A perfectly tuned combination of gravitas and glee (the literary/cultural references are a blast). Stross’s enthralling...

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GLASSHOUSE

Far-future mind control, from British author Stross (Accelerando, 2005, etc.).

By the 27th century, death need not be permanent: People routinely make backup copies of themselves; disease and old age can simply be edited out. Human civilization, scattered across the galaxy in diverse habitats connected via wormhole gates, is slowly recovering from a prolonged and brutal war against an insidious memory-deleting, mind-controlling cyberworm called Curious Yellow. Narrator Robin, a citizen of the Invisible Republic, emerges from a memory edit, guessing he wanted to remove painful memories of the conflict. He meets, and soon falls in love with, Kay—and realizes that somebody’s trying to kill him—because of what he was? Or something his former self knew? His robot psychiatrist advises him to join a closed experimental community where he can safely recuperate. So, after his next routine backup, Robin wakes in the Glasshouse—in a female body. Robin, now Reeve, is part of a sociological experiment aimed at recapitulating a long-lost environment: Earth during the 1950s. Glasshouse residents, however, are expected to conform, and there are heavy penalties for deviants. Reeve agrees to marry big, unhappy, skeptical Sam, and tries to assimilate. But things are not what they seem. The Glasshouse is run by two notorious Curious Yellow collaborators, Major-Doctor Fiore and Bishop Yourdon. Meanwhile, Robin’s memories begin to surface. He was a member of the combat Linebarger Cats and later became an agent—sent into the Glasshouse, memories suppressed to evade the censors, to find out what’s really going on.

A perfectly tuned combination of gravitas and glee (the literary/cultural references are a blast). Stross’s enthralling blend of action, extrapolation and analysis delivers surprise after surprise.

Pub Date: July 4, 2006

ISBN: 0-441-01403-8

Page Count: 352

Publisher: Ace/Berkley

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 2006

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

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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Suspenseful, full of incident, and not obviously necessary.

THE TESTAMENTS

Atwood goes back to Gilead.

The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.

Suspenseful, full of incident, and not obviously necessary.

Pub Date: Sept. 10, 2019

ISBN: 978-0-385-54378-1

Page Count: 432

Publisher: Nan A. Talese

Review Posted Online: Sept. 4, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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