Ne plus ultra bizarre, man! With cartilaginous prose, soft as fishbone, sense-bending and scattershot as a Robin Williams shtick where lost meanings blast by, Dakron's third follows the comet trails of Infra and Newt (neither reviewed) with a morphological plot out of Ovid by way of Kafka—but doesn't quite win the blue ribbon. Nico, a 33-year-old geneticist for Zylogen, a med tech firm, is extracting material from hammerhead shark fetuses in order to create a serum against shock in humans: Sharks are shockproof and, if disemboweled, will eat their own guts. The serum seems to work on mice, and, rather than wait for FDA approval for tests on humans, Nobel-hungry Nico administers Serum H to herself. Alas, poor Nico! There's too much shark DNA grafted onto the virus she's popping, and Nico herself morphs into a hammerhead shark. To grasp even this much story, however, one must extract plot serum from the self-reflexive and cursive swish of Dakron's eye-bobbling wordflow (``Move your fin to the left, my leetle cabbage, yes? Mmmm, ce qua belle-pardon? . . . Ha ha, you never tire . . . hush. Let me whisper it then, shhh, let me whisper about the squid in drag. . . ``). When Nico visits her brother Zave (Xavier), who sells fish in Seattle's Pike Place Market, Zave notices that she has nictitating membranes protecting her eyes. Then shark teeth push out Nico's choppers. Her senses mutate into shark senses—she gains an nth sense or radar that's a blend of seeing and hearing and touching, she hears with her whole skin, sees wisps of voltage everywhere. Then Zave, his ex-girlfriend Tina, and two junkies also take Serum H and turn hammerhead. As the women swim off, later to be attacked by the junkies, Zave lies slowly growing gills and scales in his bathtub, avoiding SWAT teams while he writes this account on his laptop and waits to swim after the girls. As storytelling, Steve Alten's thriller Meg (p. 568), about a 60-foot Jurassic shark, leaves Hammers too literary by half and gasping on the shore.
Pub Date: Oct. 15, 1997
ISBN: 0-930773-48-9
Page Count: 251
Publisher: Black Heron
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1997
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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