Reviews for Passage

Booklist Reviews 2010 March #1
In this apocalyptic epic that begins in a gloomy near-future, gasoline is $13 a gallon; New Orleans has become an uninhabitable, toxic swamp after a series of devastating hurricanes; the U.S. is steadily losing the war on terror; and the future of humanity hinges on the actions of a young girl. Six-year-old Amy Harper Bellafonte, abandoned to the care of Memphis nuns by her prostitute mother, and her protector, disillusioned FBI agent Brad Wolgast, are at the epicenter of a battle to preserve the human species after a government military experiment to create a "super-soldier" goes awry. Using an exotic virus found deep in the South American jungle, scientists have discovered that it has the ability to bestow vast strength and instantaneous healing abilities on humans, with one serious side effect: it turns its victims into bloodthirsty (literally) monsters. This door-stopper of a novel is such an homage to Stephen King's The Stand (in length as well as plot), along with Firestarter and even Salem's Lot, that it required some fact-checking to ascertain it was not written under a new King pseudonym. Expect a lot of interest in this title, as the publisher intends a massive publicity blitz, including national advertising, online promotions (including a special Web site and sweepstakes), and an author tour. Copyright 2010 Booklist Reviews.

BookPage Reviews 2010 June
Saving humanity's last hope

The vampire craze sweeping literature is not unlike the virus that decimates the world in Justin Cronin’s The Passage. Sure, there are isolated enclaves of holdouts, defending literature as they know it from the onslaught of supernatural beings, but most of the reading public seems to have developed an insatiable thirst for stories featuring the undead, from writers like Charlaine Harris and Stephenie Meyer.

A note to those who thought they were immune: I dare you to crack open The Passage and read page one. From the first sentence, Cronin’s epic establishes itself as something both equal to and greater than the supernatural suspense novels that have been eating up more and more bookshelf real estate since Elizabeth Kostova’s The Historian became a surprise bestseller in 2005. As Cronin says during a call to his home on the outskirts of Houston, “these are not your teenage daughter’s vampires.”

He’s right. Cronin’s vampires—which are more often called “virals,” “flyers,” “slims” or “smokes”—inspire fear, hate and confusion, but never love. Spawned from a virus in a failed government effort to engineer a supersoldier, these undead share a hive-mind mentality, an aversion to sunlight and a hunger for human blood. The virus is tested on 12 felons—and one abandoned six-year-old girl, Amy Harper Bellafonte. She alone survives the testing with her humanity intact (albeit with added strength, healing ability and longevity); the others escape and alternately hunt and infect the rest of the world.

“Most vampire stories are essentially stories of magic. The magic of my lifetime is science. So I decided to ground it in a scientific reality and see what would follow from that,” Cronin says. “The experiment that produces the great viral cataclysm is essentially an act of human greed—it’s trying to steal the future from your kids. The scientists who are seeking to engineer a virus that makes human beings so long-lived that they are essentially immortal have missed the true immortality that we possess, which is that the future we will not live to see is the future our children will live in.”

This act of hubris, and its devastating consequences, are meticulously detailed. The Passage takes its time setting up the characters and story to create a solid foundation for the strange future readers enter when, 93 years later, Amy—who now looks about 16—stumbles into one of the last human settlements after a viral attack. Her arrival comes at a bad time. Vampires are getting bolder, coming near the settlement’s walls even during the daylight hours. The aging batteries powering the city’s 24-hour lights—their best defense—have little juice left. Some of the citizens are having violent nightmares and coming down with a strange illness that causes them to go insane. A silent, mysterious girl makes a convenient scapegoat.

But Peter senses that Amy’s otherness is a good thing. When they discover a transmitter in her neck with GPS coordinates for a place in Colorado that is broadcasting the message “If you find her, bring her here,” Peter and a group of loyal friends set off on an incredible journey.

Suspenseful and surprising, The Passage is something of a departure for Cronin, a Harvard grad and English professor at Rice University whose previous works—The Summer Guest and Mary and O’Neil—were quiet literary successes.

The reception of The Passage, however, has been anything but quiet. Cronin’s agent submitted the partial manuscript and an outline for auction in 2007 under the pen name Jordan Ainsley, an intentionally gender-neutral name. “I didn’t want anybody to read this book and categorize it in any way in advance. And indeed what happened is people came to it with an open mind, which I think every book deserves,” Cronin says.

