A tricky, cerebral action-filled thriller that fulfills the promise of its predecessor.
In this futuristic thriller, a sequel to Flatline (2015), a conspiracy debunker uncovers evidence of an elite plot against the world.
In Austin, Texas, Peter Richards used to be an investigative journalist but became the victim of a conspiracy so stressful it gave him a heart attack. A mechanical heart restored his life (though he died and was revived twice more). His name was cleared, and now, 10 years later, with technology having advanced sufficiently that a robot hosts the evening news, Peter makes a living debunking conspiracies. His former news director, Cleft Duvall, who also helped expose the truth, runs a company helping people establish new identities. And Detective Skelly, who once suspected Peter of murder, has very little work to do because the Miles Cooperative keeps cities like Austin safer than the police ever did through constant electronic surveillance; homicide is no longer a category on coroner’s reports. But a couple of recent deaths look like murder to Skelly, so he keeps digging. Miles himself contacts Peter, asking him to do a story assuring people that the cooperative isn’t part of some global elite trying to enslave the world through technology. Certainly not. Peter’s and Skelly’s research projects converge on a virtual reality game called Stolen Planet whose objective is to infiltrate a secret world-threatening organization and dismantle it. Amid growing chaos in his marriage and abroad, Peter longs for the calm of the afterlife but commits himself to a dangerous course. Barney, as he did in his previous novel, keeps readers guessing with inventive twists and on edge with the paranoid atmosphere and prickliness of his characters’ interactions. For example, the vibe between Peter and his wife and some neighbors when they get together to play Stolen Planet is fascinatingly uncomfortable, both sexual and hostile. The novel also raises interesting questions about our relationship with technology and its uses and misuses, especially by those in power.
A tricky, cerebral action-filled thriller that fulfills the promise of its predecessor.Pub Date: Aug. 1, 2017
ISBN: 978-0-9965888-2-9
Page Count: 277
Publisher: CreateSpace
Review Posted Online: Sept. 6, 2017
Kirkus Reviews Issue: Oct. 1, 2017
Review Program: Kirkus Indie
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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