A dire warning, sick joke, and perceptive critique of a species of very questionable intelligence: humanity.
Won’t you please open your heart and save the venomous lumpsucker?
Beauman’s quirky techno-thriller unfolds in a bleakly believable near future ravaged by climate change and dominated by an unholy alliance between corporate capitalism and ecological protocols. Our protagonists—Mark Halyard, a morally slippery mining company functionary, and Karin Resaint, a zealous evaluator of animal intelligence—join forces to protect the last vestiges of a parasitic fish species (the titular venomous lumpsucker) for diametrically opposed reasons as they navigate various nature preserves and hermetic think tanks powered by miraculous technologies run amok. Beauman is a deft plotter, and his characters are well drawn, with Halyard’s panicked self-interest and Resaint’s icy resolve striking comedic sparks as the pair desperately endeavor to preserve an unlovable marine species that, by most metrics, would not be missed if lost to extinction. The book’s real strength is its ability to evocatively raise profound questions about humanity’s relationship with and responsibility to animals and the larger environment in the course of its often (darkly) comic action. The worldbuilding is dazzling: Abandoned machine marvels called spindrifters randomly roam the ocean, causing freak storms; a research facility prized for its freedom from sovereign restraints becomes horrifically infested with insects; an oasislike reserve reveals itself to be overrun with toxic waste; and a government minister becomes a Bond-like fugitive assassin with the aid of a superpowered scuba suit, all under the watchful eye of a monstrous international environmental regulatory body that grants cooperative corporations “extinction credits” like popes of old dispensing Indulgences. It’s funny—and chilling and terribly sad—because it’s true.
A dire warning, sick joke, and perceptive critique of a species of very questionable intelligence: humanity.Pub Date: July 5, 2022
ISBN: 978-1-64129-412-6
Page Count: 336
Publisher: Soho
Review Posted Online: April 26, 2022
Kirkus Reviews Issue: May 15, 2022
Hilarious, grotesque, and standing slightly in the shadow of its sibling.
Awad returns to the world of Bunny (2019), armed with her signature satirical and surrealist flair.
Samantha Heather Mackey has written a novel, and when she arrives on the dreamy and violent campus of Warren University, where she got her MFA, for her book tour, her fellow former students known as the Bunnies kidnap her and confront her about her thinly veiled autobiographical debut. Now the Bunnies are finally getting their say—and, boy, are they talkative. Offering a kaleidoscopic view of what went down before, during, and after the events chronicled in Bunny, the girls can’t contain their rage, disgust, jealousy, boredom, and hurt over Samantha and her novel. Eventually, Aerius, the Bunnies’ “First Boy. First Draft. First Darling.…First humiliation,” cuts in to offer his side of the story: How he came to be; his understanding (and misunderstanding) of the world; and how he causes, circumvents, and fits into the events of and beyond the first novel. Though he avoids the Bunnies (his “Keepers”) at all costs, they yearn and search for him, their finest work—even if you account for his bloody, violent streak. Considering whether Aerius was the town’s deranged murderer, they slyly say, “But ultimately, we simply did not think so, no. Because he’d come from us and we were lovely. As has already been stated.” This novel is at its best when musing about creativity, writing, and “the work”; skewering academia and elitism; and straddling the slippery border between reality and fantasy. Billed as a standalone, it is most successful as a companion to its predecessor, though at times it reveals too much about the mysterious lore and elusive dynamics of the first novel. Awad’s pacing is uneven, but she sticks the landing with a delightfully unexpected and unhinged ending. Her wit, humor, and metafictional prowess are on full display in this prequel, sequel, expanded upside-down revision, or whatever you want to call it.
Hilarious, grotesque, and standing slightly in the shadow of its sibling.Pub Date: Sept. 23, 2025
ISBN: 9781668059869
Page Count: 496
Publisher: Marysue Rucci Books
Review Posted Online: Aug. 16, 2025
Kirkus Reviews Issue: Sept. 15, 2025
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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