Whatever it takes to put the genie back in the bottle, in other words. Lively, provocative fiction, graced by good writing...
Enrico Fermi died in 1954. Leo Szilard died in 1964. Robert Oppenheimer died in 1967. Didn’t they?
It is Millet’s (George Bush, Dark Prince of Love, 2000) happy conceit that they did, but, by some weird blip of the time-space continuum, they’ve come back to life and landed in northern New Mexico. These three men, writes Millet in a characteristically poetic turn, made possible “the moment when a speck of dust acquires the power to engulf the world in fire.” All are a little put off by the contours the world has taken since they shuffled off the mortal coil; as Oppenheimer grumbles, “In my day there was ignorance too: ignorance is timeless. But at least we were ashamed of it.” Tooling around Los Alamos, Santa Fe and neighboring burgs in cheap sunglasses and borrowed rides, the three are eventually found out, one by one, by a suitably retiring librarian, Ann, who is inclined to be maudlin, unlike her landscaper husband Ben, servant to the nouveaux riches of the high country. Ann meets Fermi and Oppenheimer in the produce aisle of the corner grocery, Oppenheimer wielding a Daikon radish that “resembled a club, and she thought blunt instrument.” With Szilard in tow, the fissionable four set about trying to unmake the atomic era, wending their way across a landscape made ever so slightly ominous by the knowledge that the sky can fall at any minute. Along the way, the scientists have plenty of opportunities to ponder the mysteries of contemporary culture, especially when it develops that a whole lot of born-again Christians take it into their heads that the three are the Holy Trinity—think Trinity Site—and that Oppenheimer is “the risen messiah,” to which Szilard sagely remarks, “People are free to interpret our work as they choose. That is both their right and their privilege.”
Whatever it takes to put the genie back in the bottle, in other words. Lively, provocative fiction, graced by good writing and a refreshingly offbeat worldview.Pub Date: July 16, 2005
ISBN: 1-932360-85-9
Page Count: 448
Publisher: Soft Skull Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2005
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
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.
Cormac McCarthy's The Road meets Chaucer's Canterbury Tales in this frightful medieval epic about an orphan girl with visionary powers in plague-devastated France.
The year is 1348. The conflict between France and England is nothing compared to the all-out war building between good angels and fallen ones for control of heaven (though a scene in which soldiers are massacred by a rainbow of arrows is pretty horrific). Among mortals, only the girl, Delphine, knows of the cataclysm to come. Angels speak to her, issuing warnings—and a command to run. A pack of thieves is about to carry her off and rape her when she is saved by a disgraced knight, Thomas, with whom she teams on a march across the parched landscape. Survivors desperate for food have made donkey a delicacy and don't mind eating human flesh. The few healthy people left lock themselves in, not wanting to risk contact with strangers, no matter how dire the strangers' needs. To venture out at night is suicidal: Horrific forces swirl about, ravaging living forms. Lethal black clouds, tentacled water creatures and assorted monsters are comfortable in the daylight hours as well. The knight and a third fellow journeyer, a priest, have difficulty believing Delphine's visions are real, but with oblivion lurking in every shadow, they don't have any choice but to trust her. The question becomes, can she trust herself? Buehlman, who drew upon his love of Fitzgerald and Hemingway in his acclaimed Southern horror novel, Those Across the River (2011), slips effortlessly into a different kind of literary sensibility, one that doesn't scrimp on earthy humor and lyrical writing in the face of unspeakable horrors. The power of suggestion is the author's strong suit, along with first-rate storytelling talent.
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.Pub Date: Oct. 2, 2012
ISBN: 978-1-937007-86-7
Page Count: 432
Publisher: Ace/Berkley
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
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