Although Kaufmann writes well, unlike the innovative works of masters of the genre like Mike Carey and Neil Gaiman, his work...

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DYING IS MY BUSINESS

An amnesiac discovers he can’t stay dead in Kaufmann’s entry into the urban-fantasy realm.

Trent, a man who has no last name and no past that he can remember, dies often but fails to remain dead. Every time someone murders Trent, he pops back to life. Most would think that’s a pretty decent deal, but Trent is filled with remorse because his rebirth is contingent on someone else dying: usually, the person who is closest to him at the time. That’s bad enough when it’s the one who kills him, but sometimes an innocent gets the short end of the stick, and, no matter what Trent is, he does have a conscious. He also has a short memory that goes back no more than a year in the past; that’s when Underwood, the shadowy individual who has made him part of his team, found him and gave him a home in a dirty room with a single bed. Underwood promises to find out who Trent really is and why he can’t die but keeps putting it off. While Trent is on a mission to retrieve a box that Underwood wants, he blunders into a battle between a pair of odd individuals and a flock of murderous gargoyles. That’s where Trent meets Thornton, the undead werewolf, and Bethany Savory (yes, that’s her name), a tiny woman with pointy ears. They lead Trent to others who are on the same quest, including magicians, vampires and various magical creatures. Together they all face a terrible power backed by a growing army of the dead in a battle to save New York, thus setting up a future confrontation in a story yet to come.

Although Kaufmann writes well, unlike the innovative works of masters of the genre like Mike Carey and Neil Gaiman, his work tends to rely heavily on clichéd, by-the-numbers plotting.

Pub Date: Oct. 15, 2013

ISBN: 978-1-250-03610-0

Page Count: 384

Publisher: St. Martin's Griffin

Review Posted Online: Aug. 18, 2013

Kirkus Reviews Issue: Sept. 1, 2013

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

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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An almost-but-not-quite-great slavery novel.

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THE WATER DANCER

The celebrated author of Between the World and Me (2015) and We Were Eight Years in Power (2017) merges magic, adventure, and antebellum intrigue in his first novel.

In pre–Civil War Virginia, people who are white, whatever their degree of refinement, are considered “the Quality” while those who are black, whatever their degree of dignity, are regarded as “the Tasked.” Whether such euphemisms for slavery actually existed in the 19th century, they are evocatively deployed in this account of the Underground Railroad and one of its conductors: Hiram Walker, one of the Tasked who’s barely out of his teens when he’s recruited to help guide escapees from bondage in the South to freedom in the North. “Conduction” has more than one meaning for Hiram. It's also the name for a mysterious force that transports certain gifted individuals from one place to another by way of a blue light that lifts and carries them along or across bodies of water. Hiram knows he has this gift after it saves him from drowning in a carriage mishap that kills his master’s oafish son (who’s Hiram’s biological brother). Whatever the source of this power, it galvanizes Hiram to leave behind not only his chains, but also the two Tasked people he loves most: Thena, a truculent older woman who practically raised him as a surrogate mother, and Sophia, a vivacious young friend from childhood whose attempt to accompany Hiram on his escape is thwarted practically at the start when they’re caught and jailed by slave catchers. Hiram directly confronts the most pernicious abuses of slavery before he is once again conducted away from danger and into sanctuary with the Underground, whose members convey him to the freer, if funkier environs of Philadelphia, where he continues to test his power and prepare to return to Virginia to emancipate the women he left behind—and to confront the mysteries of his past. Coates’ imaginative spin on the Underground Railroad’s history is as audacious as Colson Whitehead’s, if less intensely realized. Coates’ narrative flourishes and magic-powered protagonist are reminiscent of his work on Marvel’s Black Panther superhero comic book, but even his most melodramatic effects are deepened by historical facts and contemporary urgency.

An almost-but-not-quite-great slavery novel.

Pub Date: Sept. 24, 2019

ISBN: 978-0-399-59059-7

Page Count: 432

Publisher: One World/Random House

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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