The language has pop and the ideas are launched from the page with plenty of fizz, but Doctorow ultimately hamstrings...
Walt Disney’s vice-like grip on the American imagination continues unabated, even many long years into the future when one might hope that people would know better. Cyber culture maven and first-novelist Doctorow (no relation to E.L.) sets his perky little dystopia in a future world where the regular old society of today has been taken over by the Bitchun (pronounced, one would imagine, “Bitchin’ ”) Society. In the Bitchun world, everyone is wired within an inch of their lives and their personalities are backed up several times a year so that if their current body dies, a cloned one is simply grown for them and programmed with their last backup. Further, everyone has a Whuffie score, a constantly updated log of how much respect is afforded to you by your peers (it’s an insecure type of meritocracy). In this time of endless luxury, and a ridiculously endless buffet of life choices, Disney World remains a primary tourist attraction, and its most ardent supporter is clueless protagonist Jules, who works there with girlfriend Lil. When a new team of engineers plan to remake the old-school Disney attractions like the Hall of Presidents and the Haunted Mansion into virtual reality all-sensory assaults, Jules feels strangely protective. He’s already died and been rebooted three times, so it’s not that big a deal, but when Jules’s competitors have him shot and killed, it’s still irritating. Meanwhile, Jules is trying to help out his suicidal friend Greg and also wondering why he shouldn’t just do like more and more of the bored population and simply deadhead—go intro cryogenic sleep until the world gets more interesting.
The language has pop and the ideas are launched from the page with plenty of fizz, but Doctorow ultimately hamstrings himself with a monumentally trivial storyline.Pub Date: Feb. 1, 2003
ISBN: 0-765-30436-8
Page Count: 208
Publisher: Tor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2002
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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