It’s as if Orson Welles had gotten hold of an iPad. Though some fixes remain to be done, a top-notch production.

THE WAR OF THE WORLDS

The tale that scared America silly in 1938, courtesy of Orson Welles, returns in a well-made app that would do a Martian invader proud.

H.G. Wells published The War of the Worlds in 1898, long before world-destroying technologies were available to frighten us in real life. The humans in it, famously, are unprepared when an armada of ill-intending Martians reaches the third stone from the sun and begins to blow things up willy-nilly. Eventually, though, they begin to mount resistance, and if some of the fighting takes place in the unlikely confines of rural England, so much the better for Wells’ first generation of readers. The developers at E-mersiv do Wells’ book a service by having fun with it. When the Martians begin to deploy their extremely nasty heat ray, for instance, or what Wells calls “this flaming death, this invisible, inevitable sword of heat,” words on the page burn before readers’ eyes—a very neat bit of animation, that, matched with appropriately scarifying background noises that suggest sizzling and smoking. The score is not always the best; there are too many moments of tinkling piano and weird prog rock for comfort. But for its sonic lapses, the main body of the text is superb, giving new life to Wells’ words. This is nowhere more true than toward the end of app and novel, when the Martians have destroyed the center of the world: “London about me gazed at me spectrally,” Wells writes, a burned-up, bowled-over, blown-apart city of the dead, and the designer nicely reinforces the sense of doom and destruction by blackening the edges of the page as if a firestorm had passed over it. The text is easy to bookmark—so easy that it invites flagging favorite passages, in fact. The only poorly executed aspect of the package is a glossary pulled down by means of a readily accessible menu; it reads as if written by a non-native speaker of English—perhaps a Martian—and is uninformative (the opening gloss for “Narrator’s Wife,” for instance, is “Wife of the narrator”).

It’s as if Orson Welles had gotten hold of an iPad. Though some fixes remain to be done, a top-notch production.

Pub Date: June 14, 2012

ISBN: N/A

Page Count: -

Publisher: E-mersiv

Review Posted Online: Sept. 10, 2012

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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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Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

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IT ENDS WITH US

Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 31, 2016

Kirkus Reviews Issue: June 15, 2016

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