An amiable but mostly toothless first story collection—ten magazine contributions from the past three years plus one original—from the whimsical, rather mushy and juvenile author of A Planet Called Treason and Songmaster. Best of the bunch: the gleeful and pointed "I Put My Blue Genes On" (colonists returning to Earth find a world devastated by an 800-year-long biological war, but devolved jingoists still keep the banners waving); "Ender's Game" (a well-reasoned yarn about child soldiers training in war games); and "The Porcelain Salamander"—a controlled and comely fable about the lifting of a misapplied curse. Other, less original tales strain for effect: the title story—about a genius who creates haunting music despite heavily contrived ostracism and mutilation—slips into mawkishness; "Kingsmeat" (people-eating bug-eyed monsters) and "Closing the Time-lid" (death as the ultimate orgasm) disgust rather than horrify. And, weakest of all, there are some awfully preachy items involving repentance and lessons from alien races. Again, as in the novels, the impression is one of promising ideas and good intentions undermined by lack of discipline and puerile tendencies—but sf readers inclined toward the cheerfully un-rigorous will find this a reasonably diverting grabbag.
Pub Date: Feb. 1, 1980
ISBN: 1561465496
Page Count: 44
Publisher: Dial Books
Review Posted Online: March 23, 2012
Kirkus Reviews Issue: Feb. 1, 1980
A rich, deeply felt novel about family ties, immigration, sexual longing, faith, and desire. Simultaneously raw and luminous.
In U.S.–based Colombian author Delgado Lopera's coming-of-age novel, a 15-year-old Colombian girl struggles with her identity and her burgeoning sexuality.
Dragged unwillingly from Bogotá to Miami, crammed with her mother and sister into her grandmother's apartment at the Heather Glen Apartment Complex, Francisca misses her friends and her former life. But she can't go home, because "this wasn't a Choose Your Own Migration multiple-choice adventure." In a scene early in the book, her mother insists on baptizing a child she miscarried 17 years before, using a plastic doll from a discount store as a stand-in baby. Manic one moment and sad the next, Mami has joined the Iglesia Cristiana Jesucristo Redentor, an evangelical Colombian church in "a stinky room in the Hyatt Hotel nobody cared to vacuum." In the car on their way there, the doll stares at Francisca with a fixed, plastic smile. "Are you happy now, asshole, I wanted to say....You're still dead, pendejo." With a whip-smart, unapologetic voice peppered with Colombian slang, Francisca pulls us into her new life in "Yanquilandia." Trouble arises when she meets Carmen the pastor's daughter, who wants her to accept Jesus into her heart. Francisca imagines God in "a dentist's waiting room checking in with the receptionist every so often, Did Francisca receive my son in her heart yet? (said no God ever)." Instead, she finds herself falling in love with Carmen, threatening her family's tenuous place in the immigrant community. Though the plot revolves around a coming-out story, the great strength of Delgado Lopera's writing lies in its layered portrayals of these characters and their world. "Women in my family possessed a sixth sense...from the close policing of our sadness: Your tristeza wasn't yours, it was part of the larger collective female sadness jar to which we all contributed."
A rich, deeply felt novel about family ties, immigration, sexual longing, faith, and desire. Simultaneously raw and luminous.Pub Date: March 4, 2020
ISBN: 978-1-936932-75-7
Page Count: 240
Publisher: Feminist Press
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
PERSPECTIVES
PERSPECTIVES
Irish novelist Williams (Four Letters of Love, 1999, etc.) takes spiritual issues seriously—and continues to write...
John the Apostle, now a revered Master in exile with a small band of Christian brothers on the island of Patmos, confronts heresy, schism and doubt.
Infirm of body but strong of spirit, John lives in harsh conditions with a fragile company of believers. Together they await the return of Christ, but impatience and uncertainty create fissures that are beginning to split the group apart. The leading dissenter is Matthias, a cunning cynic who doubts the divinity of Christ and proclaims himself a “divine” being. His scheme involves orchestrating a performance in which he “miraculously” brings back to life a supposedly dead follower of the Master. Matthias begins to eerily echo the words of Christ: “I come to speak the truth. For it has been given to me. I am come a light into the world that whosoever believeth in me should not abide in darkness.” At this point the group splinters into the believers in Matthias and those who remain loyal to John. Meanwhile, an announcement reaches Patmos that the Emperor is dead, though shortly before his death he had issued a decree that the persecution of Christians should cease. Elated, John and his small circle of believers travel to Ephesus, where they discover that Christianity has become a fragile sect in danger of dying away. Those who seek favors from John want something tangible rather than the insubstantiality of a “mere” blessing. The true believers have their faith tested by being spurned and spat upon. As John’s hold on life keeps getting more tenuous, Matthias (whom John labels the “anti-Christ”) reappears to wreak yet more theological havoc. Ultimately, John, “in perfect clarity,” is graced with a vision of the end of time and dictates the divinely inspired words to an amanuensis.
Irish novelist Williams (Four Letters of Love, 1999, etc.) takes spiritual issues seriously—and continues to write compellingly about them.Pub Date: Feb. 1, 2008
ISBN: 978-1-59691-467-4
Page Count: 288
Publisher: Bloomsbury
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2007
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