The fourth novel in Lessing's Canopus in Argus series is the shortest, the simplest, and (though frequently given over to long, lyric/philosophical monologues) the most fable-like. The narrator is Doeg, a "Representative" on Planet 8 who recalls "the times of The Ice"—when the beautiful, temperate little planet (a colony of Canopus) slowly began to freeze to death. Half the planet soon becomes an icy wasteland; the other half, protected by a great black wall, which has been built according to orders from Canopean agent Johor (cf. Shikasta), suffers more gradually. And Joher promises that the people of Planet 8 will eventually be "spacelifted" to paradisical planet Rohanda. So Doeg and the other Representatives labor to keep their weakening, greying people going until salvation comes: there's a harrowing journey to the cold side in search of food sources (the people have had to switch to an all-meat diet); a sacred lake is reluctantly violated—also in search of food; the Representatives go house to house, urging the people to resist torpor, to refrain from crime (which is escalating). But then Johor arrives with the worst of news: there will be no mass spacelift to Rohanda; though the Representatives may be rescued, millions will simply be left to die with the planet. And so—while the lake freezes, the black wall crumbles, and the icy apocalypse approaches—Johor, Doeg, and the other Representatives engage in a colloquy on the nature of existence: the relationship of the individual to all humanity; the elusive, perhaps illusory essence of "meness"; the place of a single life or memory in the endless universe, of a single thought in "this system of fine and finer" particles. None of these ruminations is particularly fresh, of course—and the longwinded exchanges sometimes become droningly static. But often here, with near-Biblical rhythms and imagery (and a spiritual-transfiguration finale), Lessing achieves the sort of primal resonances which weren't possible in the more intricately sociological Canopus books. And this time the ambivalent symbolism—again paternal, hapless Canopus seems to represent both empire-building Britain and God—is more provocative than confusing. (To get really confused, however, read Lessing's afterword—which explains the connections between the last two Canopus novels and Scott's Antarctic expeditions.) So: perhaps the least ambitious or demanding of Lessing's visionary parables—but one with moments of great, dirge-like, roughly poetic power.
Pub Date: Feb. 17, 1981
ISBN: 0006547184
Page Count: 190
Publisher: Knopf
Review Posted Online: Sept. 28, 2011
Kirkus Reviews Issue: Feb. 1, 1981
BOOK REVIEW
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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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