The stakes have never been higher in Pack’s inventive epic.
Pack’s encore batch of riveting adventures about an interdimensional library system.
In Chronicles: The Library of Illumination (2014), readers met Johanna Charette and Jackson Roth, teens who co-curate a library where the subjects of books can enter the real world. In their first five adventures, the two faced increasingly complex situations that tested their inquisitiveness and loyalty to each other. This second volume reprints the fifth story, “Portals,” to reintroduce audiences to the 13 Libraries of Illumination set on different worlds, including Romantica, Scientico, Terroria, and Fantasia (Earth). The next entry, “The Overseers,” brings the teens to Lumina, the prime library realm, where Johanna’s mentor, Mal, is tested for a position in the College of Overseers, which runs the library system. Competing against Mal is Terroria’s horridly ambitious Nero 51 (introduced in “Portals”). “Myrddin’s Memoir,” a novella-length sequel, sees a book arrive on Johanna’s desk that proves to be the legendary wizard Merlin’s diary of spells. The wizard projects himself through the open volume and explains to Johanna that someone wants to steal his work and must be stopped at all costs. The collection ends with a preview of “Escape to Mysteriose,” the next story in Pack’s deftly expanding universe. As in the first Chronicles, the relationship between 18-year-old Johanna and slightly younger Jackson is grounded in light romance and sarcasm; when he suggests he’s one of a kind, she replies, “We can only hope.” Pack’s prose is lucid and tight, especially when explaining the libraries’ logistics: “This is a Library of Illumination. When the information kept here disappears, the contents of [citizens’] personally owned literature and documents will vanish.” Nero 51, meanwhile, is a master manipulator who lies as steadily as a heart beats; he also smells like “a chemical factory built in a field of rotting flesh.” Pack’s aptitude for spinning plots major (time travel) and minor (Pru Tellerence’s missing child) continues to make this a singularly engaging series.
The stakes have never been higher in Pack’s inventive epic.Pub Date: June 30, 2015
ISBN: 978-0991542857
Page Count: 480
Publisher: Artiqua Press
Review Posted Online: June 5, 2015
Kirkus Reviews Issue: Aug. 1, 2015
Review Program: Kirkus Indie
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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