A smart, ambitious dystopian tale that teases the protagonists’ epic genesis but saves most of the details for later volumes.
Government types and a mysterious figure pursue a girl and her twin brother in this debut sci-fi novel and series opener.
Elize and Keeto Simone live in a world of ravaged oceans and deadly gases. And there’s deceit as well, as least from their father, who they suspect has kept things from them, namely details on their mother’s predicament. Years ago, the Global Health Unit took her away, placing her in a hospital’s psychiatric wing. Now Elize is experiencing symptoms of possible mental deterioration (for example, hearing voices). Believing she’ll be hospitalized, too, the twins leave their father behind for Schrödinger University; Elize earned acceptance into the bioengineering program. Determined to maintain a low profile and decipher their father’s flashes (memory recordings), the siblings meet new people but struggle with trust, from Caroline to technological genius Stitch. The enigmatic Nathruyu, meanwhile, trails the twins to the university, certain that her destiny’s somehow tied to theirs. But she’s not the only one hunting them; the Unification’s also after them, and Elize and Keeto want answers, starting with their own origin. Lefave splits her striking tale into three distinct, mostly linear perspectives: Nathruyu’s vague narrative; Elize’s animated, first-person account; and Keeto’s journal entries for their mother. Nathruyu’s story is often bewildering, as her link to the twins remains deliberately obscure. But even abstract moments spawn visual prose: “The atmosphere grows thick with regret, strangling her lungs, as her brain spins inside her skull.” Readers should peruse a glossary addendum first since most slang, though clever and derived from various sources and countries, is sans context. Lefave enhances the plot with murders on campus (some a mystery, others unfolding from a killer’s viewpoint). Much, however, is left unresolved; one character’s promise of answers is an ending riddle that reveals nothing.
A smart, ambitious dystopian tale that teases the protagonists’ epic genesis but saves most of the details for later volumes.Pub Date: July 7, 2017
ISBN: 978-1-988814-00-1
Page Count: 384
Publisher: Aguacene Publishing
Review Posted Online: July 20, 2017
Review Program: Kirkus Indie
BOOK REVIEW
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
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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