Mars; and two other men and one other woman. Chatagnier describes the scenery of the American past with lyrical zest, but he doesn’t seem to have devoted much effort to imagining or researching what people’s lives were like back then. In his fantasy version of the novel’s timeline, unlike the same period on actual Earth, women, including women of color, are allowed to be mathematicians and scientists just like men. Women in his novel run telescopes and are professors at prestigious universities in more than token numbers. (In contrast, for example, in the real world it wasn’t until 1959 that MIT appointed the first woman to its science faculty, and from 1965 to 1975, less than 5% of the graduate students in the MIT physics department were women.) After the Martians respond to Crystal’s message, she buries herself deeper and deeper in her research, ultimately vanishing from Rick’s life and public view. Her disappearance sets the scene for the novel’s exploration of the difficulties of truly understanding the self and others. Chatagnier expresses this theme in descriptions of Crystal’s research: “Her voice came into my mind…I heard her say: Light-years of distance separate us even from ourselves.” For all the charm of these wistful musings, the plot makes little sense. (How has Crystal been supporting herself? Why hasn’t some reporter found her long ago?) And the novel’s ultimate revelation, when it comes, is a cliché.
Lyrical writing and a suspenseful story fall apart when anachronisms and lazy plotting undermine them.Pub Date: Oct. 18, 2022
ISBN: 978-1-953-53443-9
Page Count: -
Publisher: Tin House
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
BOOK REVIEW
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
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
