A highly impressive debut that engages intellectually while rarely offering emotional involvement.
Fantasy intrigue, power politics, and revenge: Brooklyn resident Dickinson’s first novel.
The arrival of the Empire of Masks at Taranoke, 7-year-old Baru Cormorant’s home, signals a swift collapse of local autonomy, with the peaceful island’s economy subverted by financial deceit and little means of military resistance. The new imperial overlords offer significant advantages, including superior if doctrinaire education and medicine, but insist upon rigid sexual convention. Taranoke’s easygoing culture, with its acceptance of homosexuality and multiple parentage, crumbles—a brutal fact Baru grasps only when one of her two fathers is murdered by imperial troops. A highly intelligent child, Baru conceals her deep hatred. She meets Cairdine Farrier, who represents himself as a merchant and encourages her higher education in imperial schools. Baru formulates a secret plan to rise through the ranks of the imperial civil service and eventually reach the seat of power in the distant capital, Falcrest, since only there, she reasons, will she find a way to free her people. Farrier, she learns, is one of a handful of shadowy figures who form the real power behind the emperor. Having distinguished herself at school, she receives the powerful appointment of Imperial Accountant to the cold northern land of Aurdwynn. According to local judgment, Aurdwynn’s quarrelsome, competitive, rebellious duchies cannot be ruled, even by the empire. Baru discovers that her two predecessors both died in mysterious circumstances and trusts neither of her fellow imperial appointees, Governor Cattlson or Jurispotence Xate Yawa. Somehow, amid treachery, insurrection, and mistrust, Baru must concoct a scheme to further her greater ambitions. Against this persuasive backdrop, Dickinson’s dense, chewy, deftly orchestrated narrative cleverly exploits fiat money and debt as tools of statecraft, while offering little in the way of real plot surprises and, ultimately, failing to expose the personalities behind the characters’ literal and figurative masks.
A highly impressive debut that engages intellectually while rarely offering emotional involvement.Pub Date: Sept. 15, 2015
ISBN: 978-0-7653-8072-2
Page Count: 384
Publisher: Tor
Review Posted Online: June 24, 2015
Kirkus Reviews Issue: July 15, 2015
BOOK REVIEW
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
Suspenseful, full of incident, and not obviously necessary.
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
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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