He got more than open minds: Ballantine bought the trilogy for a reported $3.75 million, and a movie deal with Ridley Scott followed. Pre-publication buzz has been tremendous, and Cronin has already met with booksellers and librarians like Nancy Pearl, something the “extremely social” author has enjoyed, though he says his life has not otherwise changed. “You write any book with the hope that it will do well enough that you are able to write more, and The Passage has done that for me—spectacularly. Still, you’ve got to write for love, and I wrote this book for love.”

He also wrote it for his daughter, Iris, now 13. When she was about to turn nine, she asked if she could ride her bike along with her dad when he went on his evening runs. Cronin agreed, but “it’s hot in Texas and you’ve gotta do something to pass the time.” So he suggested they come up with an idea for a novel, “with no expectations whatsoever. Maybe I was sort of introducing my kid to the family business.”

Iris had a stipulation: She wanted to plot a story about a girl who saves the world, “which seemed a little ambitious,” Cronin says with a laugh, “but OK. So for a period of weeks we went through the streets of my suburban Houston neighborhood tossing ideas back and forth, building a story, building characters. It was really just for fun, and it was tremendous fun.”

But it soon became more than that. “By the time the cold weather came and the bike went into the garage, I thought maybe I was on to something. I wrote an outline and was amazed at how much was there. And so I thought, OK, what the hell, let’s write the first chapter, give the book a voice, see how it feels. And it felt terrific.”

Which brings us back to the book’s incredible opening, which was the first part of The Passage that Cronin wrote. “That sentence told me it was going to have this global overview, this very large canvas, which is what I wanted, but it was always going to be an intimate story of people. Once I hammered that one into place, my fate was sealed: I was going to write it.”

Though Iris’ participation ended in 2006, she has now read the book. “It took her a day and a half, that’s the kind of kid she is—she probably read it faster than anyone in America. And she blessed it, which is what I wanted. Everything a man does in his life he does in some ways to impress a girl, and she was the girl I wanted to impress.”

Brimming with memorable characters, action and adventure, the book brings to mind classics like The Stand and the Lord of the Rings trilogy, and shows the deep understanding of humanity and literary skill that is also present in Cronin’s earlier works. Cronin says he dared himself to write “a book that rules out no reader,” and The Passage is definitely that.

“One of the things I wanted to do with this book, and the two that will follow, is to write every kind of story I ever loved,” he says. In addition to the post-apocalyptic setting and vampire element, The Passage is a road novel, a coming-of-age story, a thriller and even something of a romance. Last but not least, “it has a runaway train! Everything I think is great in a story, that nails me to my chair, it’s going to find its way into these three books,” promises Cronin, who has plotted out the entire series and is already deep into writing Volume Two, to be published in 2012.

What also finds its way into the story, and what perhaps draws readers to post-apocalyptic fiction, is the hope that humanity can survive even the worst trials. As Cronin explains, the characters in The Passage “live in constant and overwhelming danger, but they have a job, they have families, they form relationships, they have a sense of clan and kin. So the world as we know it has in some way continued. It’s at the brink, and there’s not much left, but it’s there.

“I wanted the reader to know that not all is lost. And then show, within the story, what was worth saving.”

Author photo © Gasper Tringale


An excerpt from The Passage:


Before she became The Girl from Nowhere—the One Who Walked In, The First and Last and Only, who lived a thousand years—she was just a little girl in Iowa, named Amy. Amy Harper Bellafonte.

The day Amy was born, her mother, Jeanette, was nineteen years old. Jeanette named her baby Amy for her own mother, who’d died when Jeanette was little, and gave her the middle name Harper for Harper Lee, the lady who’d written To Kill a Mockingbird, Jeanette’s favorite book—truth be told, the only book she’d made it all the way through in high school. She might have named her Scout, after the little girl in the story, because she wanted her little girl to grow up like that, tough and funny and wise, in a way that she, Jeannette, had never managed to be. But Scout was a name for a boy, and she didn’t want her daughter to have to go around her whole life explaining something like that.

Amy’s father was a man who came in one day to the restaurant where Jeanette had waited tables since she turned sixteen, a diner that everyone called the Box, because it looked like one: like a big chrome shoe-box sitting off the county road, backed by fields of corn and beans, nothing else around for miles except a self-serve car wash, the kind where you had to put coins into the machine and do all the work yourself. The man, whose name was Bill Reynolds, sold combines and harvesters, big things like that, and he was a sweet talker who told Jeanette as she poured his coffee and then later, again and again, how pretty she was, how he liked her coal-black hair and hazel eyes and slender wrists, said it all in a way that sounded like he meant it, not the way boys in school had, as if the words were just something that needed to get said along the way to her letting them do as they liked. He had a big car, a new Pontiac, with a dashboard that glowed like a spaceship and leather seats creamy as butter. She could have loved that man, she thought, really and truly loved him. But he stayed in town only a few days, and then went on his way.

