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HARMONY

A well-conceived parable of aging and love.

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A woman attempts to find meaning in post-divorce life in this satirical, speculative novel.

At age 50, Harmony is feeling self-conscious about being too old, especially after her husband, Garth, leaves her for a younger woman. Though indistinguishable from a human, Harmony is actually a RealGirlz: a synthetic woman who was originally created “with an approximate physical age of sixteen” by a 3-D printer in order to serve as an unpaid sex worker for the Regal Corporation. She was released from that life by court order at age 20, but Garth still throws her sex-worker past at Harmony when he leaves. To add insult to injury, the same day Harmony receives her divorce papers, she also gets a notice about Compassionate Release, the program by which single women over 50 are encouraged to take advantage of an assisted suicide service. After Harmony makes a desperate, flailing pass at Lydia, her trans best friend who was also abandoned by her partner, the two women try to figure out how to proceed in life as middle-aged singles. It’s a world of devious men and frightening statistics. But is happiness really possible for a woman in Harmony’s situation, or should she just accept the sweet embrace of death? Mann’s prose is crisp and clever as she paints a portrait of a future just slightly (and yet believably) advanced from the audience’s present. The premise is rife with humor. When Harmony attends the RealGirlz 50th Birthday Bash, one of her synthetic sisters observes: “We may be 50 biologically, but we’re just 34 chronologically. Have you thought about that?” While the book takes a while to find its voice—the first few chapters are oddly serious for what turns out to be mostly a comedic work—the author has plenty to say about how much society defines women primarily by their relationships with men. (Though there’s always alternate fulfillment: “Living for the children, I suppose,” Harmony’s Compassionate Release rep defines it. “If you have them.”) Even with the speculative elements, Mann hews closely to her characters’ interior lives, giving the story some emotional heft—and readers a lot to think about.

A well-conceived parable of aging and love.

Pub Date: March 18, 2020

ISBN: N/A

Page Count: 210

Publisher: Self

Review Posted Online: May 1, 2020

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  • New York Times Bestseller

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DEVOLUTION

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

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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

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THE TESTAMENTS

Suspenseful, full of incident, and not obviously necessary.

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Atwood goes back to Gilead.

The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.

Suspenseful, full of incident, and not obviously necessary.

Pub Date: Sept. 10, 2019

ISBN: 978-0-385-54378-1

Page Count: 432

Publisher: Nan A. Talese

Review Posted Online: Sept. 3, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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