Packed with—or, better, built of—reputable scientific theories, extrapolations, speculations, SF in-jokes and knowing...
Multiple-universe jaunt from the author of Transcension (2001), etc.
August Seebeck, medical student and cattle/sheepherder in the Australian outback, lives with great-aunt Tansy, a psychic whose powers wax and wane according to some indecipherable schedule. When August arrives home, Tansy tells him he can’t use the upstairs bathroom because it’s Saturday—there’ll be a corpse in the bathtub! August investigates, finds no corpse and waits. The window vanishes; two young women drag a corpse through the opening and deposit it in the bathtub. One, Maybelline, turns out to be a long-lost sister (August will later observe her having sex with a sentient Venusian vegetable); the other is Lune, an expert in computational ontology, with whom August falls instantly in love. The feeling’s mutual; end of love story. The corpse, August will learn, is a part flesh, part machine deformer, avatar of the K-machines who wish to destroy August, the huge family he never suspected he had and everyone like them. They are Players, you see, in the Contest of Worlds, and have the ability to move into alternate realities, or cognates. Across the multiuniverse, Players and K-machines try to exterminate one another. The weird markings August bears on his foot are Vorpal implants allowing him to access the Schwelle gateways between the cognates. Soon, he will acquire a sun-powered blaster in his palm and the ability to raise the dead.
Packed with—or, better, built of—reputable scientific theories, extrapolations, speculations, SF in-jokes and knowing references; in places frankly unintelligible; everywhere uncomfortably reminiscent of Roger Zelazny’s Amber chronicles. Often fun, sometimes challenging, but could have used less in-your-face cleverness and more old-fashioned plot.Pub Date: May 3, 2005
ISBN: 1-56025-670-2
Page Count: 272
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2005
A fine novel for those who like to immerse themselves in alternative worlds.
Set in the future and reminiscent of The Hunger Games and Game of Thrones, this novel dramatizes a story of vengeance, warfare and the quest for power.
In the beginning, Darrow, the narrator, works in the mines on Mars, a life of drudgery and subservience. He’s a member of the Reds, an “inferior” class, though he’s happily married to Eo, an incipient rebel who wants to overthrow the existing social order, especially the Golds, who treat the lower-ranking orders cruelly. When Eo leads him to a mildly rebellious act, she’s caught and executed, and Darrow decides to exact vengeance on the perpetrators of this outrage. He’s recruited by a rebel cell and “becomes” a Gold by having painful surgery—he has golden wings grafted on his back—and taking an exam to launch himself into the academy that educates the ruling elite. Although he successfully infiltrates the Golds, he finds the social order is a cruel and confusing mash-up of deception and intrigue. Eventually, he leads one of the “houses” in war games that are all too real and becomes a guerrilla warrior leading a ragtag band of rebelliously minded men and women. Although it takes a while, the reader eventually gets used to the specialized vocabulary of this world, where warriors shoot “pulseFists” and are protected by “recoilArmor.” As with many similar worlds, the warrior culture depicted here has a primitive, even classical, feel to it, especially since the warriors sport names such as Augustus, Cassius, Apollo and Mercury.
A fine novel for those who like to immerse themselves in alternative worlds.Pub Date: Jan. 28, 2014
ISBN: 978-0-345-53978-6
Page Count: 400
Publisher: Del Rey/Ballantine
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
Suspenseful, full of incident, and not obviously necessary.
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. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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