From Publishers Weekly
A taut thriller that slyly plays off the real-world mania for imaginary ones like that of Harry Potter, Carey's new series undercuts the mythology of such all-pervasive media-hyped creations while at the same time hinting at a brilliantly imagined one of its own. Tom Taylor is the son of Wilson Taylor and the unwilling namesake of the protagonist in his dad's wildly popular 13-book fantasy series. The Tommy Taylor cottage industry of movies, video games, and geek-ridden conventions is given an extra dash of drama by Wilson's having mysteriously disappeared years before, leaving a cynical Tom (who inherited none of his millions) to eke out a grubby living at paid appearances. Carey's story (solidly illustrated by Gross) picks up speed fast when Tom realizes some elements of Wilson's stories might not be made up. By the time the first story is done, Carey has not only created a brisk and addictive story, sketched with crafty allusions to classic literature, but also neatly subverted the celebrity-worship manias of fantasy fandom and questioned the very nature of storytelling itself. (Jan.)
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Tom Taylor makes a respectable celebrity living as the presumed former model for the boy hero of his father Wilson’s 13 fantasy novels, which enjoy a Harry Potterish fandom. He’d as soon not be so identified with the character, though, especially when fans insist he must still possess his fictional doppelgänger’s magic. When it’s announced that he isn’t Wilson Taylor’s biological child, after all, any relief he might get is complicated by having to dodge lynch mobs of former worshipers. Then, when he survives, unscathed, a would-be murder-by-bomb, the tables of his public identity resume their original setting. So he absconds to the Villa Diodati in Switzerland, where Mary Shelley dreamed up Frankenstein and he lived until his father’s disappearance when Tom was 12. Thereafter, things get very interesting, indeed. Appending an explanatory flashback featuring Rudyard Kipling, scripter Carey and artist Gross confidently launch The Unwritten with a first arc that boasts the most breathtaking gut-punch ending since that of The Fugue (2008), the dumbfounding first arc of Michael Alan Nelson’s unpredictable Fall of Cthulhu. --Ray Olson