A suburban family flees the breakdown of law and order following a massive natural disaster in this tense near-future tale. It’s 2008, and in the two years since Mount Rainier exploded, a steady rain of ash over much of the world has led to strict anti-pollution laws. Cars and trucks are virtually banned, electric power heavily rationed, fresh food has become a rare commodity—and horror stories of riots and rampant crime are starting to come out of the larger cities. Heading for a summer cabin, the Newells make a surreptitious exit from Minneapolis on a pedal- and wind-driven contraption cobbled together by 16-year-old Miles from bicycles and a sailboat’s mast. It’s a changing world through which they travel, in which small towns are closed or hostile, a fast-food breakfast costs nearly $100, and bandits on motorbikes prey on unwary strangers. Worse, the cabin, when they reach it, is already full of refugees who aren’t inclined to move on. As in his other books (Hard Ball, 1998, etc.), Weaver has made this a male-oriented story, in which the men do most of the planning, fighting, and bonding, while the women may not always be passive bystanders but tend to cause more problems than they solve. Stubbornly aliterate but gifted with both an eidetic memory and great mechanical aptitude, Miles makes a memorable narrator/hero—not infallible, but competent enough, in the end, to lead his family to a place of safety. An absorbing tale set against a disturbing, plausibly developed background. (Fiction. 10-13)
Pub Date: March 31, 2001
ISBN: 0-06-028811-6
Page Count: 160
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2001
Paulsen recalls personal experiences that he incorporated into Hatchet (1987) and its three sequels, from savage attacks by moose and mosquitoes to watching helplessly as a heart-attack victim dies. As usual, his real adventures are every bit as vivid and hair-raising as those in his fiction, and he relates them with relish—discoursing on “The Fine Art of Wilderness Nutrition,” for instance: “Something that you would never consider eating, something completely repulsive and ugly and disgusting, something so gross it would make you vomit just looking at it, becomes absolutely delicious if you’re starving.” Specific examples follow, to prove that he knows whereof he writes. The author adds incidents from his Iditarod races, describes how he made, then learned to hunt with, bow and arrow, then closes with methods of cooking outdoors sans pots or pans. It’s a patchwork, but an entertaining one, and as likely to win him new fans as to answer questions from his old ones. (Autobiography. 10-13)
Pub Date: Feb. 1, 2001
ISBN: 0-385-32650-5
Page Count: 150
Publisher: Delacorte
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2000
A teenager suffers through her parents’ separation in this smoothly stylized, if conventional, debut. Aurora’s world comes crashing down when she catches her artist father nuzzling a model. Rory, a talented artist herself, furiously burns her sketchbook; suddenly he’s gone, leaving Rory and her mother wallowing in teary guilt, sending back a letter with lines that infuriate: “one day you’ll understand,” and “someday, when you’re older . . . “ Rory stops all painting and drawing, and curls up around the hurt, stonewalling even her best friend, Nicky. Rory’s almost continual awareness of light and color gives her a convincing artist’s voice, and Mack sets her back on her feet in the end, with the help of time, Nicky’s loyalty, and a startling gift from her father: her charred sketchbook, rescued and repaired both as a sign of his love, and to remind her to believe in herself. Psychological insight here is but skin deep, and the characters play it pretty close to type, but readers may be affected by the story’s overall emotional intensity. (Fiction. 11-13)
Pub Date: March 1, 2000
ISBN: 0-439-11202-8
Page Count: 168
Publisher: Scholastic
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1999
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