Your appreciation of Fforde will depend solely on your tolerance for self-conscious, and occasionally slick, literary...

ONE OF OUR THURSDAYS IS MISSING

Any intersection between Fforde’s novels and a recognizably real world are almost entirely coincidental, for he’s most at home in constructing insouciant (and elaborate) literary fantasies.

Thursday Next, the protagonist of many of the author's previous novels, is back…or rather, she’s not, for she’s the missing girl of the title. And although she vanishes, the written Thursday Next does not. The plot involves the search for the “real” Thursday Next, when she disappears a week before peace talks preceding the possible outbreak of a genre war, so the written Thursday Next sets out to find her. (Yes, it’s all a bit confusing, and Fforde has great fun ringing changes on this confusion.) Written Thursday Next is on the case, exploring the various byways of BookWorld and eventually going up the mighty Metaphoric River, with its echoes of Conrad. Of course, in Fforde’s fictive world almost everything has some kind of literary echo: Cabbies take the written Thursday to Norland Park (from Sense and Sensibility); she meets Jay Gatsby’s less famous brother, the Loser Gatsby (younger sibling to the Mediocre Gatsby); she learns that Heathcliff is riding the same train she is (and notes “a lot of screaming and fainting girls on the platform whenever we stopped”); has drinks at the Bar Humbug; and comes across signs like “Do Not Feed the Ambiguity.” Fforde, of course, finds all of this highly diverting and even includes sly references to The Eyre Affair, an earlier Thursday Next novel. To appreciate Fforde, it’s both helpful and essential for a reader to have a substantial literary background. While some of the gags are sly and work well (for example, the confusion about whether a character named Red Herring is actually a red herring), others are rather forced and seem to exist solely for the sake of a punch line (“I think we’ve driven into a mimefield”).

Your appreciation of Fforde will depend solely on your tolerance for self-conscious, and occasionally slick, literary cleverness.

Pub Date: March 8, 2011

ISBN: 978-0-670-02252-6

Page Count: 384

Publisher: Viking

Review Posted Online: Jan. 26, 2011

Kirkus Reviews Issue: Feb. 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.

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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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An almost-but-not-quite-great slavery novel.

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THE WATER DANCER

The celebrated author of Between the World and Me (2015) and We Were Eight Years in Power (2017) merges magic, adventure, and antebellum intrigue in his first novel.

In pre–Civil War Virginia, people who are white, whatever their degree of refinement, are considered “the Quality” while those who are black, whatever their degree of dignity, are regarded as “the Tasked.” Whether such euphemisms for slavery actually existed in the 19th century, they are evocatively deployed in this account of the Underground Railroad and one of its conductors: Hiram Walker, one of the Tasked who’s barely out of his teens when he’s recruited to help guide escapees from bondage in the South to freedom in the North. “Conduction” has more than one meaning for Hiram. It's also the name for a mysterious force that transports certain gifted individuals from one place to another by way of a blue light that lifts and carries them along or across bodies of water. Hiram knows he has this gift after it saves him from drowning in a carriage mishap that kills his master’s oafish son (who’s Hiram’s biological brother). Whatever the source of this power, it galvanizes Hiram to leave behind not only his chains, but also the two Tasked people he loves most: Thena, a truculent older woman who practically raised him as a surrogate mother, and Sophia, a vivacious young friend from childhood whose attempt to accompany Hiram on his escape is thwarted practically at the start when they’re caught and jailed by slave catchers. Hiram directly confronts the most pernicious abuses of slavery before he is once again conducted away from danger and into sanctuary with the Underground, whose members convey him to the freer, if funkier environs of Philadelphia, where he continues to test his power and prepare to return to Virginia to emancipate the women he left behind—and to confront the mysteries of his past. Coates’ imaginative spin on the Underground Railroad’s history is as audacious as Colson Whitehead’s, if less intensely realized. Coates’ narrative flourishes and magic-powered protagonist are reminiscent of his work on Marvel’s Black Panther superhero comic book, but even his most melodramatic effects are deepened by historical facts and contemporary urgency.

An almost-but-not-quite-great slavery novel.

Pub Date: Sept. 24, 2019

ISBN: 978-0-399-59059-7

Page Count: 432

Publisher: One World/Random House

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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