An inventive and emotionally resonant work of politically minded speculative fiction.
A rebel takes to the airwaves in a dystopian future America in Zienty’s SF novel, the second in a series.
For the past few weeks, a man has been following Angel and her family around. They live in the town of Bayfield, on the banks of Lake Superior, in a dystopian successor nation to the United States known as the Protectorate, governed by the authoritarian Galt Corporation. When Angel finally confronts the man, he tells her he’s a pathfinder, “lookin’ to find a way to remake the world.” Path, as she comes to know him, wants Angel’s “vox”—her voice—for use on a voxcast, a kind of pirate radio show that broadcasts anti-corporate messages into the night. (The previous speaker, known as Word, has lost his voice.) It’s a serendipitous meeting, since Angel and her companion, Kuba, have been listening to Word’s voxcast for months. Angel (who, with Kuba, is raising her daughter, Lark) has a history of rebellious activity, though she attempts to conceal her true sympathies from the watchful eyes of the Corporation. She agrees to join the voxcast, which is issued from a hidden room in a safe house occupied by two decoy mannequins, which give the impression the house is occupied by an elderly couple. At first, she plans to read a vague script written by Word, but she soon realizes that she has a very specific political goal she’d like to see realized: “In her waking dreams, it’s clear, easy, straightforward. Free the ovas, the fems of the Breeder Islands. To honor her mother. To remove that cog from the reproductive wheel of Galt.” Can Angel, in her new role as the Night Prophet, inspire the change she wishes to see in the Protectorate? Or will she merely bring down the wrath of the Galt Corporation, risking the fragile life she’s built for her daughter?
Zienty has a knack for fashioning original futurespeak that doesn’t call too much attention to itself, as here, where she describes a typical Bayfield “fem”: “She’s twisting her sleek tail of ice gold hair while she waits for her dark-haired companion to open the security lock that prevents her sweet, swag top-of-the-line fat-tire ride from being pedaled away by an enterprising Bartertown rat.” That said, some elements are perhaps a bit too cute; the rebels refer to one another as “guevaras” and still celebrate Martin Luther King Day, which, according to Path, “marks the birthdate of an ancient prophet of the Old Republic. A man who knew the beauty and power of words…Although a bit too pacifist for my taste.” The book’s highly immersive quality, and its deep interest in the inner lives of its characters, sets it apart from more plot-driven and derivative dystopian fare. This second installment of the series may prove difficult to get into for those unfamiliar with the previous volume—it starts slowly, and Angel’s motivations take some time to reveal themselves—but those who are continuing with the story will undoubtedly enjoy this new entry.
An inventive and emotionally resonant work of politically minded speculative fiction.Pub Date: Sept. 7, 2024
ISBN: 9781733688130
Page Count: 414
Publisher: Shaherazade Press
Review Posted Online: Sept. 8, 2024
Review Program: Kirkus Indie
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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