Pulls no punches.
The follow-up to The Book of the Unnamed Midwife (2014), set in a broken U.S. decades after a pandemic has killed most of the population.
In the town of Nowhere, women essentially have two life paths: They can try to bear a child (an enterprise which frequently kills both mother and baby) or train as Midwives and help other women. But Etta has rejected both possibilities: Instead, she is a raider, traveling outside the town to battle slavers and rescue girls and young women from their clutches. But what no one in Nowhere knows is that Etta does more than simply dress as a man when she leaves town: She actually takes on a male persona, calling himself Eddy. Unable to face the restrictions of being Etta, desperate to realize himself more fully as Eddy and find someone who will love his true self, Eddy makes various journeys away from home on his self-imposed rescue missions, interacting with several societies that each has a different way of dealing with the realities that biological men significantly outnumber biological women and children are a rarity. Eventually, although he tries desperately to avoid it, Eddy will be forced to revisit the one place he really doesn’t want to go: Estiel (the former St. Louis), the city controlled by the vicious warlord known as the Lion and the place of a devastating past trauma. Eddy is a fascinatingly complex character, shifting back and forth between female and male identities. His personal journey toward self-realization is made more difficult by the rigidity of his viewpoints about gender, love, and what values cannot be compromised, even for survival in a fairly brutal landscape. That inflexibility, plus his rape as a teenager and his strong preference for biological women, makes it impossible for him to accept the love of Flora, a transwoman and former sex slave, even though she accepts and understands him more than anyone else. Sadly, that rejection helps to hasten the plot’s devastating climax and is a realistic portrayal of how one’s own struggles don’t necessarily instill an immediate empathy for others’ situations.
Pulls no punches.Pub Date: Feb. 21, 2017
ISBN: 978-1-5039-4182-3
Page Count: 314
Publisher: 47North
Review Posted Online: April 16, 2019
A huge, churning, relentlessly entertaining melodrama buoyed by confidence that human values will prevail.
A rare, rattling space opera—first of a trilogy, or series, from Corey (aka Daniel Abraham and Ty Franck).
Humanity colonized the solar system out as far as Neptune but then exploration stagnated. Straight-arrow Jim Holden is XO of an ice-hauler swinging between the rings of Saturn and the mining stations of the Belt, the scattered ring of asteroids between Mars and Jupiter. His ship's captain, responding to a distress beacon, orders Holden and a shuttle crew to investigate what proves to be a derelict. Holden realizes it's some sort of trap, but an immensely powerful, stealthed warship destroys the ice-hauler, leaving Holden and the shuttle crew the sole survivors. This unthinkable act swiftly brings Earth, with its huge swarms of ships, Mars with its less numerous but modern and powerful navy, and the essentially defenseless Belt to the brink of war. Meanwhile, on the asteroid Ceres, cynical, hard-drinking detective Miller—we don't find out he has other names until the last few pages—receives orders to track down and "rescue"—i.e. kidnap—a girl, Julie Mao, who rebelled against her rich Earth family and built an independent life for herself in the Belt. Julie is nowhere to be found but, as the fighting escalates, Miller discovers that Julie's father knew beforehand that hostilities would occur. Now obsessed, Miller continues to investigate even when he loses his job—and the trail leads towards Holden, the derelict, and what might prove to be a horrifying biological experiment. No great depth of character here, but the adherence to known physical laws—no spaceships zooming around like airplanes—makes the action all the more visceral. And where Corey really excels is in conveying the horror and stupidity of interplanetary war, the sheer vast emptiness of space and the amorality of huge corporations.
A huge, churning, relentlessly entertaining melodrama buoyed by confidence that human values will prevail.Pub Date: June 15, 2011
ISBN: 978-0-316-12908-4
Page Count: 512
Publisher: Orbit/Little, Brown
Review Posted Online: March 2, 2011
Kirkus Reviews Issue: March 1, 2011
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 2026 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.
