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The Twelve (Passage), by Justin Cronin
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NEW YORK TIMES BESTSELLER • Look for a special preview of Justin Cronin’s The City of Mirrors in the back of the book.
The end of the world was only the beginning.
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In his internationally bestselling and critically acclaimed novel The Passage, Justin Cronin constructed an unforgettable world transformed by a government experiment gone horribly wrong. Now the scope widens and the intensity deepens as the epic story surges forward with . . .
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THE TWELVE
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In the present day, as the man-made apocalypse unfolds, three strangers navigate the chaos. Lila, a doctor and an expectant mother, is so shattered by the spread of violence and infection that she continues to plan for her child’s arrival even as society dissolves around her. Kittridge, known to the world as “Last Stand in Denver,” has been forced to flee his stronghold and is now on the road, dodging the infected, armed but alone and well aware that a tank of gas will get him only so far. April is a teenager fighting to guide her little brother safely through a landscape of death and ruin. These three will learn that they have not been fully abandoned—and that in connection lies hope, even on the darkest of nights.
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One hundred years in the future, Amy and the others fight on for humankind’s salvation . . . unaware that the rules have changed. The enemy has evolved, and a dark new order has arisen with a vision of the future infinitely more horrifying than man’s extinction. If the Twelve are to fall, one of those united to vanquish them will have to pay the ultimate price.
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A heart-stopping thriller rendered with masterful literary skill, The Twelve is a grand and gripping tale of sacrifice and survival.
Praise for The Twelve
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“[A] literary superthriller.”—The New York Times Book Review
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“An undeniable and compelling epic . . . a complex narrative of flight and forgiveness, of great suffering and staggering loss, of terrible betrayals and incredible hope.”—Milwaukee Journal Sentinel
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“The Twelve is even better than The Passage.”—The Plain Dealer
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“A compulsive read.”—San Francisco Chronicle
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“Gripping . . . Cronin [introduces] eerie new elements to his masterful mythology. . . . Enthralling, emotional and entertaining.”—The San Diego Union-Tribune
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“Fine storytelling.”—Associated Press
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“Cronin is one of those rare authors who works on two different levels, blending elegantly crafted literary fiction with cliff-hanging thrills.”—Fort Worth Star-Telegram
- Sales Rank: #288122 in Books
- Brand: Ballantine Books
- Published on: 2013-07-30
- Released on: 2013-07-30
- Original language: English
- Number of items: 1
- Dimensions: 7.48" h x 1.44" w x 4.17" l, .77 pounds
- Binding: Mass Market Paperback
- 624 pages
Features
Amazon.com Review
An Exclusive Essay by Author Justin Cronin
Readers often ask where I get my ideas. The better question would be: Where don’t I?
Many people know that The Passage was born from a challenge laid down by my eight-year-old daughter to write the story of “a girl who saves the world.” This wasn’t exactly what I wanted to hear—it seemed a trifle ambitious—but a dare is a dare. For the next three months she joined me on my daily jog, following along on her bicycle, while the two of us hashed out the plot. As the weeks passed, I realized we were onto something much better than the book I was supposed to be writing. I put that book aside, wrote the first chapter of The Passage, and never looked back.
So don’t ever think you shouldn’t listen to your kids.
But my daughter’s challenge wasn’t the only inspiration. When I write a novel, my goal is to put absolutely everything I have into its pages, right down to the interesting thing that happened yesterday. I know I’m done when my mind feels as empty as a leaky bucket. So many influences, real and imagined, went into The Passage that I couldn’t list them if I tried. But one memory that stands out is the night my family and I tried to flee Houston in advance of hurricane Rita. Apparently, about a million other people had the same idea. After five hours on the road, we’d made it all of sixty miles. The highways were clogged with cars that had long since run out of gas; every minimart and gas station had been picked clean. I jumped the median and made it home in a little under an hour, my gas gauge floating just above ‘E’.
Rita missed Houston, slamming into a less-inhabited section of Texas and Louisiana coastline. But the experience of being in a large urban evacuation, with its feeling of barely-bottled panic, was one I’ll never forget, and is everywhere in the pages of The Passage.
So where did The Twelve come from?
Again, many places. But if I had to pick one source, it would be the strong women in my life. No bones about it: Gentlemen, if you doubt for a second that women are tougher than we are, go watch one have a baby. So here you have Alicia, the woman warrior with her blades and crossbow; here you have Amy, the spiritual leader and visionary; here you have one of my favorite new characters, Lore DeVeer, whose mechanical savvy is matched only by her unbridled sensuality; here you have a fourth woman (sorry, can’t tell you who) whose maternal strength is as powerful as any great spectacle of nature. As I wrote The Twelve, I came to understand that these powerful characters were the backbone of the tale. Even more, they are a tribute to all the amazing women I am privileged to know, befriend, and in one very lucky instance, marry.
