Excessive, overwrought, and lacking Smoke’s exciting dramatic thrust.

SOOT

A return to the Dickensian-dystopian world of Smoke (2016).

Let’s welcome, once again, to a smoke-filled stage your three favorite teenage characters from Smoke, Thomas Argyle, Charlie Cooper, and Eleanor Renfrew, along with a vast array of supporting characters, old and new. Vyleta organizes his bulky novel like a play, with five acts, numerous scenes, and an intermission, interspersing memoranda, letters, and diary entries throughout. It's 1909 in England, 10 years after Thomas, Charlie, and Livia Naylor released Smoke, a visible marker of sin and emotion that the authorities wanted to control. They hoped it would bring about a cultural and political revolution. They were wrong. In Saint John, New Brunswick, elderly playwright Balthazar Black, the grandson of a slave, is putting on a Smoke Theatre skit about Charlie and Thomas—“There is not a story more widely told than theirs.” The audience, suddenly realizing who the actors are playing, gasp. Fake smoke fills the room. Black discovers that Eleanor Renfrew is in the audience. She's the niece of Erasmus Renfrew, who taught at Charlie and Thomas' school and is now the imperious Lord Protector. Balthazar, Eleanor, and the troupe of players sail to New York to foil a dastardly plan of Renfrew's. Meanwhile, Mr. Smith, who works for the powerful Company, has his own plans for gaining power. People have fled to the Minetowns, where they’ve set up their own Workers' Council in Ekklesia, a "giant hollow in the ground." Vyleta’s labyrinthine tale adds subplots upon subplots. We meet Mowgli, a South American boy whose body may have been used to unleash the Smoke. Charlie has ventured to the glaciers of the Himalayas, seeking to discover the origins of Smoke. Could it reside in a dull, velvet-black rock? What unique powers do beetles, sweets, and Smoke Poppies possess? Who is this Angel of the North? Can it save them from Smoke? All about, Black Storms and Gales rage.

Excessive, overwrought, and lacking Smoke’s exciting dramatic thrust.

Pub Date: Feb. 25, 2020

ISBN: 978-0-385-54022-3

Page Count: 560

Publisher: Doubleday

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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

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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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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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