Excerpted from The Passage by Justin Cronin

Copyright © 2010 by Justin Cronin. Excerpted by ­permission of Ballantine Group, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Copyright 2010 BookPage Reviews.

Kirkus Reviews 2010 April #1
Literary author Cronin (Mary and O'Neil, 2001, etc.) turns in an apocalyptic thriller in the spirit of Stephen King or Michael Crichton.You know times are weird when swarms of Bolivian bats swoop from the skies and kill humans--or, as one eyewitness reports of an unfortunate GI, off fighting the good fight against the drug lords, "they actually lifted him off his feet before they bored through him like hot knives through butter." Meanwhile, up north, in the very near future, gasoline prices are soaring and New Orleans has been hit by a second hurricane. Wouldn't you know it, but the world is broken, and mad science has something to do with it--in this instance, the kind of mad science that involves trying to engineer super-soldiers but that instead has created a devastating epidemic, with zombie flourishes--here called "virals"--and nods to Invasion of the Body Snatchers and pretty much every other creature feature. Bad feds and good guys alike race around, trying to keep the world safe for American democracy. In the end the real protector of civilization turns out to be a "little girl in Iowa," Amy Harper Bellafonte, who has been warehoused in a nunnery by her down-on-her-luck mother. Mom, a waitress with hidden resources of her own, pitches in, as does a world-weary FBI agent--is there any other kind? Thanks to Amy, smart though shy, the good guys prevail. Or so we think, but you probably don't want to go opening your door at night to find out.The young girl as heroine and role model is a nice touch. Otherwise a pretty ordinary production, with little that hasn't been seen before. Copyright Kirkus 2010 Kirkus/BPI Communications.All rights reserved.

Library Journal Reviews 2010 February #2
Challenged by his daughter to write the story of a little girl who saves the world, PEN/Hemingway award winner Cronin forsook his literary persona (but not his excellent style) to craft a high-end sf story. In an experiment gone awry, the subjects escape-including young Amy-and they all carry a deadly virus that nearly destroys humanity. Big stuff is expected, so be ready to buy extras. With a 15-city tour. (See "Spring Editors' Picks," p. 28.) Copyright 2010 Reed Business Information.

Library Journal Reviews 2010 April #1

A human-created virus has infected humankind, mutating most into superstrong, near-immortal vampiric creatures. The "virals"--also called "jumpers" and "dracs" (after Dracula, of course)--can leap 20 feet through the air at a bound and split a human (or a horse, or a cow) in half with their bare hands. A small band of men and women embark on a cross-country trek, looking for a way to protect the few remaining uninfected humans from extinction. With them travels an enigmatic prepubescent girl who talks to the virals with her mind and seems to have been born 100 years before. VERDICT The monsters in this compulsive nail biter are the scariest in fiction since Stephen King's vampires in Salem's Lot. Although the novel runs 700 pages, Cronin is a master at building tension, and he never wastes words. Shout it from the hills! This exceptional thriller should be one of the most popular novels this year and will draw in readers everywhere. [See a profile of Cronin in "Editors' Spring Picks," LJ 2/15/10; see also Prepub Alert, LJ 2/15/10; 15-city author tour.]--David Keymer, Modesto, CA

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Publishers Weekly Reviews 2010 March #4

Fans of vampire fiction who are bored by the endless hordes of sensitive, misunderstood Byronesque bloodsuckers will revel in Cronin's engrossingly horrific account of a post-apocalyptic America overrun by the gruesome reality behind the wish-fulfillment fantasies. When a secret project to create a super-soldier backfires, a virus leads to a plague of vampiric revenants that wipes out most of the population. One of the few bands of survivors is the Colony, a FEMA-established island of safety bunkered behind massive banks of lights that repel the "virals," or "dracs"--but a small group realizes that the aging technological defenses will soon fail. When members of the Colony find a young girl, Amy, living outside their enclave, they realize that Amy shares the virals' agelessness, but not the virals' mindless hunger, and they embark on a search to find answers to her condition. PEN/Hemingway Award-winner Cronin (The Summer Guest) uses a number of tropes that may be overly familiar to genre fans, but he manages to engage the reader with a sweeping epic style. The first of a proposed trilogy, it's already under development by director Ripley Scott and the subject of much publicity buzz (Retail Nation, Mar. 15). (June)

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