A serviceable SF/fantasy tale that touches on the pitfalls of violence and revenge.
On a besieged planet, a warrior battles to save his adopted colony from an alien conqueror in Springs’ military-SF series starter.
In the far future, the human-colonized planet Etrusci has been hit hard by marauding chitins—giant beetle creatures that are reminiscent of those in the film Starship Troopers (1997). A mysterious force field has hindered air travel for 40 years, so the entire human population has withdrawn to the heavily fortified city of New Olympia. One of its defenders is young Liam, a genetically modified Finnian warrior (part of a “subspecies of humans”) who, as a war orphan, was adopted into one of New Olympia’s ruling families, despite opposition from Councilor Licinious, a ruling council member. Licinious and other traitors sabotage New Olympia’s defenses, leaving the city vulnerable to invasion by alien Gothowan warlord Azurius, an aspiring galactic emperor who breeds and controls the chitin as mindless soldiers. Most of New Olympia’s hierarchy are slain in the onslaught, but Liam survives, though he’s presumed dead. Liam, mentored in martial-mystic techniques by a more benign Gothowan, does one-man counterstrikes. Azurius, impressed, invites Liam to join his villainous crew, noting that Liam’s ferocity and his thirst for retribution are key to bringing the lad to the dark side. Only belatedly does Spring provide backstory that all this takes place somewhere in the 30th century or later, and that Finnians were bred for belligerence, but took their destiny into their own hands to be a force for good; a strongly ethical, matriarchal religion seems to be integral. The plot also trades in espionage/combat via out-of-body travel, and even manipulations of time. Much of the tale, however, boils down to somewhat repetitious fight scenes with occasional timeouts for exposition and cackling by the flamboyantly wicked antagonist, who enjoys quoting Shakespeare. That said, Liam’s chronic guilt over committing acts of violence, even in wartime, is a bit atypical for the genre. Action-minded readers will find nothing taxing about the science-related material, nor will they mind the mysticism on the side. Sequels have already been announced.
A serviceable SF/fantasy tale that touches on the pitfalls of violence and revenge.Pub Date: Jan. 31, 2024
ISBN: 9781685133627
Page Count: 305
Publisher: N/A
Review Posted Online: March 26, 2024
Review Program: Kirkus Indie
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
