Calhoun writes beautifully, though the novel is occasionally slow-moving—and thus, ironically, becomes a cure for insomnia.
A novel about insomnia and dreams, and thus, almost by definition, it’s surreal.
Calhoun’s premise is brilliant, and he follows it to its logical (and psychological) conclusion. What if, gradually, everyone lost the ability to sleep? What would the world look like? How would contemporary culture shift on its axis? In this narrative, we follow a series of characters drastically affected by this shift, most of them pathological insomniacs, though a few retain their ability to sleep and thus become pariahs to the multitudes of the sleepless. At the center of the novel are Biggs (a “sleeper”) and his wife, Carolyn, who’s given over to the telltale signs of insomnia, including physical symptoms like red-rimmed eyes and psychological symptoms resembling dementia. Over time, Biggs has watched her gradual deterioration, and part of the novel involves Biggs’ quest to find her after she goes missing and to share with her an elaborate dream he’s had, one Carolyn eventually tries to re-create and film. Another symptom of cultural and personal breakdown can be seen in college students Chase and Jordan. Since prescription sleep aids become extraordinarily valuable in a world populated by insomniacs, Chase and Jordan develop a scheme to rip off the pharmaceutical industry by stealing pills from the containers in which sleep medicines are kept. Chase’s ex-girlfriend Felicia works as a lab assistant at a Sleep Research Center, where doctors are desperately trying to find a cure—and where their research sometimes has lethal consequences. Another narrative thread involves high school student Lila, who, like Biggs, has retained her ability to sleep, but she finds she must leave her parents, whose insomnia is leading them toward madness.
Calhoun writes beautifully, though the novel is occasionally slow-moving—and thus, ironically, becomes a cure for insomnia.Pub Date: March 4, 2014
ISBN: 978-0-8041-3714-0
Page Count: 288
Publisher: Hogarth
Review Posted Online: Jan. 4, 2014
Kirkus Reviews Issue: Jan. 15, 2014
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
For those who like their science fiction dense, monumental, and a bit overwrought.
Brown is back with Book 4 of his Red Rising series (Morning Star, 2016, etc.) and explores familiar themes of rebellion, revenge, and political instability.
This novel examines the ramifications and pitfalls of trying to build a new world out of the ashes of the old. The events here take place 10 years after the conclusion of Morning Star, which ended on a seemingly positive note. Darrow, aka Reaper, and his lover, Virginia au Augustus, aka Mustang, had vanquished the Golds, the elite ruling class, so hope was held out that a new order would arise. But in the new book it becomes clear that the concept of political order is tenuous at best, for Darrow’s first thoughts are on the forces of violence and chaos he has unleashed: “famines and genocide...piracy...terrorism, radiation sickness and disease...and the one hundred million lives lost in my [nuclear] war.” Readers familiar with the previous trilogy—and you'll have to be if you want to understand the current novel—will welcome a familiar cast of characters, including Mustang, Sevro (Darrow’s friend and fellow warrior), and Lysander (grandson of the Sovereign). Readers will also find familiarity in Brown’s idiosyncratic naming system (Cassius au Bellona, Octavia au Lune) and even in his vocabulary for cursing (“Goryhell,” “Bloodydamn,” “Slag that”). Brown introduces a number of new characters, including 18-year-old Lyria, a survivor of the initial Rising who gives a fresh perspective on the violence of the new war—and violence is indeed never far away from the world Brown creates. (He includes one particularly gruesome gladiatorial combat between Cassius and a host of enemies.) Brown imparts an epic quality to the events in part by his use of names. It’s impossible to ignore the weighty connotations of characters when they sport names like Bellerephon, Diomedes, Dido, and Apollonius.
For those who like their science fiction dense, monumental, and a bit overwrought.Pub Date: Jan. 16, 2018
ISBN: 978-0-425-28591-6
Page Count: 624
Publisher: Random House
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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