Clumsy in parts but, overall, a lot of fun.
Kidnapped astronauts find themselves in a mysterious city on one of Jupiter's moons.
Sociologist Nalini Jackson landed a gig that many of her colleagues would envy: She's undertaking “an intensive field study of social dynamics” on a NASA cryoship orbiting Jupiter. The problem, she soon realizes, is that she doesn’t like people all that much, especially most of the overgrown frat-boy types who are her shipmates. Things get worse when their ship is suddenly taken by mysterious forces to Europa, one of Jupiter’s moons, and they find themselves in New Roanoke, “an American city of at least a million. On a freaking moon, 444 million miles away, for chrissakes. In a bubble. City streets. Expressways. Parks.” They’re made to attend an orientation, where a supervisor tells them, “You can either let it drive you crazy for the rest of your life—and it can—or you can just go with the flow and make the most of this. Do like the locals do: Accept it and live your life. You got no choice; this is your home now.” The ship’s mission leader, Bob Seaford, takes this advice and gets involved in the community’s ruling party, while Nalini’s friend Dwayne Causwell goes the other way, plotting to escape the city with a ragtag group of dissidents. Meanwhile, a crew consisting of a NASA admiral, a businessman, and his dopey assistant embark on a voyage to rescue the kidnapped astronauts, who find themselves dealing with “invisible things,” mysterious gravitational forces that the people of New Roanoke refuse to discuss. There’s a lot going on in this book, and the results are mixed. As a satire of American politics and class issues, it’s a little too obvious and clumsy. But as a science-fiction novel, it’s saved by Johnson’s charismatic writing and sense of humor. (“So we missed sentient life—so what?” Nalini tells Dwayne early in the book. “Have you ever met sentient life? A lot of them are assholes.”) The book doesn’t quite live up to its high ambitions, and it’s far from Johnson’s best work, but it’s still unquestionably entertaining.
Clumsy in parts but, overall, a lot of fun.Pub Date: June 28, 2022
ISBN: 978-0-593-22925-5
Page Count: 288
Publisher: One World/Random House
Review Posted Online: April 12, 2022
Kirkus Reviews Issue: May 1, 2022
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
© 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.
