A subtly woven meditation about the fragility of time raises the bar in this smart, fun, and affectionate story.

HERE AND NOW AND THEN

A time-traveling father must save his teenage daughter from secret agents who want to eliminate her to protect the historical timeline in this debut novel.

It's 1996 in suburban San Francisco. Kin Stewart, an agent for the Temporal Corruption Bureau, is on a mission to stop a time-traveling merc who's been hired to disrupt important legislation. There's a problem: Kin's been shot, and the implanted beacon that's supposed to help him return to 2142 has been damaged. Stranded in the past, Kin gradually forgets his previous life. He gets married, and he and his wife, Heather, have a daughter, Miranda. When Kin’s spent 18 years in the past, Heather accidentally triggers the indestructible "metal thingy" he’s kept hidden in their garage, inadvertently summoning Markus, a fellow TCB agent and the brother of Penny, Kin's fiancee in 2142. Markus gives Kin 24 hours to "close out" his life in the 20th century. When Kin realizes the TCB intends to eliminate 14-year-old Miranda as a timeline error, he's forced to risk everything to try to save her life. Plot holes are neatly sidestepped as Kin explains who can time travel, when and how often, what the grandfather paradox is, and why he can't bring his daughter with him to 2142. Naturally, it takes time to set out the rules, and the explanations don't all make sense, but Kin's story isn't primarily about time machines or the Museum of the Modern Era that serves fast food as a curiosity in 2142. It's about a father who learns the value of being honest and authentic with the daughter he loves because in the end, there is never enough time.

A subtly woven meditation about the fragility of time raises the bar in this smart, fun, and affectionate story.

Pub Date: Jan. 29, 2019

ISBN: 978-0-7783-6904-2

Page Count: 336

Publisher: Harlequin MIRA

Review Posted Online: Oct. 2, 2018

Kirkus Reviews Issue: Oct. 15, 2018

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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DEVOLUTION

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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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