The novel fails to explore its promising premise in any depth. Shakespeare this ain’t.

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MIRANDA IN MILAN

A sequel to The Tempest, with Miranda cast as the heroine, Prospero as the villain, and a Moorish witch as Miranda’s love interest.

A thoughtful novelist might have taken this idea in many interesting directions. She might have tried to match the atmosphere of Shakespeare’s great romance, weaving a tale of spirits and enchantment. She might have cast a hard eye on history, examining the workings of patriarchy and colonialism in her 17th-century Italian setting. She might have probed Miranda’s psychology and that of her father. Or she might have explored a complex and sophisticated civilization through the eyes of an innocent seeing it for the first time. If Duckett intended to do any of those things, her debut novel shows little sign of it. The characters lack depth, and the writing lacks magic. As the story begins, The Tempest is over, and Miranda has returned to her native Milan with her father before setting out for Naples to marry Ferdinand. Nobody seems to like her much in Milan except a witch called Dorothea, who was born in Marrakech but for some reason is working at the ducal palace as a maidservant. Miranda may have fallen for Ferdinand, but that was only because she hadn’t yet set eyes on the likes of Dorothea. (O brave new world!) Prospero storms around making pompous pronouncements and breaking his word: It turns out he never actually ditched his powers or drowned his books, and instead of forgiving his brother, the usurper Antonio, as he promised to do, he keeps him chained in the dungeon. Oppressive mysteries threaten vaguely. Miranda dreams of heaven: “Above her, the sky was endless and blue, a shade almost purpureal, cushioning flocculent clouds in its fathomless depths.” Thankfully, such almost purpureal prose is rare; for the most part Duckett sticks to unobjectionably pedestrian language.

The novel fails to explore its promising premise in any depth. Shakespeare this ain’t.

Pub Date: March 26, 2019

ISBN: 978-1-250-30632-6

Page Count: 208

Publisher: Tor

Review Posted Online: Dec. 23, 2018

Kirkus Reviews Issue: Jan. 15, 2019

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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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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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