Monday, March 21, 2016

Into Autumn

An economic catastrophe triggers riots that escalate into the total collapse of civilization.  The power grid fails and communication systems vanish.  Looting and mayhem drive Eileen from the city.  Without a plan she drives into the unknown.  Somewhere in an empty forest in the south of Texas she is forced to abandon her car and walks for three days suffering from exposure and hunger.  Near death she stumbles onto the home of Lars, a survivalist who shunned the modern world long before the demise of civilization.  Their mutual needs bind them together, and over time they grow to be a devoted couple thriving is a world where every intruder is a deadly enemy.  In a world of kill or be killed, people are forced to make murderous decisions.

Into Autumn is a morality play with a strong lesson on survivalists’ skills.  It is also a story plagued by a few problems, namely minutia, a dearth of pronouns and repetition.  Every second of every day is described in painful detail with the character names repeated over and over again.  And do they ever drink tea!  If I never hear about tea again, it will be too soon.  Nothing can be said without someone agreeing to it, and every event terminates with a big hug and a kiss.  In some scenes every paragraph ends with a big hug and a kiss.  Into Autumn is fundamentally a good story that gives the reader much to ponder about human nature, it is however, told—and not shown—on a deeply troubled platform.

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