Hope you enjoy The Twelve. All eyes.
Review
“[A] literary superthriller.”—The New York Times Book Review
�
“An undeniable and compelling epic . . . a complex narrative of flight and forgiveness, of great suffering and staggering loss, of terrible betrayals and incredible hope.”—Milwaukee Journal Sentinel
�
“The Twelve is even better than The Passage.”—The Plain Dealer
�
“A compulsive read.”—San Francisco Chronicle
�
“Gripping . . . Cronin [introduces] eerie new elements to his masterful mythology. . . . Enthralling, emotional and entertaining.”—The San Diego Union-Tribune
�
“Fine storytelling.”—Associated Press
�
“Cronin is one of those rare authors who works on two different levels, blending elegantly crafted literary fiction with cliff-hanging thrills.”—Fort Worth Star-Telegram
From the Hardcover edition.
About the Author
Justin Cronin is the author of The Passage, Mary and O’Neil (which won the PEN/Hemingway Award and the Stephen Crane Prize), and The Summer Guest. A Distinguished Faculty Fellow at Rice University, he divides his time between Houston, Texas, and Cape Cod, Massachusetts.
From the Hardcover edition.
Most helpful customer reviews
429 of 493 people found the following review helpful.
"All eyes."
By "switterbug" Betsey Van Horn
THE TWELVE, which is the second book of Cronin's towering trilogy, can be read as a complete book, whereas the first book stopped abruptly, like a gasp. However, I urge you to read THE PASSAGE first, because the epic as a whole is a finely calibrated accretion of history, plot and character. The Twelve refers to the twelve "parent" or original virals, the death-row-inmate subjects-turned-virals from "Project Noah," who must be liquidated in order to save the world. The thrust of this book is the hunt of the twelve by Amy, Alicia, Peter, and company.
"All eyes." Two words commonly spoken by the First Colony Watchers, starting in Book one--survivors of the end of the world as we know it. I shiver when I read it now, this sober siren call of fellowship to signal strength and vision, to defeat the virals. It carries an additional, deep and tacit message now--that I honor you, comrade (lover, brother, father, mother, friend, sister, soldier, daughter)--go bravely and stay safe. And keep your eyes forward, against the last remaining light of the day.
Cronin's weighty trilogy, a hybrid of mainstream and literary fiction, isn't just a story about these photophobic vampiric virals, identified variously as dracs, smokes, flyers, jumps, and glowsticks. Rather, it is a portrait of humanity in extremis. Virals, caused by a military experiment gone awry, are a malignant, violent force of annihilation. But what reserves of strength keep us fighting? How do people live in a post-apocalyptic world? Is another end coming? Or a beginning? Is the world even worth saving? THE TWELVE, like THE PASSAGE, has as much anthropology, eschatology, psychology, and philosophy, as it does gore, battle and horror.
Cronin's tilted, unconventional structure has an elegant, understated, and circular pull and propulsion, muted at times, roaring at others. He periodically pauses in the progress of the plot for his intense and luminous miniatures--mystical, sensory flights of prose and backstory elaboration, (although briefer in THE TWELVE), which deepen the intricate plot strands as well as create a vivid landscape, emotionally and physically. Gradually, he braids it all together.
The trilogy isn't linear, but it is, ultimately, progressive. THE TWELVE starts back at year zero (the viral outbreak), providing new characters and expanding on previous ones, as it steadily brings us back to the present, approximately 97 A.V. (After Virus), five years after the end of THE PASSAGE. Peppered here and there are the terse, abstract texts dated 1003 A.V. And, yes, the cliffhanger ending of the first book, as well as all strands, are eventually returned to and understood. The author is in control of his sublime, colossal narrative.
Cronin traveled every mile in the book for his research, and it shows. His sense of place is so atmospheric and sensuous, alive and turbulent, that geography is a character in itself. From the benevolent but arch company of assembled defense forces in Kerrville, Texas; to a terrifying, totalitarian-ruled labor camp in Iowa; and to a handful of scrappy iconoclasts that roam from place to place, the author's conception of a fractured world flashes and flickers with billion-kilowatt energy in every setting.
