A bold concept poorly executed.
Bombs become people: That’s the premise of this first novel, in which the two U.S. atomic bombs dropped on Japan convert themselves into human survivors.
Little Boy hit Hiroshima, Fat Man Nagasaki; those really were, historically, the bombs’ names. In post-apocalyptic Nagasaki, Fat Man is struggling with birth trauma. He’s a bloated mass, naked and hairless. Little Boy, a runt, finds him in a shelter and decides they are brothers. Among the ruins, Fat Man says, “I think we were put here for a reason.” But what exactly? There’s the rub. Meginnis has created an existential problem for which he has no solution. The novel will dip a toe into various genres (science fiction, magical realism, detective story) without settling into any of them. Thus the brothers impregnate a virgin, a farmer’s daughter, purely through their proximity. Her babies are stillborn; Fat Man kills her enraged father in self-defense. Through a GI, the brothers procure new identities and board a ship for France, where they’re taken in by a married woman. She too, without sexual contact, will bear a child (two-headed). The phenomenon is explained by a Japanese medium. The brothers are haunted by their Japanese victims, who are hoping to be reborn. Not to worry; once the brothers fall in with an American peacenik, a war widow establishing a hotel, there’ll be no more unpleasant births. Fat Man will even make a normal baby with Rosie, the widow. Years later, he’s still a tub of lard and Little Boy’s still a preteen runt, and there’s been no development that might absolve them of their guilt or make them agents of atonement. Meanwhile Meginnis has concocted another storyline involving two French cops pursuing the innocent Fat Man for the murders of pregnant women.
A bold concept poorly executed.Pub Date: Oct. 1, 2014
ISBN: 978-1-936787-20-3
Page Count: 424
Publisher: Black Balloon Publishing
Review Posted Online: Aug. 13, 2014
Kirkus Reviews Issue: Sept. 1, 2014
BOOK REVIEW
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
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the...
Brown presents the second installment of his epic science-fiction trilogy, and like the first (Red Rising, 2014), it’s chock-full of interpersonal tension, class conflict and violence.
The opening reintroduces us to Darrow au Andromedus, whose wife, Eo, was killed in the first volume. Also known as the Reaper, Darrow is a lancer in the House of Augustus and is still looking for revenge on the Golds, who are both in control and in the ascendant. The novel opens with a galactic war game, seemingly a simulation, but Darrow’s opponent, Karnus au Bellona, makes it very real when he rams Darrow’s ship and causes a large number of fatalities. In the main narrative thread, Darrow has infiltrated the Golds and continues to seek ways to subvert their oppressive and dominant culture. The world Brown creates here is both dense and densely populated, with a curious amalgam of the classical, the medieval and the futuristic. Characters with names like Cassius, Pliny, Theodora and Nero coexist—sometimes uneasily—with Daxo, Kavax and Sevro. And the characters inhabit a world with a vaguely medieval social hierarchy yet containing futuristic technology such as gravBoots. Amid the chronological murkiness, one thing is clear—Darrow is an assertive hero claiming as a birthright his obligation to fight against oppression: "For seven hundred years we have been enslaved….We have been kept in darkness. But there will come a day when we walk in the light." Stirring—and archetypal—stuff.
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the future and quasi-historicism.Pub Date: Jan. 6, 2015
ISBN: 978-0-345-53981-6
Page Count: 448
Publisher: Del Rey/Ballantine
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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