—Donald Newlove
WHEN KINGS MET AT THE DARK TOWER
Will the long-awaited completion of Stephen King’s lifework, the seven-volume adventure/action/horror fantasy The Dark Tower, stir fans to love or sadness? The next-to-last volume, The Song of Susannah (2004), was less than exciting, and the final installment kicks off from the cliffhanger where Susannah ended, with the ka-tet split up into different towns and eras and the tripartite Susannah/Mia/Odetta in 1999 giving birth to Mordred and about to be drained and baked and eaten by dancing vampires in the Dixie Pig in New York. Just like a Saturday serial, Father Callahan, the billy-bumbler Oy, and Jake show up outta nowhere and blast vampires, monsters, and ratheads to bits, but not before these grotesques pile fatally onto Callahan despite his glowing crucifix held high. But now we must not be spoilers who give away plot points fans won’t want to know. Even so, we can’t not tell you about Mordred, who we know already from Song of Susannah is supposedly slated to kill Roland Deschain, the Gunslinger headed for the Dark Tower of the Crimson King, axis of time, space, and all universes. His monstrous growth being one of King’s greatest inventions, Mordred is born with a full set of teeth in his lower jaw, an erection as big as Susannah’s little finger, a red birthmark on his heel, and Roland’s electric-blue eyes. He at once tears off his mother’s breast, eats it, drains her blood (Mia’s, not Susannah’s), and turns into a fat eight-legged spider with baby Roland’s face and eyes on his back. This kid could eat a horse—and does. Mordred’s two fathers are Roland and the were-spider Crimson King, a paternity that feeds his physical supergrowth and vastly expanding and capable mind. That should suggest something about this whizbang bloodfest. Amusing turns feature Nigel, a comic Jeevesian butler-robot, knocked off from Asimov and Star Wars’s C-3PO, and the happy reappearance of all these characters’ creator, a sighing Stephen King, killed by a Dodge minivan herein but still around to tell the story. Many bizarre doorways to Mid-World and End-World and a short deck of new characters and extra-series characters such as Ted Brannigan from Hearts in Atlantis show up and integrate this series with several King books outside the Dark Tower series, so that King fashions for himself something of an all-inclusive lifework. As foretold, there’s bad news for nearly all the ka-tet. And for some fans there’ll be bad news when Kings meet at the Dark Tower and the horrormeister shunts aside the world-bursting galactic climax expected for a more formulaic end. Even King himself apologizes for falling short. Multidimensional fantasy-leaps and grisly horror balance long ho-hum stretches that calm the waters between the tsunamis. Big literary laurels or hack masterpiece? Oil paintings (not seen here) and page drawings by the great SF illustrator Michael Whalen help. But what can you say when your lead character is less expressive than Audie Murphy (not Clint Eastwood, as King hints)—and far less compelling than Frodo or Harry Potter?
—Donald NewlovePub Date: Sept. 21, 2004
ISBN: 1-880418-62-2
Page Count: 864
Publisher: Donald M. Grant/Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2004
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 charming and persuasive entry that will leave readers impatiently awaiting the concluding volume.
Book 2 of Hearne's latest fantasy trilogy, The Seven Kennings (A Plague of Giants, 2017), set in a multiracial world thrust into turmoil by an invasion of peculiar giants.
In this world, most races have their own particular magical endowment, or “kenning,” though there are downsides to trying to gain the magic (an excellent chance of being killed instead) and using it (rapid aging and death). Most recently discovered is the sixth kenning, whose beneficiaries can talk to and command animals. The story canters along, although with multiple first-person narrators, it's confusing at times. Some characters are familiar, others are new, most of them with their own problems to solve, all somehow caught up in the grand design. To escape her overbearing father and the unreasoning violence his kind represents, fire-giant Olet Kanek leads her followers into the far north, hoping to found a new city where the races and kennings can peacefully coexist. Joining Olet are young Abhinava Khose, discoverer of the sixth kenning, and, later, Koesha Gansu (kenning: air), captain of an all-female crew shipwrecked by deep-sea monsters. Elsewhere, Hanima, who commands hive insects, struggles to free her city from the iron grip of wealthy, callous merchant monarchists. Other threads focus on the Bone Giants, relentless invaders seeking the still-unknown seventh kenning, whose confidence that this can defeat the other six is deeply disturbing. Under Hearne's light touch, these elements mesh perfectly, presenting an inventive, eye-filling panorama; satisfying (and, where appropriate, well-resolved) plotlines; and tensions between the races and their kennings to supply much of the drama.
A charming and persuasive entry that will leave readers impatiently awaiting the concluding volume.Pub Date: Feb. 4, 2020
ISBN: 978-0-345-54857-3
Page Count: 592
Publisher: Del Rey/Ballantine
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
BOOK REVIEW
BOOK REVIEW
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