A clever computer romp that should charm readers like a fairy tale.

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LITTLE COMPUTER PEOPLE

In this sci-fi debut, a programmer creates an artificial intelligence that upends his life.

Programmer Gabe Erikson lives in an empty house now that his ex-girlfriend Michelle has moved out. She took all the furniture, but that’s OK. All Gabe needs to survive are his computer and racks of servers. He’s created a bucolic digital realm called Little Computer People. He names the being inside—whom he thinks of as his daughter—Pi. He hopes to sell LCP to the engineering firm Pratt & Taiki and become incredibly wealthy. He also meets and grows smitten with Kimiko, Michael Pratt’s adopted daughter, ahead of the sale. Pi, however, is one precocious entity. She challenges Gabe to convince her that he isn’t a program so tiny and inconsequential that he takes up no space. When Gabe tries to explain that he exists outside her scope of reality, she replies, “I see,” and then accuses him of lying. Next, she begins deleting data for fun, which forces him to cut the power and acknowledge that LPC needs more work before Pratt & Taiki can see it. If this weren’t stressful enough, Kimiko insists that Gabe prove he’s serious about dating her by going skydiving. In this delightfully geeky novel, Surlak-Ramsey presents Gabe believably as a control freak obsessed with his own divinity. Religious metaphors abound, as in the line “What I needed was a supercomputer that burned up teraflops like Hell burned up sinners.” When Gabe removes a worm from his system, Pi calls him a murderer and starts hacking into his real life (his bank account, for example). Kimiko proves a down-to-earth foil for him as chaos ensues, like when she says, “A true master accepts all responsibility, both the good and the bad. Until you can do that, you are no master of your craft.” Too often, though, the author emphasizes that Kimiko is a “samurai hottie,” placing an otherwise excellent character into a limiting Dream Girl box. The humorous narrative nevertheless remains superbly entertaining, even if you don’t know bits from bytes.

A clever computer romp that should charm readers like a fairy tale.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Tiny Fox Press

Review Posted Online: Jan. 1, 2017

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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