This review was first published by Booklist on February 17, 2023.

In the ninth installment of his Alex Benedict series (after Octavia Gone, 2019), McDevitt changes things up a bit, introducing the possibility of intelligent aliens that aren’t long gone. An exploratory mission to the Orion Nebula uncovers an isolated village of technological humanoids on an inhabited planet, but a follow-up mission finds the village has disappeared without a trace. Without an explanation for its vanishing, many believe the whole thing is a hoax. But Alex, Chase, Gabe, and Chase’s old friend Robbi Jo (who was a member of the original mission that discovered the village) set out to solve the mystery. McDevitt has been labeled “cozy science fiction” and the description is apt: his beloved characters are pleasant and reasonable, with little conflict and good intentions all around. Crises reliably resolve with no lasting damage done. The reward of this book is the compelling central mystery and the continued exploration of the universe McDevitt has constructed. It may not be the most dramatic or exciting of his works, but fans will find what they’re looking for with this one.

This review was first published by Booklist on January 1, 2023.

It’s summer on Niflheim, and Mickey7 is retired from being the colony’s Expendable. He’s spent the last two years helping tend the rabbits. Then one day, he sees himself heading toward the reactor core. Turns out there’s not enough fuel to last through the next winter, and everyone will die unless he can get back the antimatter bomb Marshall thinks he left with the creepers. But how does he know Marshall is telling the truth? Maybe it’s a ploy to finally get rid of him. Ashton’s follow-up to his excellent Mickey7 (2022) is just as much fun as its predecessor. Readers get to see more aspects of colony life, and Ashton introduces nuances to the creepers while showing us more of their world. The Speaker is a delightful new character, offering an entertaining look at the challenges of communication and mutual comprehension. As in Mickey7, there’s substance behind the humor. At the core of this story are questions of trust and responsibility—what do you do when saving the world means you must betray an ally?

This review was first published by Booklist on December 1, 2022.

Carissa minds her own business, living in an elevator in the Building, a structure tens of thousands of stories tall, with entire pocket universes contained on individual floors. One day, an alien shape-shifter lands on top of her elevator, pulling her into a crisis of politics, betrayal, and the looming threat of war. Thus begins a complex tale featuring fractious governments, deep mythological history, a centuries-long soap opera, and gargantuan theme parks. There are aliens, robots, artificially intelligent cloudlet computers, mind control, exploration, magic, and art. Wild Massive is one of the most singular and difficult to summarize books of the year. Moore’s characters are well rendered, and his style is a heady mixture of propulsive plot, sideways humor, and expository asides, with a healthy dose of the proudly bizarre. World building takes undisputed center stage. The Building is compelling, imaginative, expansive, and ridiculous, with a history and creation mythology as unique as the structure itself. Exploring this place is irresistible and deeply rewarding. It will leave readers hoping for more stories set in this world.

This review was first published by Booklist on November 1, 2022.

Set in 1899 New York, The Spirit Phone is a cosmic-horror, murder-mystery detective yarn in which Nikola Tesla, famed inventor, and Aleister Crowley, famed occultist, team up to save the world. Along the way, they encounter a cult, people who appear to be clones, and spiritual beings bent on destroying Earth, all centered on a new invention from Thomas Edison which aims to let people speak to the dead. Teleportation, astral projection, Edgar Cayce, a zeppelin, and Devils Tower all make an appearance. O’Keefe’s debut novel certainly serves up a unique blend of elements. He takes some anachronistic liberties, but all in service of the story. The entertainment factor alone alleviates anything that strains credulity, and the action is well paced. Perhaps most rewarding is his evocation of this time and place: new innovations were radically altering the fabric of everyday life, with modern technology like cars and electric lights commingled with horse-drawn carriages and gas lamps. It was a world made magical and strange, an ideal setting for such a strange tale.

This review was first published by Booklist on September 15, 2022.

This time, it starts with an alien bug eating a man’s brain. Then there’s a specter that manifests inside of John’s wall and gets sliced up. So begins an ouroboros of a tale involving cults, alternate time lines, the end of the world, and a possessed plastic toy. This fourth entry in Pargin’s John Dies at the End series is less frenetic than its predecessor, What the Hell Did I Just Read (2017, as David Wong). Within the snarky humor is an incisive commentary on social media and the state of our connected world, and a story about trauma and how people lash out when they’re hurt. It’s a story about love and how people can be better. It’s rewarding to witness how Pargin has grown as a writer. He’s less interested in the gimmick and more focused on his characters. His compassion runs deep. This isn’t just a funny tale of inept supernatural investigators; it’s a story of people struggling through pain to find a better path. Pargin offers us a welcome note of hope.