Not always compelling as fiction, then, but containing many a worthy insight about how the world will be dragged further...

READ REVIEW

AIR

Like the Internet, only more so.

It’s 2020 in Karzistan, a chaotic and badly run Central Asian country where the people live as they have for centuries—poor and struggling on harsh, mountainous land—while the government seems compelled to bring them technologically into the present. An unsuspecting linchpin in this effort is middle-aged Chung Mae, who makes a rough living as an in-residence fashion expert for her remote village. Like the rest of the world, Karzistan is set to launch into Air, the next step in global networking. Air doesn’t even require a computer, but will reside in every person’s head, allowing everyone to link into the network. But the first test of Air is catastrophic, killing a few and leaving a strange effect on Mae, who is left with memories of a dead woman in her head, a woman who led a much more vivacious life than Mae ever has. The government declares that Air will be tested again in a year, leading Mae to prepare her village by educating them on the Net as much as she can. Meantime, she also teaches herself—the woman’s voice in her head disapproving and angry—and finds that she’s able to expand her homespun business. But her new independence runs afoul of her neighbors, and she’s stuck negotiating between suspicious government officials and distrustful, conservative villagers. Fantasist Ryman (253, 1998, etc.) has an uncanny knack for imagining the clumsy overreaching of eager technocrats, and his description of the mental effects of Air are astounding: Imagine AOL imprinted on your cerebellum. But while Mae is an impressive heroine, and the text is full of sharp commentary and vivid characters, the story itself fails to engage fully and bogs down for long stretches.

Not always compelling as fiction, then, but containing many a worthy insight about how the world will be dragged further into the Information Age, like it or not.

Pub Date: Dec. 1, 2003

ISBN: 0-312-26121-7

Page Count: 400

Publisher: St. Martin's Griffin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 15, 2003

Did you like this book?

No Comments Yet

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

Did you like this book?

Suspenseful, full of incident, and not obviously necessary.

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • Booker Prize Winner

THE TESTAMENTS

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. 4, 2019

Kirkus Reviews Issue: Sept. 15, 2019

Did you like this book?

more