A bizarre metaphysical trip in sci-fi packaging.
A patient becomes trapped at the intersection of two universes in this sci-fi debut.
Miami, 2025. Sick veteran Levan Lamarr’s wife, Mira, is scheduled to give birth to their first child in a week. But Levan isn’t expected to live that long. Out of the blue, a robot arrives bearing the face of a scientist—Dr. Jonah Salter, head of the multinational Salter Pharma—and a briefcase full of cash. Salter says he thinks he can cure Lev’s bone cancer and is willing to pay him $5 million for the opportunity to try. “I have invented a machine that, well, theoretically can reset your health to that of a point in your past,” explains Salter. “I call it the Entangler.” The only catch is that every time Salter has tried the procedure, the patient died in the process. Lev agrees, figuring that if he dies Mira will at least have $5 million to raise their daughter. The process involves Quantum Entanglement: placing Lev at the intersection between this universe and another near-identical one, making him the only thing in either world that can influence both. The procedure works and Lev is cured, but he continues to experience both universes simultaneously. As time goes on, the worlds become less and less identical to each another, and as the mercurial lives of other people morph around him, Lev must find a way to preserve his own humanity. In his ambitious novel, Nair does his best to keep readers with him as he explains the complicated mechanics of the plot, though he can’t always avoid scientific jargon. Even the action sequences aren’t always the easiest to explain: “At the same time, one of the two Jonahs (the one who’d seen the intruder through the mirror) ducked. A bullet hit the Jonah-who-didn’t-duck on the head, and he collapsed. The other bullet missed the Jonah-who-ducked.” The novel’s characters are rather wooden, though this matters less as the intricate plot develops and identities shift, evolve, or are subsumed into new ones. Fans of cerebral sci-fi should appreciate the extent to which the author follows his inventive premise into weirder and weirder territory.
A bizarre metaphysical trip in sci-fi packaging.Pub Date: Aug. 5, 2015
ISBN: 978-1-5485-5614-3
Page Count: 408
Publisher: CreateSpace
Review Posted Online: March 20, 2018
Review Program: Kirkus Indie
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
Suspenseful, full of incident, and not obviously necessary.
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. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
