Despite its perks, immortality can, apparently, be a bore.




An ageless Egyptian pharaoh and his band of immortal friends (and enemies) descend on England on the eve of the Great War in a sequel co-authored by mother and son Rices.

In Anne Rice’s The Mummy (1989), Ramses II, known as the Great, whose long reign ended in the 13th century B.C.E., was resurrected in 1914 by English shipping magnate and archaeology dilettante Lawrence Stratford—or, more accurately, reawakened. After ingesting a special elixir, Ramses had become immortal. The earmarks of immortality include insatiable hunger (without gaining weight), capacity for alcohol (sans drunkenness, addiction, and/or liver damage), inexhaustible sexual prowess, and physical invulnerability. Not to mention that it turns your eyes blue. Occasionally, even immortals need a rest, so they secret themselves in a dark place, a pharaoh’s tomb, say, and wait for sunlight to rouse them again. Now the toast of London as Reginald Ramsey, Egyptologist, Ramses has shared the forever potion with his beloved, Julie, daughter and only heir of his now deceased discoverer. Elsewhere, assorted characters of varying longevity are slouching toward a stately home where Julie’s former fiance (no hard feelings), Alex, is hosting an engagement party for Julie and "Ramsey." Cleopatra, whose mummified remains, on display in the Cairo Museum, Ramses had revivified with a few drops of the elixir, is understandably perplexed, being the only immortal raised from actual death. Bektaten, monarch of an ancient African civilization, invented the elixir; she’s after Ramses because she suspects he stole the formula. Seeking the pure blend, not the bowdlerized version they ingested, are the fracti, hangers-on of Bektaten’s archenemy Saqnos, who live only 200 years and hope to extend their sell-by date. Complicated? Definitely, as is the plot to kidnap Julie at the party and the mind-meld that enmeshes Cleopatra and Sibyl Parker, a successful American writer of Egypt-themed pulp fiction. Once the party is in progress, the clashing immortals generate a modicum of excitement, though not enough to justify the copious expository front-loading and preachy dialogue.

Despite its perks, immortality can, apparently, be a bore.

Pub Date: Nov. 21, 2017

ISBN: 978-1-101-97032-4

Page Count: 416

Publisher: Anchor

Review Posted Online: Sept. 6, 2017

Kirkus Reviews Issue: Sept. 1, 2017

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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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...


Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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