Tongue-in-cheek literary amendments, all done without ridicule or a pretense of improving the beloved original.
Laidlaw (400 Boys and 50 More, 2016, etc.) revamps Shelley’s horror classic to include a bevy of monsters throughout the entire narrative.
Laidlaw presents readers with an ambitious Minimum Monster Guarantee—“At Least One Monster Per Paragraph,” he claims. He further promises that Shelley’s original text is intact, with all the new material merely additions. While the novel is in the mashup style of Stephen Grahame-Smith’s Pride and Prejudice and Zombies, Laidlaw changes very little of the Frankenstein story. Many references to creatures are superficial, albeit amusing. For example, Victor Frankenstein notes that his love Elizabeth’s illness puts her “in the greatest danger it was possible to be in without a vampire feeding upon her or an alien chest-burster actually shooting out of her breast while she lay abed.” Still, the expanded tale is often humorous, and some of the modifications are outright shocking, including young Felix, who has an affinity for torturing animals. Laidlaw, meanwhile, effectively fuses his voice with Shelley’s. Accordingly, his contribution to the opening of Chapter 10 genuinely sounds like Victor’s woeful narration: “After a morning spent screaming in horror, I spent the following day roaming through the valley.” Monsters don’t make it into every paragraph; readers on occasion will have to suffice with lurid adjectives like “hideous” or the blunter “monstrous.” In the same vein, there are myriad horror films and TV shows cited, which reaches a crescendo in gleeful absurdity when Victor describes a castle as “something out of a Dracula or Frankenstein movie.” This likewise allows for an encyclopedia of horror icons mentioned, from literary (H.P. Lovecraft’s Cthulhu) to cinematic (Godzilla and the Xenomorph aliens). Nevertheless, it’s hard to miss a few inconsistencies. Movie character Freddy Krueger’s name is spelled three different ways, and a pledge to avoid “random obscenities” is contradicted by preceding and subsequent expletives.
Tongue-in-cheek literary amendments, all done without ridicule or a pretense of improving the beloved original.Pub Date: Dec. 7, 2017
ISBN: N/A
Page Count: 249
Publisher: Freestyle Press
Review Posted Online: Jan. 29, 2018
Review Program: Kirkus Indie
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
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
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