An imaginative but rather sedate fantasia.
Global warming, artificial intelligence, and bizarre artworks shape the world in this SF saga.
Karpa’s story is set in a near future in which humanity is steadily eliminating carbon emissions and reclaiming flooded land while making ubiquitous artificial intelligences do much of this work. Mardy, a 27-year-old air-express deliveryman and “machine tool artist” in San Francisco, crafts whimsical but functional gadgets. His latest project is a pair of semi-intelligent, dancing robots dubbed Ann and Frankie; it’s a challenge to the Authenticity Act, which decrees that AIs must not be given names or otherwise treated as human, lest they demand rights. However, some of Mardy’s best friends are AIs, including the slyly witty Phil, which controls an air-express plane and loves philosophical conversations. During Mardy’s journey through the gonzo American art scene, he navigates a rivalry with brilliant machine-tool artist Smith Hunt; launches an affair with Smith’s twin brother, Wes, a wealthy collector; offers his face as a canvas to his friend Cat (as plastic surgery is a major artistic medium); enters art competitions all around the country; and takes Ann and Frankie to the august Cleveburgh Institute, where a panel will either grant him fellowship or have him arrested for crimes against authenticity. Karpa presents a warmly optimistic take on the future in which climate change is manageable and artificial intelligence is soulful rather than sinister, as illustrated in deftly funny sketches: “ ‘How can I help you,’ an AI answered in a female voice, slightly raspy, as though the AI had been smoking.” Mardy’s artistic process showcases a similar humanism, and Karpa’s attentive, evocative prose revels in the fusion of technical craftsmanship and intuition: “The concept wasn’t exactly earthshaking—two chunky hover units to get it aloft and six little attitude puffers to keep it upright—but the conceit of a lighter in a world without cigarettes was fun.” But although there are many intriguing ideas coursing through Karpa’s fictive world, it’s so warmhearted, progressive, and well engineered that it doesn’t generate much serious conflict, so readers may not always feel fully invested.
An imaginative but rather sedate fantasia.Pub Date: Nov. 1, 2021
ISBN: N/A
Page Count: 324
Publisher: Mumblers Press LLC
Review Posted Online: Oct. 18, 2021
Kirkus Reviews Issue: Dec. 1, 2021
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
