A funny, terrifying, and unpredictable slice of Night Vale’s macabre history.
One of Welcome to Night Vale’s most enigmatic and terrifying characters reveals how she came to be.
The Faceless Old Woman Who Secretly Lives in Your Home is one of the outlandish podcast’s most popular characters, partially due to writer/actress Mara Wilson’s evocative portrayal. In Night Vale, the character is a specter of sorts, visible only in glimpses, who takes great fun in toying with the town’s citizenry, living in all their homes simultaneously. Here, Fink and Cranor (It Devours!, 2017, etc.) diverge from the style of their previous books to craft a chilling ghost story. The book alternates between two timelines. The first concerns the life, death, and afterlife of the unnamed narrator, born in the Mediterranean in 1792 to an idyllic childhood with her beloved father. When her father is murdered by a covert criminal ring called The Order of the Labyrinth, she swears revenge and is recruited into a life of crime by her Uncle Edmond, a ruthless outlaw. What follows is a decadeslong, globe-spanning saga of adventure, betrayal, love, and fate as she becomes the swashbuckling captain of her own pirate ship, with a crew that includes a master of disguise, a bloodthirsty neophyte, a rakish comrade, and a giantess, among others. Robberies, schemes, battles, treachery, and a vicious conspiracy to destroy a rival ensue. In the storyline set in the present, the old woman adopts Craig, a struggling copywriter, as her pet project. While she does leave him the occasional dismembered animal to keep him in line, she also pays off his debts and steers him toward his wife-to-be, Amaranta, and a heavenly life to come—perhaps. How these stories converge and how the narrator becomes immortal are merciless in their ingenuity and immensely satisfying. As the Old Woman tells Craig, “There’s a thin line separating humor and horror, and this was that line.”
A funny, terrifying, and unpredictable slice of Night Vale’s macabre history.Pub Date: March 24, 2020
ISBN: 978-0-06-288900-3
Page Count: 352
Publisher: Harper Perennial/HarperCollins
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
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
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