Dizzying and overwrought but salaciously entertaining nonetheless.
Knoll (Luckiest Girl Alive, 2015) turns her cynical eye to sibling rivalry and the twisted—and, in this case, murderous—world of reality TV.
Meet the entrepreneurial ladies of the New York City–based reality show Goal Diggers. Brett Courtney is the youngest cast member. She’s been known to reach for a second doughnut and is committed to convincing the clients of her popular WeSPOKE spinning classes that being skinny is not the key to being healthy. Her engagement to her girlfriend, Arch, is the icing on the reality show cake. Stunning Stephanie Simmons is the only African-American cast member and a bestselling author, but her struggle with depression threatens to hold her back. Juice bar guru and famously vegan Jen Greenberg indulges in secret turkey bacon binges, and dating website creator Lauren Bunn is known as Lauren Fun! Brett’s older sister and business partner, Kelly, a single mother whose 12-year-old daughter is a showstopper, is the new cast member and is everything that Brett has never been: thin, beautiful, and, as far as Brett is concerned, always their parents' favored daughter. Executive producer Jesse Barnes turns the screws and showrunner Lisa Griffin cracks the whip as Brett and Stephanie detail the production of Season 4 in alternating first-person narratives. Opening and closing the book (and sprinkled a few times in between) are sections narrated by Kelly in which she sits down with Jesse for on-camera interviews in the aftermath of Brett's death, but the truth of how Brett died isn’t revealed until the final act. Knoll explores the pressure society places on women to be everything to everyone and do it all without a strand of hair out of place. There’s enough conniving, scandal, and snark to rival the most shocking episodes of Real Housewives, and these cutthroat divas play to win even if it means blurring the line between truth and lies. In the end, murder seems inevitable. Season 4 will end with a bang, and there will be blood.
Dizzying and overwrought but salaciously entertaining nonetheless.Pub Date: May 15, 2018
ISBN: 978-1-5011-5319-8
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: March 5, 2018
Kirkus Reviews Issue: March 15, 2018
BOOK REVIEW
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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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