An effective blend of time-travel tropes and military fiction about family loyalties, expectations, and betrayal.
In Pimpinella’s debut SF novel, an elite military corps strives to prevent damage to history by rogue time travelers, but one Time Ranger strains under the pressure of a fast-track career.
In the 22nd century, the invention of time travel allowed the ThirdEye Corporation to employ reckless Time Runners who accidentally or deliberately disrupted history. To set the timeline straight and prevent potential catastrophe, the members of an elite military corps called the Time Rangers travel back in time and correct anachronisms and anomalies, using deadly force if necessary. Kai Sawyer is a young graduating Time Ranger cadet who’s uncomfortable that he’s headed for a command role solely due to the machinations of his father, a powerful rear admiral obsessed with carrying on the family name. Kai is also a Spawn, created in a lab to be stronger, hardier, and more aggressive than the average human. That, combined with a harsh upbringing, results in Sawyer making impulsive decisions on his first missions. In 1995 London, for instance, he coldly kills a maverick freelance journalist from the future in a public place. In 1912, he nearly freezes while ensuring that the Titanic sinks with zero survivors, instead of hundreds, to remedy the fact that a Time Runner boarded it with a virus from the future. Kai faces his worst ordeal in 1634 France, where a larger-scale conspiracy seeks to advance Western medicine far ahead of schedule. Over the course of this novel, Pimpinella delivers a spry, action-filled SF tale full of time paradoxes and fills it out with solid characterizations and a particularly agonized hero. The conflicted relationship between father and son is handled well, and it would not be out of place in a work of earthbound, non–SF military fiction. The author doesn’t provide a lot of historical flavor in most of the time-tripping episodes, but Kai’s ordeal in 17th-century France may remind a few readers of the settings in Victor Hugo’s classic 1831 novel The Hunchback of Notre-Dame. (Readers should be aware that this book is unrelated to John Schettler’s 2004 novel Nexus Point, which also focuses on time travel.)
An effective blend of time-travel tropes and military fiction about family loyalties, expectations, and betrayal.Pub Date: Jan. 13, 2021
ISBN: 978-1-5255-9548-6
Page Count: 330
Publisher: FriesenPress
Review Posted Online: March 11, 2021
Kirkus Reviews Issue: April 15, 2021
Review Program: Kirkus Indie
An ambitious and satisfying conclusion to a monumental saga.
Brown completes his science-fiction trilogy with another intricately plotted and densely populated tome, this one continuing the focus on a rebellion against the imperious Golds.
This last volume is incomprehensible without reference to the first two. Briefly, Darrow of Lykos, aka Reaper, has been “carved” from his status as a Red (the lowest class) into a Gold. This allows him to infiltrate the Gold political infrastructure…but a game’s afoot, and at the beginning of the third volume, Darrow finds himself isolated and imprisoned for his insurgent activities. He longs both for rescue and for revenge, and eventually he gets both. Brown is an expert at creating violent set pieces whose cartoonish aspects (“ ‘Waste ’em,’ Sevro says with a sneer” ) are undermined by the graphic intensity of the savagery, with razors being a favored instrument of combat. Brown creates an alternative universe that is multilayered and seething with characters who exist in a shadow world between history and myth, much as in Frank Herbert’s Dune. This world is vaguely Teutonic/Scandinavian (with characters such as Magnus, Ragnar, and the Valkyrie) and vaguely Roman (Octavia, Romulus, Cassius) but ultimately wholly eclectic. At the center are Darrow, his lover, Mustang, and the political and military action of the Uprising. Loyalties are conflicted, confusing, and malleable. Along the way we see Darrow become more heroic and daring and Mustang, more charismatic and unswerving, both agents of good in a battle against forces of corruption and domination. Among Darrow’s insights as he works his way to a position of ascendancy is that “as we pretend to be brave, we become so.”
An ambitious and satisfying conclusion to a monumental saga.Pub Date: Feb. 9, 2016
ISBN: 978-0-345-53984-7
Page Count: 400
Publisher: Del Rey/Ballantine
Review Posted Online: Dec. 8, 2015
Kirkus Reviews Issue: Dec. 15, 2015
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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