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SOPHISTICATION

An ambitious and mostly successful sci-fi tale with a bit of social critique.

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A thriller tells the story of an America rattled by a mysterious, technologically advanced group threatening to take over the country.

In the not-so-distant future—the Donald Trump administration is over and the video game “Half-Life 4” is about to be released—a cloaked figure appears on the floor of the Senate to offer a cryptic warning: “In one month, your ineffective order ends. In one month, we take over.…Everything.” He then disappears in a ball of blue light, causing a media frenzy of speculation the likes of which has never been seen. As the lone member of the government’s Unexplained Occurrences Division—whose duties until now have mostly entailed cataloging internet rumors and watching pornography—widower and drug addict Carl Brannigan is placed on the task force assembled to find out just what that cloaked man was talking about. Meanwhile, an enigmatic figure enters the hospital room of a quadriplegic boy named Kevin Splinter and, with a mere touch, cures him of his condition. In San Francisco, 23-year-old freelance video game journalist Miyuki Mitsuraga spends most of her time fielding misogynistic hate mail from male gamers, but she’s just gotten a message from “the ones in the news” asking her for a meeting. After the arrival of cloaked figures at a stadium in San Francisco, where they reveal damaging tapes of the city’s mayor, the strange organization offers Miyuki an interview because her “heart is pure.” The Cloaks, as she names them, claim to be a good government group out to expose corruption and injustice. But it turns out to be a little more complicated than that. With alternate realities, alien civilizations, and city-destroying technology in the mix, this disparate band of outsiders—and a few powerful insiders—must race to figure out what’s coming before it gets here. Casamassina’s (Dead Weight, 2016) prose is voice-driven and inflected with numerous details of his cyberpunk-meets–Comic-Con vision of the future. His attempts at snark often come across more misanthropic than perhaps he means them to—a viral video is described as spreading across the internet “like runaway Gonorrhea at a cheap motel”—but he occasionally reaches moments of lyricism. At one point, Miyuki’s entrance into a club is depicted thusly: “She’s in harmony with these people, all of them dressed like the mutant teenage grandchildren of the industrial and anime gods. Here, she can disappear. The black lights cast them all in periwinkle, their teeth luminescent, their skin paints and contact lenses aglow, until they look alien.” The plot is well-paced and quite riveting, and once the storylines of the various characters begin to intersect and the scope of the conflict reveals itself, readers should become thoroughly invested. The author manages to capture the worldviews, interests, and personalities of gamers in ways both good and bad, but the story has enough broad sci-fi appeal to hook readers who aren’t concerned with that subculture. While the narrative is bloody, profane, jocular, and angst-ridden, an unexpected warmth pervades the work that will likely keep readers with it until the end.

An ambitious and mostly successful sci-fi tale with a bit of social critique.

Pub Date: Dec. 17, 2018

ISBN: 978-1-79187-080-5

Page Count: 520

Publisher: Time Tunnel Media

Review Posted Online: Jan. 3, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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