The love story is a delight, the social commentary sharp, the writing funny and fun—and yet the sorrow, even bitterness, at...
A lonely housewife gets a new lease on life in the strong, green arms of a sea monster.
Thanks to the support of writers like Daniel Handler and Rivka Galchen, who introduces this novella, the marvelous Ingalls (Three Masquerades, 2017, etc.) has been rescued from obscurity with reissues of her books. Mrs. Caliban was originally published in 1982 to raves that compared it to works by Edgar Allan Poe, David Lynch, Richard Yates, and Angela Carter, not to mention E.T., King Kong, and “Beauty and the Beast”—which only shows how sui generis it really is. We meet the very dear character Dorothy Caliban at home, sending her husband, Fred, off to work. He will be late, he says, not even troubling to come up with an excuse for why. After the death of their young son, followed by a miscarriage, her despair, his affair, and, finally, the running-over of their Jack Russell terrier, this marriage is more of a house-sharing arrangement than any comfort to anyone. Dorothy has one great friend, Estelle, who draws out “other people’s subversive instincts,” offering sherry and laughter to break up the long afternoons, but it’s not enough. Then, the very evening after she hears a radio report of a monster who has killed two people and escaped from the facility where he was being held, her screen door opens and a 6-foot-7-inch creature, with the bulging forehead and flat nose of a frog and the body of an attractively hunky man, shoulders his way in and stares straight into her face. “Help me,” he says. “They will kill me. I have suffered so much already.” His name is Larry, he loves avocados, he is a tireless and attentive lover—and Fred is home so little, he doesn’t even notice that Dorothy's amphibian boyfriend is living in their guest room. The plot unfolds brilliantly and heartbreakingly from there.
The love story is a delight, the social commentary sharp, the writing funny and fun—and yet the sorrow, even bitterness, at the core of this book about our perfidious species is inescapable and profound. Where is the movie?Pub Date: Nov. 28, 2017
ISBN: 978-0-8112-2669-1
Page Count: 128
Publisher: New Directions
Review Posted Online: Sept. 2, 2017
Kirkus Reviews Issue: Sept. 15, 2017
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
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.
Cormac McCarthy's The Road meets Chaucer's Canterbury Tales in this frightful medieval epic about an orphan girl with visionary powers in plague-devastated France.
The year is 1348. The conflict between France and England is nothing compared to the all-out war building between good angels and fallen ones for control of heaven (though a scene in which soldiers are massacred by a rainbow of arrows is pretty horrific). Among mortals, only the girl, Delphine, knows of the cataclysm to come. Angels speak to her, issuing warnings—and a command to run. A pack of thieves is about to carry her off and rape her when she is saved by a disgraced knight, Thomas, with whom she teams on a march across the parched landscape. Survivors desperate for food have made donkey a delicacy and don't mind eating human flesh. The few healthy people left lock themselves in, not wanting to risk contact with strangers, no matter how dire the strangers' needs. To venture out at night is suicidal: Horrific forces swirl about, ravaging living forms. Lethal black clouds, tentacled water creatures and assorted monsters are comfortable in the daylight hours as well. The knight and a third fellow journeyer, a priest, have difficulty believing Delphine's visions are real, but with oblivion lurking in every shadow, they don't have any choice but to trust her. The question becomes, can she trust herself? Buehlman, who drew upon his love of Fitzgerald and Hemingway in his acclaimed Southern horror novel, Those Across the River (2011), slips effortlessly into a different kind of literary sensibility, one that doesn't scrimp on earthy humor and lyrical writing in the face of unspeakable horrors. The power of suggestion is the author's strong suit, along with first-rate storytelling talent.
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.Pub Date: Oct. 2, 2012
ISBN: 978-1-937007-86-7
Page Count: 432
Publisher: Ace/Berkley
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
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