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Overview: Brian Herbert is the author of multiple New York Times bestsellers. He has won a number of literary honors including the New York Times Notable Book Award, and has been nominated for the highest awards in science fiction. After more than five years in development, he published Dreamer of Dune, a moving biography of his father (Frank Herbert) that was a Hugo Award finalist. His acclaimed novels include the Timeweb trilogy (Timeweb, The Web and the Stars, and Webdancers); The Stolen Gospels; The Lost Apostles; The Race for God; Sidney’s Comet; Sudanna, Sudanna; and Man of Two Worlds (written with Frank Herbert).
Genre: Fiction > Sci-Fi/Fantasy
1. Timeweb
Brian Herbert creates a universe of wondrous possibilities that is populated by sentient spaceships, shapeshifters, intriguing robots, and miniature aliens with mysterious powers. Humanity has become a mercantile society that has spread throughout the galaxy, ruled by wealthy merchant princes who live in decadent splendor-entirely unaware of another realm just beneath the fabric of the universe. When galactic ecologist Noah Watanabe discovers the cause of a strange, cosmic disintegration, he embarks on an epic journey to restore the ancient balance to the crumbling galaxy. Noah must work with warring, alien races to unlock the secrets to a vast celestial puzzle.
2. The Web and the Stars
In the sequel to Timeweb (2006), bestseller Herbert (Sandworms of Dune) offers readers a space opera where interstellar travel is mostly embargoed and characters spend over a third of the book in solitary self-reflection. When the alien Parvii cut two empires off from the podship networks, the Parvii derail a war between humankind and the shape-shifting Mutati and forcibly separate many members of Herbert’s large cast. Frequent viewpoint shifts and lengthy stretches of internal monologue make character development all but impossible. Neither guerrilla mystic Noah Watanabe nor his nemesis, Doge Lorenzo, are more than cartoon archetypes, and hardly anyone else has enough time onstage to acquire much depth. The short chapters also create an odd tonal dissonance, with heavy-handed philosophical musing regularly interrupted by crisp plot newsbreaks. Pacing improves somewhat in the book’s second half (a grisly torture sequence marks the turning point), but in the end, ideas are spread too thin and most characters drawn too broadly to lift the novel above pulp-era comic strip quality.
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