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ABOUT TAWNI O'DELL
Tawni O'Dell, a western Pennsylvania native, earned a degree in journalism from Northwestern University. In addition to earning wages as a bank teller and a waitress, she put herself through college working as an exotic dancer jumping out of cakes at bachelor parties. A mother of two, she lives with her husband in Illinois.Back Roads is her first novel.
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The aliens have sent us a message, and we have responded.
Dr. Sarah Halifax decoded the first-ever radio transmission received from aliens. Thirty-eight years later, a second message is received — and Sarah, now 87, may hold the key to deciphering this one, too ... if she lives long enough.
A wealthy industrialist offers to pay for Sarah to have a rollback — a hugely expensive experimental rejuvenation procedure. She accepts on condition that Don, her husband of sixty years, gets a rollback, too. The process works for Don, making him physically twenty-five again. But in a tragic twist, the rollback fails for Sarah, leaving her in her eighties as the second message arrives.
While Don tries to deal with his newfound youth and the suddenly vast age gap between him and his wife, Sarah struggles to do again what she'd done once before: figure out what a signal from the stars contains.
Exploring morals and ethics on both human and cosmic scales, Rollback is the big new SF novel by Hugo and Nebula Award-winner Robert J. Sawyer.
"Robert J. Sawyer is just about the best science fiction writer out there these days." —The Rocky Mountain News
"One of the foremost science fiction writers of our generation." —SF Site
"A writer of boundless confidence and bold scientific extrapolation." —The New York Times
Because of falling ash, the setting is very cold and dark and the land is devoid of living vegetation. There is frequent rain or snow, and electrical storms are common. Nearly all of the few human survivors are cannibalistic tribalists and/or nomads, scavenging the detritus of city and country alike for human flesh, though that too is almost entirely depleted. Their presence is noted by their leavings, mutilated and/or decorated skulls.
Overwhelmed by this desperate and apparently hopeless situation, the boy's mother, pregnant with him at the time of the cataclysm, commits suicide some time before the story begins; the rationality and calmness of her act being her last "great gift" to the man and the boy. The father coughs blood every morning and knows he is dying, yet he struggles to protect his son from the constant threats of attack, exposure, and starvation, as well as from what he sees as the boy's innocently well-meaning, but dangerous desire to help wanderers they meet. Through much of the story, the pistol they carry, meant for protection or suicide if necessary, has only one bullet. The boy has been told to use it on himself if capture is imminent, to spare himself the horror of death at the hands of the cannibals.
In the face of these obstacles, the man and the boy have only each other (they are "each the other's world entire"). The man maintains the pretense, and the boy holds on to the real faith, that there is a core of ethics left somewhere in humanity. They repeatedly assure one another that they are "the good guys," who are "carrying the fire."
On their journey, the duo scrounge for food, encounter roving bands of cannibals, and contend with casual horrors such as a new born infant being roasted on a spit, and people being kept captive as they are slowly harvested for food. Although the vast majority of the book is written in the third person, with references to "the father" and "the son" or to "the man" and "the boy," at one paragraph only in the discussion of the journey the story is told in the first person.
Although the man and the boy eventually reach the sea, neither the climate nor availability of food has improved. Despite having succeeded in defending the boy through extreme hardship, the man has failed to find the salvation he had hoped for his son, and succumbs to his illness and dies; leaving the boy alone, though he is told that he may continue to speak to the father and that the father would still be present. Three days later, however, the grieving boy encounters a man who has been tracking the father and son. This man, who has a wife and two children of his own, brings the boy to join his family. One of the children is a girl. A brief epilogue meditates on nature and infinity in this altered environment.
The Kite Runner follows the story of Amir, the privileged son of a wealthy businessman in Kabul, and Hassan, the son of Amir's father's servant. As children in the relatively stable Afghanistan of the early 1970s, the boys are inseparable. They spend idyllic days running kites and telling stories of mystical places and powerful warriors until an unspeakable event changes the nature of their relationship forever, and eventually cements their bond in ways neither boy could have ever predicted. Even after Amir and his father flee to America, Amir remains haunted by his cowardly actions and disloyalty. In part, it is these demons and the sometimes impossible quest for forgiveness that bring him back to his war-torn native land after it comes under Taliban rule. ("...I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with pain gathering its things, packing up, and slipping away unannounced in the middle of the night.")
Some of the plot's turns and twists may be somewhat implausible, but Hosseini has created characters that seem so real that one almost forgets that The Kite Runner is a novel and not a memoir. At a time when Afghanistan has been thrust into the forefront of America's collective consciousness ("people sipping lattes at Starbucks were talking about the battle for Kunduz"), Hosseini offers an honest, sometimes tragic, sometimes funny, but always heartfelt view of a fascinating land. Perhaps the only true flaw in this extraordinary novel is that it ends all too soon