Thus, this is indeed divided: by turns acrid, funny and perversely moving, yet marred by sourness, shrillness and redundancy.

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THE BOOK OF DAVE

England in the future and (mostly) underwater is the post-apocalyptic setting for the brazen Brit author’s ambitious dystopian satire.

The title story, one of two energetically detailed narratives, is the “text,” written, in 2000, more in anger than in sorrow, by London cabdriver Dave Rudman, whose wife Michelle has fled their rickety marriage, remarried and kept Dave from seeing their son Carl. Dave’s mad, self-justifying, misogynistic “memoir,” which he buries in the backyard of Michelle’s new home, takes on a vivid extended life more than 500 years later, when it’s excavated, fervently embraced as a sacred text and used as a template by a rigidly structured society in which parents live apart and children are shuttled between them during designated “Changeovers.” This stripped-down future, after rising sea levels have turned Britain into hundreds of tiny islands (e.g., that of “Ham,” formerly Hampstead, where Michelle’s family now live), stimulates both Self’s abrasive genius for elaborating ingenious premises in mordantly funny detail (Great Apes, 1997), and his maddening tendency to beat every idea to death (How the Dead Live, 2000). In the 2500s, the practice of “Davinity” (i.e., worship of Dave) is expressed in the language (derived from his chaotic book) of Arpee, specifically the dialect of Mokni—of which numerous brilliant examples are given, and minimal interpretation is supplied in a brief concluding glossary. Much of this is superb, but a byzantine plot involving the son (another Carl) of a “heretic” who opposed Davinity and preached the equality of the sexes, is simply tedious. Though this edgy novel invites comparison with such contemporary classics as Anthony Burgess’s A Clockwork Orange and Russell Hoban’s Riddley Walker, its anarchic vision of future shock is far less compelling than Dave’s own story of loss, grief, surrender to drug addiction and madness.

Thus, this is indeed divided: by turns acrid, funny and perversely moving, yet marred by sourness, shrillness and redundancy.

Pub Date: Nov. 14, 2006

ISBN: 1-59691-123-9

Page Count: 512

Publisher: Bloomsbury

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2006

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

DEVOLUTION

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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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With an aura of both enchantment and authenticity, Bardugo’s compulsively readable novel leaves a portal ajar for equally...

NINTH HOUSE

Yale’s secret societies hide a supernatural secret in this fantasy/murder mystery/school story.

Most Yale students get admitted through some combination of impressive academics, athletics, extracurriculars, family connections, and donations, or perhaps bribing the right coach. Not Galaxy “Alex” Stern. The protagonist of Bardugo’s (King of Scars, 2019, etc.) first novel for adults, a high school dropout and low-level drug dealer, Alex got in because she can see dead people. A Yale dean who's a member of Lethe, one of the college’s famously mysterious secret societies, offers Alex a free ride if she will use her spook-spotting abilities to help Lethe with its mission: overseeing the other secret societies’ occult rituals. In Bardugo’s universe, the “Ancient Eight” secret societies (Lethe is the eponymous Ninth House) are not just old boys’ breeding grounds for the CIA, CEOs, Supreme Court justices, and so on, as they are in ours; they’re wielders of actual magic. Skull and Bones performs prognostications by borrowing patients from the local hospital, cutting them open, and examining their entrails. St. Elmo’s specializes in weather magic, useful for commodities traders; Aurelian, in unbreakable contracts; Manuscript goes in for glamours, or “illusions and lies,” helpful to politicians and movie stars alike. And all these rituals attract ghosts. It’s Alex’s job to keep the supernatural forces from embarrassing the magical elite by releasing chaos into the community (all while trying desperately to keep her grades up). “Dealing with ghosts was like riding the subway: Do not make eye contact. Do not smile. Do not engage. Otherwise, you never know what might follow you home.” A townie’s murder sets in motion a taut plot full of drug deals, drunken assaults, corruption, and cover-ups. Loyalties stretch and snap. Under it all runs the deep, dark river of ambition and anxiety that at once powers and undermines the Yale experience. Alex may have more reason than most to feel like an imposter, but anyone who’s spent time around the golden children of the Ivy League will likely recognize her self-doubt.

With an aura of both enchantment and authenticity, Bardugo’s compulsively readable novel leaves a portal ajar for equally dazzling sequels.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-31307-2

Page Count: 448

Publisher: Flatiron Books

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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