Torqued! Twisted, man, as the new Abyss line plunges forward with its plan to advance through the frontiers of psychological horror. Koja fulfills Abyss's hopes with a savage hymn to industrial culture—a first hardcover whose breakthrough originality is unique but will leave many fighting off its overload. Metal sculptor Tess Bajac's days are spent scrabbling through junkyards, scraping bucks together through odd jobs as a welder, and soldering poems in steel. Unlike many in the field, who shape abstracts out of found objects, Tess does her own welding. (Koja at times follows the imitative fallacy and welds scrap sentences into Burroughs-like cutup paragraphs that mimic her heroine's sculpture. Which can be hard on the reader.) Into Tess's life creeps Bibi, a dancer turned artist in body metal, blood, burns, scars, and pain. Tess longs for motion in her sculpture. Bibi brings it, making love-dances to the sharp-edged pieces that leave her ripped and bleeding. Together with some dirty young dudes and studs who are artists in explosives and weird soundtapes and strobe lights, they form a group called the Surgeons and put on Grand Guignol horror shows that make them famous among subcultures. Then Bibi's lover Paul is killed during one show, the Surgeons fold, and Bibi splits from Tess, who desponds. Later, even more beringed through all the lips on her body, Bibi returns and seduces Tess into her first lesbian tie. But Bibi is bent and invents endless injustices on Tess's part so that she can justify more scars, pain, and body metal. A strong stylist, Koja makes white-hot the pains of metal sculpting and draws a big picture of S&M bars and byways before bringing on her big show as Bibi decides to go all the way and, with razor and scalpel, just about get out of her skin—or help a friend out of his. Beyond the styptic pencil and safety blades.
Pub Date: March 1, 1993
ISBN: 0-385-30899-X
Page Count: 320
Publisher: Delacorte
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Feb. 1, 1993
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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