An engaging, offbeat, and Bible-inspired apocalyptic tale.
This first installment of a religion-themed SF/fantasy saga focuses on the high-tech but intrigue-wracked island nation of Atlantis and how a brilliant woman trusts science to rescue humanity from doom.
A dedication to God up front indicates Canadian author Cook’s antediluvian epic is sincerely meant as evangelical literature. But initially, readers encounter playfulness and semisatire that fall almost within hailing distance of dogma-bashing material like James Morrow’s Towing Jehovah (1994). Supposedly drawing from fringe history experts and Creation science, Cook depicts life in fabled Atlantis circa the biblical deluge. Humanity is high-tech and spacegoing (though penned in by an alien embargo) but, thanks to Adam and Eve, fatally decadent, divided, and driven to self-destruction. Especially significant is a looming military conflict with Lemuria, a fierce “Women’s Liberation” rogue state stopping at nothing for total control. Beautiful, psychic Atlantean science graduate Ithyanna foresees an upcoming apocalypse. Though tentatively a follower of Olympus-style deities, she puts her faith in rationalism and technology, plotting a starship escape of the planet’s best and brightest before it’s too late. Meanwhile, her adopted sister, an alcoholic “coarseneck” (redneck) with an affinity for “cargonaut” (country-and-western) music, repents and joins ex-technician Noah, a shunned disciple of the god Elohim. Noah, of course, is building a giant gopher-wood boat for his family and a menagerie of animals despite much public scorn and ridicule. God/Elohim—who appears as a talking lion like Aslan of C.S. Lewis’ Narnia tales—worries that Ithyanna’s scheme may spoil the whole flood thing. In this engrossing tale, treachery, arrogance, violence, nonbelief, and selfishness beset the eponymous hero’s plans and illuminate God’s true path. En route are enjoyable shoutouts to the Adam West Batman TV series, references to the movie flops Star! and Doctor Doolittle, and disguised versions of Kurt Waldheim, White nationalism, and Islam. If they aren’t too tempted to dig deeper for additional takedowns (was that supposed to be Oprah Winfrey? Madonna? Former President George W. Bush? Justin Trudeau?), readers will get a basically traditional exhortation urging redemption—complete with Gospel excerpts—attired in riots of rococo filigree and vivid anachronisms. This work certainly isn’t part of the Tim LaHaye/Jerry B. Jenkins school of Christian fantasy.
An engaging, offbeat, and Bible-inspired apocalyptic tale. (introduction, list of the nations, cast-of-characters guide, map)Pub Date: N/A
ISBN: N/A
Page Count: 271
Publisher: FriesenPress
Review Posted Online: June 2, 2020
Kirkus Reviews Issue: Aug. 15, 2020
Review Program: Kirkus Indie
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
A compelling and skillfully written end to a thrilling fantasy series.
In the final book of Corland’s dark fantasy trilogy, a ragtag band works together to liberate a colony and dethrone tyrants.
A group of spies, thieves, and murderers, united by a common goal of ending the treacherous rule of King Joon of Yusan, regroup after a bloody battle claims the life of one of their own—the banished Yusanian prince, Euyn. However, there’s little time for Mikail, Aeri, Sora, and Royo to mourn. Bounty hunters and assassins are after them, in part because they now possess three of five legendary Relics of the Dragon Lord. Mikail, who’s just found out that he’s the last surviving member of a royal family, wields the Water Scepter of Wei, while Aeri, King Joon’s daughter, holds the Sands of Tim and the Golden Ring of Khitan. The remaining relics—the Flaming Sword of Gaya and the Immortal Crown—remain with King Joon, who’s desperate to have all five to wield a great deal more power. Meanwhile, the cruel Count Seok, who once indentured Sora, has usurped the throne of Yusan. The group has two goals: overthrow the king and liberate the Yusanian colony of Gaya—Mikail’s homeland—so that it can again be a thriving, independent realm. The relics are powerful tools in combat, but using them is adversely affecting Aeri and Mikail’s health. They need allies, but trusting strangers is a dangerous gamble. Corland’s final book in her Broken Blades trilogy is a relentlessly thrilling and action-packed dark fantasy featuring memorable characters, intense battle scenes, romance, and a satisfying conclusion. Alternately narrated by Aeri, Mikail, Sora, Royo, and their long-lost friend, Tiyung, readers benefit from watching the story unfold through the perspectives of each compelling, well-drawn character. The author’s passion for the fantasy genre shines through in the novel’s richly detailed worldbuilding, including vivid descriptions of landscapes and palace layouts, as well as its exploration of magic. Readers will also delight in the sardonic humor sprinkled throughout, as when Mikahil narrates, “Rune thinks he fathered Seok’s son. Truly, the nobility of Yusan has too much time on their hands.”
A compelling and skillfully written end to a thrilling fantasy series.Pub Date: July 15, 2025
ISBN: 9781649379153
Page Count: 512
Publisher: Entangled: Red Tower Books
Review Posted Online: May 19, 2025
Kirkus Reviews Issue: July 15, 2025
Review Program: Kirkus Indie
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