A smart, ambitious dystopian tale that teases the protagonists’ epic genesis but saves most of the details for later volumes.
Government types and a mysterious figure pursue a girl and her twin brother in this debut sci-fi novel and series opener.
Elize and Keeto Simone live in a world of ravaged oceans and deadly gases. And there’s deceit as well, as least from their father, who they suspect has kept things from them, namely details on their mother’s predicament. Years ago, the Global Health Unit took her away, placing her in a hospital’s psychiatric wing. Now Elize is experiencing symptoms of possible mental deterioration (for example, hearing voices). Believing she’ll be hospitalized, too, the twins leave their father behind for Schrödinger University; Elize earned acceptance into the bioengineering program. Determined to maintain a low profile and decipher their father’s flashes (memory recordings), the siblings meet new people but struggle with trust, from Caroline to technological genius Stitch. The enigmatic Nathruyu, meanwhile, trails the twins to the university, certain that her destiny’s somehow tied to theirs. But she’s not the only one hunting them; the Unification’s also after them, and Elize and Keeto want answers, starting with their own origin. Lefave splits her striking tale into three distinct, mostly linear perspectives: Nathruyu’s vague narrative; Elize’s animated, first-person account; and Keeto’s journal entries for their mother. Nathruyu’s story is often bewildering, as her link to the twins remains deliberately obscure. But even abstract moments spawn visual prose: “The atmosphere grows thick with regret, strangling her lungs, as her brain spins inside her skull.” Readers should peruse a glossary addendum first since most slang, though clever and derived from various sources and countries, is sans context. Lefave enhances the plot with murders on campus (some a mystery, others unfolding from a killer’s viewpoint). Much, however, is left unresolved; one character’s promise of answers is an ending riddle that reveals nothing.
A smart, ambitious dystopian tale that teases the protagonists’ epic genesis but saves most of the details for later volumes.Pub Date: July 7, 2017
ISBN: 978-1-988814-00-1
Page Count: 384
Publisher: Aguacene Publishing
Review Posted Online: July 20, 2017
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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