This has the bones of an excellent book, but, sadly, an untenable amount of flab is covering them.
The end of American civilization has come and gone, and a young married couple has fled Los Angeles to live in the wilderness in Lepucki’s debut novel.
Cal and Frida, alone in the woods, provide for themselves—but once Frida becomes pregnant, finding more of civilization’s refugees becomes important, especially since their only neighbors have committed suicide. They find an encampment surrounded by spikes and are invited to be candidates for the group. They will stay with the community, making friends and learning the ropes, until the other commune members vote on whether they should stay or leave. Soon they discover there are dangers even in this relatively secure place. They notice there are no children in the group, so they hide Frida’s pregnancy. Other unsettling details emerge as the couple tries to win the commune over—Frida by baking, Cal by serving as a member of the community counsel. The color red is forbidden. Surprisingly luxurious supplies arrive—but from where? The counsel is full of secrets, and the leader forbids Cal from sharing them with Frida. One character, thought to have died in a suicide bombing before Cal and Frida struck out for the wild, is miraculously alive at the commune, after the couple spent many pages grappling with his death. This is a misstep on Lepucki's part, showing the reader that she isn’t above bending the rules, which makes it more difficult to feel real concern for Cal and Frida. They will never be in too much trouble; Lepucki won’t allow it. The chapters alternate between Cal’s point of view and Frida’s and are heavy on flashbacks that bog down an otherwise tense narrative of survival.
This has the bones of an excellent book, but, sadly, an untenable amount of flab is covering them.Pub Date: July 8, 2014
ISBN: 978-0-316-25081-8
Page Count: 400
Publisher: Little, Brown
Review Posted Online: June 14, 2014
Kirkus Reviews Issue: July 1, 2014
BOOK REVIEW
BOOK REVIEW
PROFILES
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
For those who like their science fiction dense, monumental, and a bit overwrought.
Brown is back with Book 4 of his Red Rising series (Morning Star, 2016, etc.) and explores familiar themes of rebellion, revenge, and political instability.
This novel examines the ramifications and pitfalls of trying to build a new world out of the ashes of the old. The events here take place 10 years after the conclusion of Morning Star, which ended on a seemingly positive note. Darrow, aka Reaper, and his lover, Virginia au Augustus, aka Mustang, had vanquished the Golds, the elite ruling class, so hope was held out that a new order would arise. But in the new book it becomes clear that the concept of political order is tenuous at best, for Darrow’s first thoughts are on the forces of violence and chaos he has unleashed: “famines and genocide...piracy...terrorism, radiation sickness and disease...and the one hundred million lives lost in my [nuclear] war.” Readers familiar with the previous trilogy—and you'll have to be if you want to understand the current novel—will welcome a familiar cast of characters, including Mustang, Sevro (Darrow’s friend and fellow warrior), and Lysander (grandson of the Sovereign). Readers will also find familiarity in Brown’s idiosyncratic naming system (Cassius au Bellona, Octavia au Lune) and even in his vocabulary for cursing (“Goryhell,” “Bloodydamn,” “Slag that”). Brown introduces a number of new characters, including 18-year-old Lyria, a survivor of the initial Rising who gives a fresh perspective on the violence of the new war—and violence is indeed never far away from the world Brown creates. (He includes one particularly gruesome gladiatorial combat between Cassius and a host of enemies.) Brown imparts an epic quality to the events in part by his use of names. It’s impossible to ignore the weighty connotations of characters when they sport names like Bellerephon, Diomedes, Dido, and Apollonius.
For those who like their science fiction dense, monumental, and a bit overwrought.Pub Date: Jan. 16, 2018
ISBN: 978-0-425-28591-6
Page Count: 624
Publisher: Random House
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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