An amicable story that offers time travel as a self-improvement exercise for the middle-class Everyman.



In Kuhn’s debut sci-fi novel, a mysterious stranger grants a harried family man the ability to make short-duration leaps back in time—in alternate universes.

George Hartdegan, in 2014, is somewhat stuck in a rut with a comfortable but stolid marriage, a rebellious son and daughter, and a job in a dysfunctional workplace that’s poised on the edge of downsizing. Then he’s approached by an alleged physics teacher calling himself “Shiloh” who wants him to help beta test an incredible new Apple Watch app. By selecting a date in the past, George can go back and relive that day again—but only in a parallel-universe variation; when his time is up, he finds himself back in his original, mundane existence. It becomes less mundane, though, when he faces a string of family tragedies that he can’t alter with his newfound power, except in breakaway timelines. Also, George can only use the app 10 times, so what can he gain from this intriguing but frustrating fluke of physics? Kuhn offers an ambitious tale that takes its chapter titles (and book title) from pop-music hits and seems to take thematic cues from the likes of Daniel Quinn, Dan Millman, and possibly Carlos Castaneda, who also used the vehicle of fantastic fiction to impart philosophical truths. Bibliographical footnotes elucidate Kuhn’s concept of the multiverse. Mostly through the voice of Shiloh, the author argues convivially for positive ethical choices, even when the results of said decisions seem immaterial; graceful acceptance of adversity; and the nondenominational existence of a sort of divine plan behind everything, no matter how random life seems. It also effectively gets behind the idea that “All You Need is Love.” Switch Shiloh with an angel, and this mind-stretcher would be kind of a soft-rock, sci-fi It’s a Wonderful Life (or lives, as the case may be). Despite the sentimentality, though, the characters are nicely developed. There are also shoutouts to the graphic novels Watchmen and V for Vendetta, TV’s Doctor Who, and a clever nod to the Chicago Cubs winning the 2016 World Series. 

An amicable story that offers time travel as a self-improvement exercise for the middle-class Everyman.

Pub Date: Feb. 1, 2017

ISBN: 978-1-59298-695-8

Page Count: 416

Publisher: Beaver's Pond Press

Review Posted Online: May 8, 2017

Kirkus Reviews Issue: July 1, 2017

Did you like this book?

No Comments Yet

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.


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

Did you like this book?

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. 4, 2019

Kirkus Reviews Issue: Sept. 15, 2019

Did you like this book?

No Comments Yet