Ne plus ultra bizarre, man! With cartilaginous prose, soft as fishbone, sense-bending and scattershot as a Robin Williams shtick where lost meanings blast by, Dakron's third follows the comet trails of Infra and Newt (neither reviewed) with a morphological plot out of Ovid by way of Kafka—but doesn't quite win the blue ribbon. Nico, a 33-year-old geneticist for Zylogen, a med tech firm, is extracting material from hammerhead shark fetuses in order to create a serum against shock in humans: Sharks are shockproof and, if disemboweled, will eat their own guts. The serum seems to work on mice, and, rather than wait for FDA approval for tests on humans, Nobel-hungry Nico administers Serum H to herself. Alas, poor Nico! There's too much shark DNA grafted onto the virus she's popping, and Nico herself morphs into a hammerhead shark. To grasp even this much story, however, one must extract plot serum from the self-reflexive and cursive swish of Dakron's eye-bobbling wordflow (``Move your fin to the left, my leetle cabbage, yes? Mmmm, ce qua belle-pardon? . . . Ha ha, you never tire . . . hush. Let me whisper it then, shhh, let me whisper about the squid in drag. . . ``). When Nico visits her brother Zave (Xavier), who sells fish in Seattle's Pike Place Market, Zave notices that she has nictitating membranes protecting her eyes. Then shark teeth push out Nico's choppers. Her senses mutate into shark senses—she gains an nth sense or radar that's a blend of seeing and hearing and touching, she hears with her whole skin, sees wisps of voltage everywhere. Then Zave, his ex-girlfriend Tina, and two junkies also take Serum H and turn hammerhead. As the women swim off, later to be attacked by the junkies, Zave lies slowly growing gills and scales in his bathtub, avoiding SWAT teams while he writes this account on his laptop and waits to swim after the girls. As storytelling, Steve Alten's thriller Meg (p. 568), about a 60-foot Jurassic shark, leaves Hammers too literary by half and gasping on the shore.
Pub Date: Oct. 15, 1997
ISBN: 0-930773-48-9
Page Count: 251
Publisher: Black Heron
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1997
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
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the...
Brown presents the second installment of his epic science-fiction trilogy, and like the first (Red Rising, 2014), it’s chock-full of interpersonal tension, class conflict and violence.
The opening reintroduces us to Darrow au Andromedus, whose wife, Eo, was killed in the first volume. Also known as the Reaper, Darrow is a lancer in the House of Augustus and is still looking for revenge on the Golds, who are both in control and in the ascendant. The novel opens with a galactic war game, seemingly a simulation, but Darrow’s opponent, Karnus au Bellona, makes it very real when he rams Darrow’s ship and causes a large number of fatalities. In the main narrative thread, Darrow has infiltrated the Golds and continues to seek ways to subvert their oppressive and dominant culture. The world Brown creates here is both dense and densely populated, with a curious amalgam of the classical, the medieval and the futuristic. Characters with names like Cassius, Pliny, Theodora and Nero coexist—sometimes uneasily—with Daxo, Kavax and Sevro. And the characters inhabit a world with a vaguely medieval social hierarchy yet containing futuristic technology such as gravBoots. Amid the chronological murkiness, one thing is clear—Darrow is an assertive hero claiming as a birthright his obligation to fight against oppression: "For seven hundred years we have been enslaved….We have been kept in darkness. But there will come a day when we walk in the light." Stirring—and archetypal—stuff.
Comparisons to The Hunger Games and Game of Thrones series are inevitable, for this tale has elements of both—fantasy, the future and quasi-historicism.Pub Date: Jan. 6, 2015
ISBN: 978-0-345-53981-6
Page Count: 448
Publisher: Del Rey/Ballantine
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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