Toothy follow-up to Datlow's first-rate Blood Is Not Enough (1988) anthology, which conjured up vampires who dine on sex, fear, love, anything but blood. Now, Omni's fiction editor calls on authors to explore the idea of vampirism itself—a challenge well met here. With no repeats, the current roster of writers still rivals its predecessor, with some of the brighter literary lights in the horror/sf fields on hand. Of the 18 contributions—each with an introduction by Datlow and an afterword by its author—15 are original, although the lead-off, Suzanne McKee Charnas's ``Now I Lay Me Down to Sleep'' (melancholic whimsy about an old Jewish woman-turned-vampire) fails to break new ground. More in touch with the overall spirit is the next story, Karl Edward Wagner's ``The Slug,'' a black-humored dig at philistines who intrude on artists- at-work; but the anthology really hits its stride with Barry N. Malzberg's bitingly bleak ``Folly for Three,'' as a husband and wife act out ever-more dangerous fantasies: ``Marriage as psychic vampirism,'' Malzberg notes in his afterword. ``The Impaler in Love''—a wry poem by Rick Wilber—follows, leading to the book's centerpiece, ``The Moose Church,'' a tantalizing selection from Jonathan Carroll's next novel, in which a vacationer to Sardinia dreams direly of the mysteries of death. Most of the subsequent tales (though not David J. Schow's preachy ``A Week in the Unlife'') also offer resonant chills, especially the final three: K.W. Jeter's shocking tale of vampiric fidelity, ``True Love''; Robert Holdstock and Gary Kilworth's neo-Victorian tale of a vampiric tree, ``The Ragthorn''; and Pat Cadigan's grisly vision of a deathless world, ``Home by the Sea.'' Other notables come from Thomas Ligotti, Thomas Tessier, and Chelsea Quinn Yarbro. Admirably inventive variations on vampirism, although none can match the grim grandeur of the Count himself.
Pub Date: Oct. 31, 1991
ISBN: 0-688-10361-8
Page Count: 320
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1991
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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