Occasionally brilliant but ultimately unsatisfying.
The author of The Heavens (2019) imagines a world inhabited solely by women.
At 7:14 p.m. Pacific time on Aug. 26, every human being with a Y chromosome disappeared. Jane Pearson wakes the next morning to discover that her husband and young son are gone. Later, she will learn that all the men, all the boys, all the transgender women…they’re all gone. This is not a new concept. Philip Wylie’s The Disappearance (1951) opens with these lines: “The female of the species vanished on the afternoon of the second Tuesday of February at four minutes and fifty-two seconds past four o’clock, Eastern Standard Time.” In Brian K. Vaughan’s Y: The Last Man series of graphic novels—the first installment published in 2002—a virus kills every man on Earth except for one. A deadly illness that strikes only men also plays a role in Christina Sweeney-Baird’s debut novel, The End of Men, published just last year. What makes Newman’s take on this SF trope different is that this novel doesn’t seem to want to be science fiction. After setting the dystopian narrative in motion, the author pulls back to offer a detailed account of Jane’s life up to this point. After joining a dance troupe as a teen, she falls under the control of a man who abuses her by compelling her to abuse other, younger kids. She escapes jail by testifying against her abuser. This is a horrifying story compellingly told, but it feels like it belongs in a different book. We also get the full history of Evangelyne Moreau, Jane’s one-time friend. A philosopher-turned-politician, an ex-convict, and a former cult member, Evangelyne is a fascinating character, but Newman spends more time sharing Evangelyne’s history than exploring the strange universe she has created. By the last page, the connection between the realistic and speculative parts of the novel is clear, but the speculative elements feel woefully underdeveloped—which is too bad, because they’re inventive and chilling. Also worth noting: There will be readers who object to the gender essentialism upon which this novel relies and the way Newman handles the fate of people who aren’t cisgender when the “men” disappear.
Occasionally brilliant but ultimately unsatisfying.Pub Date: June 14, 2022
ISBN: 978-0-8021-5966-3
Page Count: 272
Publisher: Grove
Review Posted Online: March 15, 2022
Kirkus Reviews Issue: April 1, 2022
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 pleasant if not entirely convincing tribute to the power of art.
A French art historian’s English-language fiction debut combines the story of a loving relationship between a grandfather and granddaughter with an enlightening discussion of art.
One day, when 10-year-old Mona removes the necklace given to her by her now-dead grandmother, she experiences a frightening, hour-long bout of blindness. Her parents take her to the doctor, who gives her a variety of tests and also advises that she see a psychiatrist. Her grandfather Henry tells her parents that he will take care of that assignment, but instead, he takes Mona on weekly visits to either the Louvre, the Musée d’Orsay, or the Centre Pompidou, where each week they study a single work of art, gazing at it deeply and then discussing its impact and history and the biography of its maker. For the reader’s benefit, Schlesser also describes each of the works in scrupulous detail. As the year goes on, Mona faces the usual challenges of elementary school life and the experiences of being an only child, and slowly begins to understand the causes of her temporary blindness. Primarily an amble through a few dozen of Schlesser’s favorite works of art—some well known and others less so, from Botticelli and da Vinci through Basquiat and Bourgeois—the novel would probably benefit from being read at a leisurely pace. While the dialogue between Henry and the preternaturally patient and precocious Mona sometimes strains credulity, readers who don’t have easy access to the museums of Paris may enjoy this vicarious trip in the company of a guide who focuses equally on that which can be seen and the context that can’t be. Come for the novel, stay for the introductory art history course.
A pleasant if not entirely convincing tribute to the power of art.Pub Date: Aug. 26, 2025
ISBN: 9798889661115
Page Count: 432
Publisher: Europa Editions
Review Posted Online: June 7, 2025
Kirkus Reviews Issue: July 15, 2025
SEEN & HEARD
SEEN & HEARD
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