A pleasingly dystopian exercise in building a world without social media—and without social graces, for that matter.
The past isn’t even past—but the one postmodern fictionalist Levin imagines is stranger than most.
Levin turns in a big, futuristic shaggy dog tale, except that the dog isn’t so shaggy. In fact, it’s a rather tidy, lovable little critter called a Curio, or “cure,” a sort of emotional support animal that lends itself to all kinds of bad treatment. In Levin’s future—or past, that is, since most of the action ranges between the early 1980s and the early 2010s—the technological advances we’ve become used to are absent: There are no iPhones, no internet, no Facebook. You’d think that such lacunae would make people feel happy, but instead strange forms of life have been concocted, with inanimate objects capable of feeling and voicing discontent and pain as well as acquiring some of the traits the humans around them possess. Levin’s hero in this overlong but amusing story is an alienated memoirist with the science-fictional name of Belt Magnet. But then, everyone in this story has an unusual moniker: Lotta Hogg, Jonboat Pellmore-Jason, Blackie Buxman, and so forth. His cure has the name Blank, “short for Kablankey, the name I’d given it, at my mother’s suggestion, for the sound of its sneeze.” By the end of the story, even though Blank is a mass-produced laboratory thing, the reader will care for him/it just as much as Belt does—and will certainly be shocked by the horrible things some of the characters do to the inanimate and lab-born things among them. Says a guy named Triple-J, brightly, “Let’s use those Band-Aids to Band-Aid a cure to the slide at the playground, throw some rocks at it from a distance, and see if something revolutionary develops—some new kind of Curio interaction that doesn’t end in overload, and that we never would have expected to enjoy.” If Levin’s point is that humans are rotten no matter what tools you put in their hands, he proves it again and again.
A pleasingly dystopian exercise in building a world without social media—and without social graces, for that matter.Pub Date: April 14, 2020
ISBN: 978-0-385-54496-2
Page Count: 784
Publisher: Doubleday
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
BOOK REVIEW
BOOK REVIEW
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
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.
Cormac McCarthy's The Road meets Chaucer's Canterbury Tales in this frightful medieval epic about an orphan girl with visionary powers in plague-devastated France.
The year is 1348. The conflict between France and England is nothing compared to the all-out war building between good angels and fallen ones for control of heaven (though a scene in which soldiers are massacred by a rainbow of arrows is pretty horrific). Among mortals, only the girl, Delphine, knows of the cataclysm to come. Angels speak to her, issuing warnings—and a command to run. A pack of thieves is about to carry her off and rape her when she is saved by a disgraced knight, Thomas, with whom she teams on a march across the parched landscape. Survivors desperate for food have made donkey a delicacy and don't mind eating human flesh. The few healthy people left lock themselves in, not wanting to risk contact with strangers, no matter how dire the strangers' needs. To venture out at night is suicidal: Horrific forces swirl about, ravaging living forms. Lethal black clouds, tentacled water creatures and assorted monsters are comfortable in the daylight hours as well. The knight and a third fellow journeyer, a priest, have difficulty believing Delphine's visions are real, but with oblivion lurking in every shadow, they don't have any choice but to trust her. The question becomes, can she trust herself? Buehlman, who drew upon his love of Fitzgerald and Hemingway in his acclaimed Southern horror novel, Those Across the River (2011), slips effortlessly into a different kind of literary sensibility, one that doesn't scrimp on earthy humor and lyrical writing in the face of unspeakable horrors. The power of suggestion is the author's strong suit, along with first-rate storytelling talent.
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.Pub Date: Oct. 2, 2012
ISBN: 978-1-937007-86-7
Page Count: 432
Publisher: Ace/Berkley
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
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