A huge, churning, relentlessly entertaining melodrama buoyed by confidence that human values will prevail.

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LEVIATHAN WAKES

A rare, rattling space opera—first of a trilogy, or series, from Corey (aka Daniel Abraham and Ty Franck).  

Humanity colonized the solar system out as far as Neptune but then exploration stagnated. Straight-arrow Jim Holden is XO of an ice-hauler swinging between the rings of Saturn and the mining stations of the Belt, the scattered ring of asteroids between Mars and Jupiter. His ship's captain, responding to a distress beacon, orders Holden and a shuttle crew to investigate what proves to be a derelict. Holden realizes it's some sort of trap, but an immensely powerful, stealthed warship destroys the ice-hauler, leaving Holden and the shuttle crew the sole survivors. This unthinkable act swiftly brings Earth, with its huge swarms of ships, Mars with its less numerous but modern and powerful navy, and the essentially defenseless Belt to the brink of war. Meanwhile, on the asteroid Ceres, cynical, hard-drinking detective Miller—we don't find out he has other names until the last few pages—receives orders to track down and "rescue"—i.e. kidnap—a girl, Julie Mao, who rebelled against her rich Earth family and built an independent life for herself in the Belt. Julie is nowhere to be found but, as the fighting escalates, Miller discovers that Julie's father knew beforehand that hostilities would occur. Now obsessed, Miller continues to investigate even when he loses his job—and the trail leads towards Holden, the derelict, and what might prove to be a horrifying biological experiment. No great depth of character here, but the adherence to known physical laws—no spaceships zooming around like airplanes—makes the action all the more visceral. And where Corey really excels is in conveying the horror and stupidity of interplanetary war, the sheer vast emptiness of space and the amorality of huge corporations.

A huge, churning, relentlessly entertaining melodrama buoyed by confidence that human values will prevail.

Pub Date: June 15, 2011

ISBN: 978-0-316-12908-4

Page Count: 512

Publisher: Orbit/Little, Brown

Review Posted Online: March 2, 2011

Kirkus Reviews Issue: March 1, 2011

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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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DUNE

This future space fantasy might start an underground craze.

It feeds on the shades of Edgar Rice Burroughs (the Martian series), Aeschylus, Christ and J.R. Tolkien. The novel has a closed system of internal cross-references, and features a glossary, maps and appendices dealing with future religions and ecology. Dune itself is a desert planet where a certain spice liquor is mined in the sands; the spice is a supremely addictive narcotic and control of its distribution means control of the universe. This at a future time when the human race has reached a point of intellectual stagnation. What is needed is a Messiah. That's our hero, called variously Paul, then Muad'Dib (the One Who Points the Way), then Kwisatz Haderach (the space-time Messiah). Paul, who is a member of the House of Atreides (!), suddenly blooms in his middle teens with an ability to read the future and the reader too will be fascinated with the outcome of this projection.

With its bug-eyed monsters, one might think Dune was written thirty years ago; it has a fantastically complex schemata and it should interest advanced sci-fi devotees.

Pub Date: Oct. 15, 1965

ISBN: 0441013597

Page Count: 411

Publisher: Chilton

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Oct. 1, 1965

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