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THE MEASUREMENTS OF DECAY

An atypical and profound tale that readers won’t easily forget.

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Three people from different times and places set themselves on paths to save humanity in Edin’s unorthodox sci-fi debut.

Tikan Solstafir lives on a spaceship, the Equuleus, in the distant future. Most people aboard have a device implanted in their brain called a “procrustiis,” with which they can lose themselves in hallucinogenic visions called “metempsies.” Because he doesn’t metempsy, Tikan is one of the first to realize that the Equuleus has been invaded by strange beings that begin killing and mutilating people. Tikan, along with his pal Naim and pilot Mira, rush to activate the ship’s defense protocol. They later learn the invasion may relate to the procrustiis, which can be used as a weapon. The key to preventing tragedy may lie in the far-off Arcturus system. In 21st-century Paris (on Earth), an unnamed philosopher wants to somehow “fix humanity and the world,” but as he struggles to write his treatise, he damages his relationships with his lover, Sophia, and friend Pierre. His life ultimately spirals into vagrancy and criminality, but it doesn’t deter him from his goal—though how he’ll go about it is initially obscure. Sielle, meanwhile, is a girl with the ability to travel through time and space. While searching for “beauty in the world,” she moves from Moscow to the village of Mercia in the Middle Ages as well as to planets beyond Earth. When Tikan, the philosopher, and Sielle finally meet, humanity’s fate will be determined—for better or for much, much worse. Edin’s generally abstract tale brims with philosophical concepts. The bulk of them are understated and smoothly incorporated into the narrative. For example, the Equuleus passengers who constantly metempsy escape the real world so often that returning to it is disorienting: “Nothing in your life exists,” Tikan tells a metempsying Naim. At the same time, some of the more blatant philosophizing, as in the philosopher’s treatise in progress, has a tongue-in-cheek tone; a glimpse at his notes merely reveals a number of unfinished ideas and occasional, senseless scribblings. The novel repeatedly shifts its perspective among the three protagonists, with the philosopher’s first-person accounts, not surprisingly, involving more reflection than action. However, his lengthy tale covers a number of years and takes a truly shocking turn near the end. There are more conventional sci-fi moments as well, as when Tikan visits a seedy area to find a ship captain to smuggle him and others to a particular location—a setup that’s reminiscent of one in the classic 1977 film Star Wars. Edin’s prose gives visual elements a distinctive vibrancy (“Ever suspended above, the sun poured its blood over the planet”) and conceptual passages tangibility (“My senses were unlocking, the tumblers dropping, the gate to the world’s mysteries unlatching.”). Some initially murky plot details, such as how the protagonists link up, become clearer as the narrative continues, with many answers revealed in the enlightening—and outstanding—conclusion.

An atypical and profound tale that readers won’t easily forget.

Pub Date: March 25, 2018

ISBN: 978-1-73206-223-8

Page Count: 588

Publisher: CreateSpace

Review Posted Online: May 24, 2018

Kirkus Reviews Issue: July 1, 2018

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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