A tale that provides readers with a penetrating and thought-provoking glimpse into a possible not-so-distant future.
Jones’ debut SF novel sees a rogue geneticist on the run from government agencies as his illegally engineered twins reach a crisis point in their evolutionary programming.
In the year 2050, the U.S. government centralized the funding of biomedical research and established a federal institute that focused on risk-free projects. Those working on the field’s cutting edge knuckled under, left the country, or went off-grid, operating illegally in makeshift laboratories. Gifted geneticist Howard Wake took the latter course, and by the year 2070, he has 8-year-old twins—Aurie and Py—incubated ex vivo using eggs stolen from colleague Jacqueline Witt. He’s implanted Py and Aurie with CRISPR, a virus engineered to quickly evolve the kids at a genomic level. Unbeknownst to Howard, the eggs’ special property—an embedded “kill switch,” designed to terminate pregnancies should embryos develop certain abnormalities—are in the twins’ DNA. Thus, the CRISPR evolutionary imperative is at odds with a safeguard that could kill Aurie and Py. A medical emergency pushes the Wake family into the open; on the run in New England, they seek refuge with Howard’s reclusive older brother, Abel. Jacqueline, meanwhile, discovers the theft of her eggs and tracks Howard down, determined to meet her biological children—one of whom is starting to become something beyond human. Over the course of this novel, Jones crafts a narrative that makes its concepts clear without belaboring the scientific aspects. Howard and Jacqueline are likable, deftly drawn characters, and Aurie and Py are similarly engaging—precocious, sometimes otherworldly, but still recognizably children. The society in which they live is a dark but believable extrapolation from present-day attitudes toward research funding, and the novel handles its moral questions sensitively and fairly throughout. It’s a testament to Jones’ skillful storytelling that readers may find themselves unsure how they want Aurie’s transformation to play out in the end.
A tale that provides readers with a penetrating and thought-provoking glimpse into a possible not-so-distant future.Pub Date: Oct. 24, 2022
ISBN: 9798986384900
Page Count: 361
Publisher: Bowker
Review Posted Online: May 11, 2023
Review Program: Kirkus Indie
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
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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