By turns bawdy and bold, Russell shifts between precise, accurate scientific description and sheer absurdity, which renders...
Struck by catastrophes like a fatal supervirus, 23rd-century Earth has become a world of peaceful, nomadic hunter-gatherer tribes living harmoniously in nature alongside telepathic animal clones resuscitated from the Pleistocene era, until an invention created by an unlikely alliance alters the future.
Connected by a solar-powered Internet, guided by a philosophy called "The Return," humanity enjoys “the best of times, the best of worlds,” as teacher Clare says to Brad, a mathematical genius whose job is to monitor and repair solar computer technology. Clare comes to Brad’s lab to guide him through a spirit-quest that will turn into a world-altering journey. Toying with many origin stories, Russell (Teresa of the New World, 2015, etc.) ties physics to basket-weaving, biology to holography in a convoluted tale riddled with contradiction: if humanity believes in panpsychism, in which all life (including plants) enjoys a consciousness that “is everywhere and in everything” (or TOE, as Brad calls it: the theory of everything), why do people hunt? Even the novel itself asks “how could you hunt someone you could talk to?” and yet Clare has just killed a telepathic saber-toothed cat, albeit in self-defense. And why does telepathy also have “syntax and meaning” when it isn’t a language? Brad, Clare, a bi-gendered hermit named Luke/Lucia, and his/her beloved mutant direwolf, Dog, form an unlikely alliance; after Dog is killed, Brad and Dog’s consciousness (lodged in Luke/Lucia’s cerebellum) discover the key to immortality together, learning how to switch on dead DNA to holographically resurrect not just Dog, but “squirrels, bears, horses, mammoths, mice, deer, camels,” and Clare’s deceased child. But when immortality becomes a possibility, a dangerous rift opens up between the tribes and the immortals, sending Luke/Lucia, Dog, Clare, Brad, and their children into exile.
By turns bawdy and bold, Russell shifts between precise, accurate scientific description and sheer absurdity, which renders this ambitious tale of human hubris quite uneven and eventually implausible.Pub Date: Jan. 5, 2016
ISBN: 978-1-63158-068-0
Page Count: 336
Publisher: Yucca Publishing
Review Posted Online: Nov. 14, 2015
Kirkus Reviews Issue: Nov. 15, 2015
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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