A smart, far-future space saga with a sympathetic protagonist facing stranglehold parental control.
A teenager aboard the Hope, a giant spaceship on a long voyage to colonize another world, seeks freedom from her rich, tyrannical father with a long-shot bid to join the first team of planetary settlers.
In this SF series opener, Hoff assumes readers are savvy enough to need no introductions to genre concepts like a “generation ship,” a deep-space ark taking breeding earthlings on a millennialong trek to a new life on another planet. The Hope is one such vessel, now 30 years away from the destination planet, Shindashir. But ship life is stifling for Anastasia Cartier—aka Anya—the 15-year-old daughter of the venal Thomas Cartier, the wealthiest man aboard and, hence, the population’s major behind-the-scenes influence (including on criminal activities). Controlling his family with a nightmarish web of surveillance, Thomas wants Anya to remain on the ship to marry 25-year-old rising officer Ryan Lancet—which will not only affirm the Cartier power base, but also continue the family’s rare, White Anglo bloodline. Anya wants to break from her dysfunctional dynasty by joining the first vanguard of departing colonists, but she faces multiple obstacles, including being unfairly regarded as a privileged, spoiled rich kid. Worse, her ruthless father becomes violent when he does not get his way. A surprise ally for Anya is her new workmate in the ship’s greenhouses, dreadlocked teen Borsk King, declared doomed and nonreproducing material because of a rare genetic condition but secretly the best hacker on the Hope. Yet is he good enough to thwart Thomas’ machinations? Whereas other authors might indulge in breathless, Arthur C. Clarke–style descriptions of starship engineering and vast cosmic vistas, Hoff focuses instead on the psychological claustrophobia suffered by a hero in a cramped minitechnocracy where arranged mating via DNA optimization is the norm. On the Hope, rampant spying, loss of privacy, and betrayal go hand in hand with numerous regulations designed to protect the innocent (but which somehow fail). In a standard, time-proven, future-dystopia trope, Anya is caught between potential love interests who are both captivating and utterly impossible. Thomas makes one of the more compelling bad-dad villains this side of Darth Vader in this engaging, if sometimes talky, tale.
A smart, far-future space saga with a sympathetic protagonist facing stranglehold parental control.Pub Date: July 8, 2020
ISBN: 978-1-73507-421-4
Page Count: 254
Publisher: The Pencil Princess Workshop
Review Posted Online: Dec. 17, 2021
Review Program: Kirkus Indie
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
A well-written if elusive treat for fans of modern mythologizing.
In which the Angel of Death really wants to take a holiday.
“Memory is a labyrinth.” Or perhaps a matrix. Actor Reeves teams up with speculative fictionist Miéville to produce a tale that definitely falls into the latter’s “weird fiction” subgenre. The chief protagonist is the demi-divine Unute, known as B. He’s not nice: “That man does not kill children anymore, when he can avoid doing so, but still, leave him alone,” warns one of the narrators, whose threads of story are distinguished by different typefaces. B is a killer—early on, he explains to a psychiatrist, “I kill and kill and kill again,” adding that he’d really rather be doing something else. B is also curious about the way things work, which leads him to experiment on unfortunate deer-pigs, the babirusa of Indonesia, to try to suss out what allows him to die but then come back to life, learning that he’s not so much immortal as “infinitely mortal.” B, as one might imagine, isn’t the life of the party—and the reader will be forgiven for being a little grossed out by his experiments, which are infinitely grisly (“A gush of cream- and rust-colored slime sopped out and across the gurney and onto the floor to mix with soapy water”). The structure of the story is both metaphorical (albeit B professes little patience with metaphor), with Unute morphing into Death itself, and rather loose, the plot picking up hints dropped earlier. It’s not always easy to follow, but it’s clear that Reeves and Miéville are having fun with the tale and its often playful, even poetic language (“the huff-huff of horny hard feet on the scuffed corporate carpet, a stepping closer, an incoming, a meeting about to be”).
A well-written if elusive treat for fans of modern mythologizing.Pub Date: July 23, 2024
ISBN: 9780593446591
Page Count: 352
Publisher: Del Rey
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
SEEN & HEARD
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