Flawed, then, but impressive and often brilliant.
A serious 16th-century alternate-world history set on a flat Earth where alchemy works, from the author of the award-winning Terminal Mind (2008).
King Edward VI of England, Henry VIII’s young, sickly son, continues his father’s Protestant reforms. The king’s physic, Stephen Parris, dissects corpses (in secret, lest he be accused of witchcraft) in an effort to learn how the body works. Alchemist Christopher Sinclair, who seeks the Philosopher’s Stone, or quintessence (the three essential alchemical elements are salt, sulfur and mercury—so what’s the fourth?), believing such a substance would grant him the ability to raise the dead. Sinclair learns of Parris’ activities and blackmails him into sponsoring a voyage to the edge of the world, where the ocean plunges off into the abyss—and where he believes he will find quintessence. Adding to the pressure on Parris, the king is dying and will be succeeded by Mary Tudor, a fierce Catholic (known to history as Bloody Mary) determined to restore the primacy of Rome. As a Protestant and diabolist, Parris would not survive Mary’s reign, so he agrees to flee with Sinclair, taking along his intelligent and adaptable daughter Catherine against the wishes of his Catholic wife, Joan. Eventually, they reach an island on the brink and find that quintessence abounds: Its powers are all that Sinclair dreamed of and more. But then a Spanish galleon sails into the harbor, guided by Joan in search of Catherine; Mary is now Queen of England, and aboard the galleon is Diego de Tavera, envoy to King Philip of Spain—and a sadistic, ruthless Inquisitor. Against this intricate backdrop, the characters experiment, explore, debate ethics, philosophy and religion, and try to coexist with intelligent nonhumans. The big drawback, however, is Walton’s willingness to ascribe all the messy and inconvenient but unavoidable details of the world’s structure to the will of God, a pretext that should rightly be regarded as a cop-out. Still, the action builds to a thrilling and memorable finale.
Flawed, then, but impressive and often brilliant.Pub Date: March 19, 2013
ISBN: 978-0-7653-3090-1
Page Count: 320
Publisher: Tor
Review Posted Online: Jan. 2, 2013
Kirkus Reviews Issue: Jan. 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
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.
Cormac McCarthy's The Road meets Chaucer's Canterbury Tales in this frightful medieval epic about an orphan girl with visionary powers in plague-devastated France.
The year is 1348. The conflict between France and England is nothing compared to the all-out war building between good angels and fallen ones for control of heaven (though a scene in which soldiers are massacred by a rainbow of arrows is pretty horrific). Among mortals, only the girl, Delphine, knows of the cataclysm to come. Angels speak to her, issuing warnings—and a command to run. A pack of thieves is about to carry her off and rape her when she is saved by a disgraced knight, Thomas, with whom she teams on a march across the parched landscape. Survivors desperate for food have made donkey a delicacy and don't mind eating human flesh. The few healthy people left lock themselves in, not wanting to risk contact with strangers, no matter how dire the strangers' needs. To venture out at night is suicidal: Horrific forces swirl about, ravaging living forms. Lethal black clouds, tentacled water creatures and assorted monsters are comfortable in the daylight hours as well. The knight and a third fellow journeyer, a priest, have difficulty believing Delphine's visions are real, but with oblivion lurking in every shadow, they don't have any choice but to trust her. The question becomes, can she trust herself? Buehlman, who drew upon his love of Fitzgerald and Hemingway in his acclaimed Southern horror novel, Those Across the River (2011), slips effortlessly into a different kind of literary sensibility, one that doesn't scrimp on earthy humor and lyrical writing in the face of unspeakable horrors. The power of suggestion is the author's strong suit, along with first-rate storytelling talent.
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.Pub Date: Oct. 2, 2012
ISBN: 978-1-937007-86-7
Page Count: 432
Publisher: Ace/Berkley
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
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