An entertaining piece of magical realism.

STOP 9/11

Even with a time machine, undoing the terror attacks of 9/11 turns out to be harder than you’d think, according to this knotty sci-fi drama.

When his research project, a helmet-like gizmo that stimulates wearers’ memories until they seem as vivid as real life, gets defunded, Columbia University medical student Mike Zweistein continues his work, using childhood buddy Sal as a guinea pig. The gadget has an odd quirk, Sal discovers—if you imagine your memories working out differently, the past changes accordingly. The stage is set for Mike and Sal to “remember” picking today’s winning Lotto numbers yesterday, but instead the high-minded Sal insists on using the helmet to forestall 9/11—his firefighter dad died at ground zero—and ropes his saucy sister Cecelia into the mission. Suiting up with twin helmets, the siblings go back nine years to a past in which, alas, no one believes a pair of goofy teens who claim knowledge from the future about an impending terrorist spectacular. Cutting the Gordian knot, they drive south from Long Island with a rifle in the trunk, heading for the Florida flight school where a terrorist cell is plotting mayhem. The result is an epic road trip; the journey stretches out over many three-hour helmet sessions, and the shifting timelines that link Sal and Cecelia’s past, present and future selves become so tangled that Sal gets shrieking headaches just thinking about them. Readers may also get a bit of a throb when contemplating the plot’s many time-travel paradoxes, but Lange embeds them in a resonant story that plays on the emotional power of memory. There is some fairy-tale schmaltz here—disembodied souls keep swooping over Manhattan—but Lange generally writes with a supple, understated prose, and stocks the novel with appealing characters whose reactions are as believable as their situation is contrived.

An entertaining piece of magical realism.

Pub Date: Feb. 26, 2011

ISBN: 978-1456558222

Page Count: 276

Publisher: CreateSpace

Review Posted Online: April 26, 2011

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

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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