Several interesting concepts, buried in sometimes-obtuse prose.

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THE WHISPERERS

This debut sci-fi novel tells of a connections between a strange artifact linked to the biblical Moses and a vast conspiracy.

Peter Marc Vogel works for Nova House, the publisher of the magazine GEO. When he receives a strange package from Dr. Emile Danchenko and his daughter, Irina, he books a flight to discuss it with his own boss in Toronto. At the publisher’s headquarters, Peter meets the researchers, who have evidence of what he calls a “Flying Dutchman”—a phantom vessel that’s seemingly able to “appear anyplace, anytime.” Included in this evidence is a cartouche, located in New Zealand, which points to the biblical Moses burying a strange—possibly alien—device of immense power. For thousands of years, the device has energized the Moses Stone Vault, which seems to travel underground. Peter is assigned to work with people who hope to excavate the vault, and he speaks with the Rev. Michael Odum, who describes a “shadowy over-group” that’s been manipulating humanity for generations. Meanwhile, in a parallel narrative, Sarah Jane Gustafson is at a massive Kansas City facility for hard-core participants in an elaborate multiplayer video game; she rises through a tournament with her teammates, Jiggles and Romeo, and encounters a strange, disturbing media file that includes imagery that may be connected to the aforementioned vault. In this dizzying, Thomas Pynchon-esque novel, Jones populates his near future with sparkling secondary characters, such as Isaiah Pollenaire and Sanchristo Leonelli, teenage MIT grads and creators of the “Dynamically Anchored Spread Spectrum Language,” “a radical deviation from previous methods of interfacing multimedia content with firmware.” Jones does give readers some mild relief from his bevy of hard-science concepts, occasionally delving into Peter’s relationship with Sonny, his wife from whom he’s separated. Still, even dedicated sci-fi fans will find the storytelling here to be dense and often cryptic; the author offers sentences such as “I want to try that new flash parity algorithm on some random SARTs,” for example, without immediately explaining the terminology. Intriguing characters, such as the telepathic Arkane, appear in the margins and promise conflict on a grander scale in a planned sequel.

Several interesting concepts, buried in sometimes-obtuse prose.

Pub Date: Nov. 21, 2011

ISBN: N/A

Page Count: 645

Publisher: Ocean of Stars

Review Posted Online: Feb. 25, 2018

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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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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