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Summary
Summary
A lyrical, apocalyptic debut novel about addiction, friendship, and the struggle for survival at the height of an epidemic.
The sickness started with a single child and quickly spread: you could get high by drinking your own shadow. Artificial lights were destroyed so addicts could sip shadow at night in the pure moonlight. Gangs of shadow addicts chased down children on playgrounds, rounded up old ladies from retirement homes. Cities were destroyed and governments fell. And if your shadow was sipped entirely, you became one of them, had to drink the shadows of others or go mad.
One hundred and fifty years later, what's left of the world is divided between the highly regimented life of those inside dome cities who are protected from natural light (and natural shadows), and those forced to the dangerous, hardscrabble life in the wilds outside. In rural Texas, Mira, her shadow-addicted-friend Murk, and an ex-domer named Bale search for a possible mythological cure to the shadow sickness--but they must find it, it is said, before the return of Halley's Comet, which is only days away.
Author Notes
Brian Allen Carr splits his time between Indiana and Texas. He is the winner of a Wonderland Book Award and Texas Observer Story Prize. His short fiction has appeared in Ninth Letter , Hobart , Boulevard and others publications. Sip is his first novel.
Reviews (3)
Publisher's Weekly Review
Carr's jumbled and unsatisfying first novel depicts a dystopian future in which much of the dwindling U.S. population is addicted to consuming the shadows cast by natural light. Mira, a young woman with poorly defined supernatural powers, spends much of her time caring for her shadow-addicted mother. Years before, those seeking to escape the addicts and the hardscrabble life outside gathered in artificially lit domes, but recently, for nebulous reasons, the "domers" have been establishing outposts. Bale, a soldier banished from one of these outposts, joins Mira and her addicted friend Murk as they cross the desolate landscape in hopes of hunting down a particular shadow thief before the impending return of Halley's Comet, which will cast particularly potent shadows. The parameters of the addiction and its variations are frustratingly opaque, and the passages addressing the addiction's history and the way it shaped the world just raise further questions. Numerous side characters and events add complexity without clarity. Interesting ideas form the core of the novel, but their development leaves much to be desired. (Sept.) © Copyright PWxyz, LLC. All rights reserved.
Kirkus Review
A post-apocalyptic sci-fi Western, short story writer Carr's (The Shape of Every Monster Yet To Come, 2014, etc.) debut novel traces a brief and hobbled journey across the enduring landscape of the end of the world.Around the year 2017, a terrible new addiction afflicted humanity. People discovered they could sip shadows, ingesting a darkness more powerful than the strongest drug. Predictably, the other side of the high is abuse, withdrawal, desperation, depravity. In short order, society crumbles; tribalism reigns; all becomes violence and stark waste. A century and a half later, the addiction has come to its finale. In the precisely realized landscape of southern Texas, Mira (the daughter of a shadow-stolen mother), Murk (an appealingly foul, shadow-addict amputee), and Bale (a "domer" raised in a hermetically sealed settlement that eliminates natural light) embark on a muddled quest across the Texas scrub todo something. Ostensibly, their mission is clearthey must find and kill Joe Clover, the addict who stole Mira's mother's shadow, before Halley's comet returnsbut, as with so much else in this exuberant book, their motive is overwhelmed by the sheer number of characters and side plots. We meet the ferocious women of the Shadowless Army; the Faulkner-ian Doc; the Dr. Strangelove-esque Capt. Flamsteed; Bale's doomed brother, Drummond, and more and more and more besides. This, coupled with an uneven tone which borrows just as heavily from Flannery O'Connor as it does from Chuck Palahniuk and an even more unfortunate tendency toward the exploitative grotesque (amputees are an endless source of sight gags and are sometimes beaten to death with their own peg legs; a saloon piano player is a waddling one-eyed midget possessing a "voice, quasi-maniacal"), conspires to create a book whose allegiances tend toward the shock and awe of its conceit and shy away from the coherent development of either its world or its main characters. A promising premise and intriguing core characters but, ultimately, not enough cohesion between the plots to stick them all together. Copyright Kirkus Reviews, used with permission.
