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BABYLON TWINS

A gleefully apocalyptic page-turner that unfortunately wears out the charm of its manic violence and clever banter.

Gibson adds humor to the usually bleak landscape of post-apocalyptic fiction in this debut YA adventure novel.

Twins Clo and El Yetti are living in the Northern California wilderness, but they’re making the best of it. After all, it’s better than being stuck in the cities, run by machines who’ve largely succeeded in bringing humanity under their drug-enforced sway. Clo and El are inseparable, hunting, talking, and fighting like a single organism, which lends a unique quality to the prose and point of view, mixing traditional third-person narration with the first-person plural “we.” In this way, the reader gets a powerful sense of how the twins are linked together—in sync and using their own sort of language, or “cryptophasia.” The twins’ codependency and tendency toward violence has improved the odds of survival for themselves and their mother, Lauren, and little brother, Dyre. But after 10 years in the wilderness, a nefarious robot dressed as Santa Claus walks into their camp and begins changing everything. Soon after, Lauren disappears while investigating the outside world, and Dyre falls ill after another automaton attack. The twins have no choice but to go out in search of their mother, though what they find will upend their small world. Gibson’s writing, brisk and solid, emphasizes action and snappy dialogue over description. At first, this style enhances the storytelling, but at later points, it becomes confusing, especially when the twins bestow nicknames on everything from favorite weapons “Toothy” and “Daisy Duke” to the robotic enemy “Tik-Toks” and even their childhood car “Bouncy McBounceface.” This style also hampers characterization, as the witty repartee leaves little space to define the twins’ personalities or desires beyond survival. Finally, while the violence here is darkly comedic, it sometimes seems to be provocative for its own sake: “His body was sprawled awkwardly, like a bloated crimson swastika in the dirt.” Still, the novel is fun and entertainingly skewers Silicon Valley and the tech industry.

A gleefully apocalyptic page-turner that unfortunately wears out the charm of its manic violence and clever banter.

Pub Date: March 12, 2019

ISBN: 978-1-73262-852-6

Page Count: 371

Publisher: Thinking Toy Press

Review Posted Online: May 8, 2019

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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