![]() This results in a story of shallow people, striving for not all that much, in an implausible world. Romance novels tend to center character and emotion in a way most science fiction and fantasy novels can’t or won’t - but for some reason Roberts chooses not to do so in Year One. As a venerated romance writer with hundreds of books under her belt, Roberts could have brought an exciting perspective to the postapocalyptic subgenre. Once the bulk of the human race is dead, the pace of events slows drastically. In power and poignancy, this segment of Year One is a match for end-of-the-world classics like Stephen King’s The Stand, Nevil Shute’s On the Beach and the better zombie apocalypses. ![]() ![]() The epidemic that follows, eventually wiping out billions, is described with relentless brutality as governments collapse and things fall apart. ![]() For roughly the first quarter of Nora Roberts’s postapocalyptic saga Year One, all the formulas for a good thriller are deployed to magnificent effect. ![]()
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