Key acknowledges all kinds of terrifying possibilities for dreaming the future—and inhabiting the present.
Short stories using the tropes of horror and science fiction with intelligence, compassion, and wry abandon to analyze and analogize racial misunderstanding.
One of many distinctive new Black American voices in the fantasy genre, Key shows throughout these eight stories the range and ingenuity of such grandmasters as Ray Bradbury, Robert Sheckley, and Theodore Sturgeon, with whom he also shares acute empathy for human vulnerability—even when, as in the poignant title story, an extraterrestrial race is involved. That story examines the life of Jordan, a “Keplan” who, along with his human father, is compelled to engage with earthbound bigotry and injustice in their grandest and pettiest manifestations. In “Spider King,” an inmate is released from custody after receiving an injection that transforms his body into a breeding nest for spiders. It may sound like high-concept gore, but as in other Key stories, “Spider King” is elevated above such fare by its up-to-the-minute social detail about the struggles of ex-convicts to avoid both recidivism and stigmatization. As in the best SF, the topical and the universal blend seamlessly here. “Wellness Check,” for instance, convincingly presents an alternate version of our world whose social norms have been battered and restructured by a series of pandemics. (Never leave home without your Viral Detection Reality glasses!) Another “what-if” tale, “Afiya’s Song,” imagines a different pre-Civil War South where a young girl’s resistance to her master lights the fuse for what becomes a widespread, successful slave insurgence. About 200 years later, in “Customer Service,” an unhappy client of something called Two Places at Once finds his A.I. doppelgänger going way too far in his prescribed duties as a substitute. Perhaps the most haunting and heartbreaking is “The Perfection of Theresa Watkins,” in which a grieving husband downloads the consciousness of his dead Black wife into the body of a white woman with distressing psychic baggage of her own. Key resolutely carries on the tradition of the modern SF writers who always found new and rueful ways of reminding readers that no matter how much technology changes, humanity, in its loneliness, folly, and constricted vision, somehow never does.
Key acknowledges all kinds of terrifying possibilities for dreaming the future—and inhabiting the present.Pub Date: Sept. 19, 2023
ISBN: 9780063290426
Page Count: 288
Publisher: Harper/HarperCollins
Review Posted Online: July 26, 2023
Kirkus Reviews Issue: Aug. 15, 2023
PERSPECTIVES
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
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: yesterday
Kirkus Reviews Issue: Aug. 1, 2025
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