A sleek, absorbing tale of motherhood, feminism, and the potential dangers of technology.
A woman in near-future America slowly realizes that her life may be under someone else’s control in this SF novel.
Vera Elpis lives what many would describe as a typical life. She has a steady job digitizing medical files at a document processing center and seems to prefer quiet solitude. Yet something is missing; she longs to be a mother, but regular fertility treatments have all failed. In the meantime, she revels in being an “Auntie” to her cousin Jennifer’s son and her friend Sarah Bennington’s three kids. Jennifer is the only family Vera knows; in fact, she can’t recall much before a car accident that resulted in an apparent brain injury. She’d certainly like to know more about who she had been. How, for instance, does she know the name of every plant in a garden? She’s a highly intelligent woman, so why does she have an “impulse to hide” among others who barely acknowledge her existence? One day, Vera’s hunt for answers as to why she’s unable to get pregnant finally turns up something—and it’s a shocker. Vera’s life may not truly be hers, as people have intentionally kept her in the dark concerning her foggy past. This big reveal has a tie to the tech company Perilaus Bionics, where Jennifer works and Sarah did, too, before she became a stay-at-home mom. As Vera continues to dig, she unearths ugly truths but also finds a way, however grim it may be, to regain the personal control that some have stripped away.
Woodsey delivers a hard–SF tale heavily steeped in metaphor. For starters, there are copious signs of realistic tech. Bots pop up almost everywhere, delivering food or cleaning windows, and Perilaus pioneered the use of microfilaments in prosthetics. As the title suggests, who or what has control is constantly in question, whether it’s advanced technology or simply a person. Vera has a manageable life; she excels at work and has no financial woes thanks to an inheritance. But she faces countless daily hurdles, especially as a woman. A male co-worker mocks her for being an exceptional employee, and she gets so much unwanted attention from male colleagues that she tries drowning it out with music in her headphones. Woodsey stylizes this narrative as Vera’s journal, which she begins at a doctor’s behest and maintains for personal reflections. As such, readers will sympathize with her, a woman who craves love while struggling to comprehend the affection Sarah has for her insolent husband. Vera’s intimate perspective likewise makes her perpetually simmering anger understandable as she fights to control it. Her fury stems from both global troubles (for example, massive cyberattacks) as well as things that are seemingly innocuous. As the story progresses, intrigue and a discernible SF element amp up. A highlight is Vera and Sarah’s conversations inside the latter’s makeshift Faraday cage—a basement tent of “metal mesh” and plenty of tinfoil blocking nosy transmissions. It perfectly suits the novel’s growing conspiracy, which leads to a gleefully dizzying final act that, while providing closure, is open to interpretation.
A sleek, absorbing tale of motherhood, feminism, and the potential dangers of technology.Pub Date: Dec. 20, 2022
ISBN: 978-0997333978
Page Count: 414
Publisher: Self
Review Posted Online: Jan. 3, 2023
Review Program: Kirkus Indie
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
A philosophically charged tour de force by one of the best living novelists in English.
A gravely post-apocalyptic tale that blends mystery with the academic novel.
McEwan’s first narrator, Thomas Metcalfe, is one of a vanishing breed, a humanities professor, who on a spring day in 2119, takes a ferry to a mountain hold, the Bodleian Snowdonia Library. The world has been remade by climate change, the subject of a course he teaches, “The Politics and Literature of the Inundation.” Nuclear war has irradiated the planet, while “markets and communities became cellular and self-reliant, as in early medieval times.” Nonetheless, the archipelago that is now Britain has managed to scrape up a little funding for the professor, who is on the trail of a poem, “A Corona for Vivien,” by the eminent poet Francis Blundy. Thanks to the resurrected internet, courtesy of Nigerian scientists, the professor has access to every bit of recorded human knowledge; already overwhelmed by data, scholars “have robbed the past of its privacy.” But McEwan’s great theme is revealed in his book’s title: How do we know what we think we know? Well, says the professor of his quarry, “I know all that they knew—and more, for I know some of their secrets and their futures, and the dates of their deaths.” And yet, and yet: “Corona” has been missing ever since it was read aloud at a small party in 2014, and for reasons that the professor can only guess at, for, as he counsels, “if you want your secrets kept, whisper them into the ear of your dearest, most trusted friend.” And so it is that in Part 2, where Vivien takes over the story as it unfolds a century earlier, a great and utterly unexpected secret is revealed about how the poem came to be and to disappear, lost to history and memory and the coppers.
A philosophically charged tour de force by one of the best living novelists in English.Pub Date: Sept. 23, 2025
ISBN: 9780593804728
Page Count: 320
Publisher: Knopf
Review Posted Online: May 24, 2025
Kirkus Reviews Issue: July 1, 2025
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