Skulduggery, sex, and Shakespeare abound in a sci-fi tale full of sound and fury, signifying fun.



From the The Space Operetta Series series

A murdered secret agent is cloned and sent back to the stars to undertake more missions—including investigating his own killing—in the first installment of Smith’s (Kat Cubed, 2016) Space Operetta series.

Fifty-year-old Jack Jones was a spacegoing entertainer—not only Earth’s greatest singer, but also its cultural ambassador to other civilizations in deep space, bringing them such things as Gilbert and Sullivan tunes. But while onboard the mighty starship Shakespeare with his wife, Gina, and a troupe of performers, Jones had another, more sinister role as an undercover assassin. After bullets cut him down, he’s quickly cloned by the Terran Cultural Committee—but in his downloaded memories, the last 32 years of recollections are somehow missing. Physically and mentally, he’s now a strapping, sexually active 18-year-old who must relearn his training and, if possible, solve his own murder. His masquerade as “Jack Junior,” his own long-lost son, doesn’t last long, though, especially with his baleful wife. Soon there are more mysterious deaths as the ship goes from planet to planet on a show circuit. Overall, Smith serves up a lot of sex, derring-do, and Shakespeare references in this pulpy sci-fi title. It’s certainly a lighthearted lark (complete with a Teenage Mutant Ninja Turtles shoutout), although it overdoes the adolescent humor, even if it is by design. In one twist, a faulty starship drive based on “quantum entanglement and improbabilities” may be causing unlikely events and out-of-character behavior—a cute idea but one that Douglas Adams hit first and better in The Hitchhiker’s Guide to the Galaxy. Still, there’s a great last-act reveal regarding Jack’s antagonist and even a concluding nonfiction essay on the physics used in the story, as polymath Smith has a doctorate in particle physics.

Skulduggery, sex, and Shakespeare abound in a sci-fi tale full of sound and fury, signifying fun.

Pub Date: April 5, 2017

ISBN: 978-0-9973131-3-0

Page Count: 340

Publisher: Quarky Media

Review Posted Online: Dec. 3, 2017

Kirkus Reviews Issue: Jan. 15, 2018

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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