Awards & Accolades

  • Rolling Stone & Kirkus' Best Music Books of None

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INVASION AI

An entertaining yarn that delivers a curious mix of science and sci-fi.

Awards & Accolades

  • Rolling Stone & Kirkus' Best Music Books of None

An astrophysicist discovers an artifact from outer space containing a cryptic message that may be a precursor to an alien attack in this debut novel.

Lukas Linsky is a genius who dreams of becoming an astrophysicist. He was born to accomplished parents Flo, a doctor of genetics, and Marcus, who in 2017 founded the CIA-backed Android AI. The CIA wants to use the company to create combat robots, but advancement in artificial intelligence leads to a line of superior androids called Andi Mk2s. Their purpose is to help humans reverse the increasing devastation caused by global warming. At the same time, Lukas starts building the Linsky Observatory in New Zealand, completed by 2032. It’s in New Zealand where Lukas spots a “bolt of bright orange plasma light” moving with purpose and obviously not a natural occurrence. He and his pal Angus “Gus” Macleod later see and chase another plasma ball, which lands on Earth. It’s a sphere that Marcus determines is of an element or alloy not of this world. It also contains a binary-coded message, the initially translated synopsis providing a future date and coordinates to the sun. The sphere seems to have originated from an Earth-like exoplanet, Kepler-452b. Noting that Kepler-452b is lacking in a particular resource that’s more abundant on Earth, Lukas surmises an alien species may be intent on taking the treasure in a likely unfriendly manner. Further decryption of the sphere’s code reveals that the aliens may be wary of the Mk2s and have a plan involving the androids. Lilly’s engaging tale, despite Lukas’ first-person voice, reads like a history book. There’s very little dialogue, and the narrative’s occasionally interrupted by separated text defining terminology or clarifying historical references. These notes reinforce a smart story rife with information, even when they explain something relatively simple like TV—after all, it may be obsolete for distant-future readers. There is, however, some redundancy: expounding on wormholes more than once or discussing the Richter scale and electromagnetic pulses well after they’ve already appeared in the story. The protagonist generally relays events as they unfold, which is fitting for a scientist. But he’s not merely a cold observer; the author skillfully provides insights into his character. It’s clear that Lukas loves his parents, and he quickly falls for Vicki, a former professional football (aka soccer) player in England. He also believes calling Marcus “Dad” is a “childish slip,” a sign that he fears emotional attachments, even to loved ones. Still, his relationships to friends and family are sturdy enough that, when death ultimately rears its ugly head, there’s an unmistakable impact. Lilly deftly retains suspense by way of the aliens’ anticipated actions; there’s a countdown to the 2035 date cited in the message (down to the final seconds), while an invasion at that point is still speculation. Tech is both familiar and new (for example, a top-secret submarine) and sometimes creatively named: a ship's operations room for flying pilotless aircraft is called "The Kids Room" for its resemblance to handheld gaming consoles.

An entertaining yarn that delivers a curious mix of science and sci-fi.

Pub Date: May 11, 2017

ISBN: 978-0-473-38440-1

Page Count: 256

Publisher: CreateSpace

Review Posted Online: June 8, 2017

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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