Library Journal Review
DEBUT One hundred and fifty years ago, a child learned to sip its own shadow, which resulted in an ecstatic high better than any other drug. The addiction quickly spread, as crowds of young people gathered to take others' shadows, from both the old and young. Eventually, towns, cities, and governments fell apart, and those who wished to survive went to live in domed metropolises protected from natural light and natural shadows. Others, both sippers and survivors, lived outside, foraging for what they could in a hard, wild world. Mira lives in rural Texas, chasing mouthfuls of shadows for her addict mother. Her friend Murk is also addicted, slowly drinking his shadow away. Ex-domer Bale joins them on their quest to find a possible cure for shadow sickness, the rumors of which have been passed down in myth and song. But the trio must complete their mission before Halley's Comet returns-in less than seven days. VERDICT Fans of postapocalyptic fiction will find it difficult to put down Carr's haunting debut, which richly details its world's harsh history while leaving readers enough hope for the future. The title also has excellent YA crossover potential.-KCn © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
They'd sip their shadows and the darkness stained them. Anyone who said they saw it coming told bad lies. There existed no concrete prophecy foretelling the malady, no rational explanation science could come to. How could it be, this new behavior? Drinking light's absence? Falling crude victim? The religious offered up bits of texts. From Acts and Joel and Revelations came the closest warning: "The sun will be turned to darkness and the moon to blood." "But the moon ain't blood," skeptics argued. "Not yet," believers said, looking up at the night sky gravely. And then from the Al-Furqan:"But they are going to know, when they see the punishment who is farthest astray . . . Have you seen the one who takes as his god his own desire . . . Have you not considered your Lord--how He extends the shadow, and if He willed, He could have made it stationary? Then We made the sun for it an indication. Then We hold it in hand for a brief grasp." "So it's a punishment from God?" "Only He knows why He does His doings." When doctors were asked to explain it, they'd invoke other anomalies from medical history--mysteries, freak occurrences that could never be explained: "Strasbourg, Alsace in 1518. A woman named Frau Troffea begins dancing, can't stop. Dozens join in with her, within a month, hundreds. All of them dancing ferociously, endlessly. No one knows why, though some have blamed a kind of mass psychosis induced by stress, others suggesting ergot poisoning might have fueled the catastrophe. See, many of the dancers danced themselves to death, and it's even been said that the dancers danced beyond that. Moved on with some inaudible, internal music even postmortem. And no one is entirely certain why." "This ain't 1518, though." "And ain't nobody fucking dancing." Murk The sun was up, so the dark could start. All about the ground, all in the same direction, shadows sprawled. And this is what he was after. Murk crept from the mesquite trees into the full light of day. Hobbling, his clothes dirty and tattered--his left leg a wooden peg. He shooed gnats from his face as he advanced, humming a bit of tune. "A world with two suns," he sang softly, "and both are for me." It was as if his mother's breast milk had been ashes. He had thirsty-looking skin and hair thickly greased with sleep. He'd been growing it out, his hair, and wasn't used to the length of it. He constantly tucked the brown thatch behind his ears. Most his life, he'd kept it short, but he'd found an old Doors album while rummaging a capsized van, and he wanted to look like the guy on the cover. Around that time, he'd started making up songs. He found the sun and put his back to it. He knew he should wait a few hours, let the light get brighter, his shadow darker, more potent, but the call in him could not be placated--he lacked self-control. "I missed you," he said to his shadow on the ground. He waved. It waved back. He danced. It did too. "Lose weight?" he asked it. "Something different with your hair?" But, of course, there was no answer. "Either way," he said, "looking good." He dropped to his knees, lowered his face to his shade-made print, now a hunched clot of dark on the grass. "A world with two suns," he continued singing, "that is the dream." He was silent. Lust slithered across his face. He tucked his mane behind his ears, palmed his cheeks, and motes of dry skin swirled away. Then . . . Down he went like a starving man. His mouth bored open, he crashed against dirt, and he gulped at the dark, each swallow dimming the shade. Murk grunted and gnashed, pulling the shadow off the ground and into his mouth, down in his belly. When he'd gotten it all, or as much as he could gather, he rolled to his back laughing and let the magic work its charm. "A world with two suns," he bellowed, "that is the dream," his mouth as wide open as an opera singer's and his lips and teeth grayed with stain. His eyes drew black. His skin went pale. His veins showed through like sooty scribbles on pale parchment. In the distance he could hear the train. To Murk, it was the sound of heaven. The Train Mira crouched, watching for the train to race around again on its mile-long, circular track. She looked for the break between the caboose and the engine to catch glimpse of the buildings beyond. A step in front of her, the grass had been scorched away, covered with white rocks, but the smell of the scorching lingered, and Mira sniffed the perfume of it, her brown eyes sleepy in the smell. She messed her hair. She'd never thought much of it, but then Murk started growing his and one day she looked at him and couldn't help but ask, "Are you trying to look like me?" He got defensive, something about some singer. "You're trying to steal my fucking haircut," she told him. And Murk called Mira all kinds of dirty names and stomped off on his peg leg to wherever Murk went when Mira sent him stomping. But now, she thought, "Shit, he can have it." Just beyond the train, observation towers stood, and in them guards trained guns on the perimeter of rocks. Mira heard the man's voice through his bullhorn. "Closer and I'll fire." It was half past noon, and Mira was ambivalent. She'd been coming to the train for days now with the halfhearted idea of dying, but each time she'd come, nothing happened. This threat was the first she'd heard, and it made the consequence of her dying more real to her. That's the thing about suicidal thinking: it's kind of harmless until it isn't. A few days back, she'd stood motionless with a bouquet of citrus blossoms clutched to her chest, a kind of funeral service in her heart, but she'd only lingered for hours thinking she'd gone unnoticed. She'd even shown her shadow then, turning it off and on, hoping the strobe of it might gain some attention, but it didn't. The next time, she'd gone to a different edge of the town, thinking maybe her luck would change if she tried another observation tower. Each time the train sped up, but no shots were fired. She thought mildly of running for the train, throwing herself beneath its heavy steel wheels and letting the train cars chew her up to yuck, but she couldn't seem to get her legs to go through with it. It was puzzling. She'd been shot at before. When Murk had sent her to the train the first time. It's why she'd even come to think of this as a way out of the world. So what was different? Why weren't they firing now? She knelt toward the rocks, lifted one of the white pebbles casually. Her tanned knees flecked with scars, her palms rough from hard work and living. She dropped the rock, contemplated the white dust it left behind on her. She blew at it and most of the stuff disappeared, and what was left she licked away, spat out at the grass, and the chalky flavor of the task left a scowl on her face. "What now, Mira?" she asked herself, her words aimed at the train. "What happens next?" Excerpted from Sip by Brian Allen Carr All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.