Cronin's complex character development equals any realistic literary novel. Amy, Alicia and Peter (and others) continue to evolve, although Peter, admittedly, was more of a placeholder in THE TWELVE, notwithstanding a few valorous confrontations with virals. There's no doubt in my mind that he will figure largely in the final book, now that Amy's character has expanded in surprising, startling, and inevitable ways. He and Amy are bound, as was determined in THE PASSAGE. However, as Amy is more revealed, Alicia becomes more eerie and enigmatic, and discovers an unpredictable and, well, animate love. You also unexpectedly learn more about her ancestors.
But wait until you meet Guilder, and reconnect with Lila (Wolgast's ex-wife); the pages nearly howl with the portrayal of these two characters. From their skin and viscera to their organs and bowels, I have rarely encountered anyone comparable to Lila and Guilder in a horror or dystopian novel. And there are numerous and brilliant secondary characters, such as Carter, the twelfth original viral, that are graphic and memorable. Greer, from the first book, is now a military prisoner and seer. Grey, a sweeper from the first book, finds an opportunity to amend for his past sins, but it doesn't quite work out the way he planned. Also three-dimensional are the virals, a ripe and sentient life force of consummate destruction. And, there are some new developments in store regarding viral species transformation.
The final book, THE CITY OF MIRRORS, is due for release in 2014. The title is a terrific tease, but I believe I possess the prescience to interpret its significance. It gives me a soulful, excited feeling. I know what it means, where this is headed, and that makes it triply electrifying.
102 of 116 people found the following review helpful.
Not EPIC so much as SPRAWLING
By Duran A. Valdez
I liked this book, but it was hard to love it.
For starters, the characterization is pretty weak. Major characters like Peter don't appear until late into the book, and even then they have nothing to do until the story's climax. Amy seems to wander in and out of the book and almost all the major changes that happen to her are physical--other than numerous chapters devoted to her remembering Wolfgast lovingly and some vague references to her maturing there's not a lot that is made clear about her internal state of mind. Besides this, there are numerous characters added to the story that just don't get enough page time to really flesh them out--Tifty Lamont, I'm looking at you. Possibly the best developed characters are Guilder, Sarah, and Lila--however, even they needed more time and attention. Lila, who is wonderfully fleshed out as a character who cannot cope with reality, has a huge change in character in the final chapters of the book. This transformation never felt earned or believable--it was as though Cronin needed to tie up some loose ends and having her instantly come back to sanity was way too pat on his part.
Secondly, the plot is convoluted and lacks focus. The Passage had the characters joined together on a quest to travel eastward. That's simple, but rewarding enough. The Twelve has the characters scattered about, with no clear mission. And again the novel begins with Cronin deciding to the story of year zero, but from new perspectives. The problem with this decision is that a lot the characters he introduces have no real bearing on the rest of the novel. Characters like Wolfgast were necessary in the last book since their POV not only showed humanity's collapse, but because his relationship to Amy defines her as a person throughout that book in the second. In The Twelve we learn about bus drivers and characters who fathered other characters--but who cares? Only a handful play a role in the rest of the book--devoting time to them makes sense. The other characters are pointless.
Thirdly, I just felt like the villains had no clear motivation, which made it hard for me to feel invested in the story. Guilder, for example, becomes steadily more evil, but I couldn't tell whether he was working with the vamps or as a third party until very late in the story. And I didn't know what The Twelve were trying to accomplish. Sure, in the last book, their motivations were pretty simplistic (kill all humans and drink their blood) but at least that was concrete. In The Twelve these demi-god vampires seem to do things just because they do things. They move from their lairs because ... well, just because. They go to the city just ... because. Some of the characters try to guess at their motives, but it's never confirmed, and that made the novel a lot less interesting than The Passage.
Oh, and finally, it drove me nuts how EVERYONE in this story is somehow related to another character in a way that's meant to be a surprise. The first few times Cronin does this it's cute. Oh, so that guy is related to Alicia! Interesting! And hey, that lady is so and so's wife! But after like ... THE FIFTEENTH time this trick was used it became pretty lame.
110 of 131 people found the following review helpful.
Mixed bag
By Beatrix Potter
I highly recommend that you re-read the first book, The Passage, immediately before you read The Twelve. I read The Passage last year and with this book I found myself frequently lost and confused, sometimes resorting to google to try and piece things together. The experience reminded me of reading the Game of Thrones series--there were so many story lines and trying to follow even the old ones was difficult enough. In this book, there are a couple of new storylines that just POOF, disappeared. I will assume that they pick up in the last installment but it was especially distracting to get caught up in something that went nowhere and I likely won't remember when the next one comes out. There were also some terms that didn't seem to be explained or defined that had me reading, re-reading, re-reading. I like the plot and the story arc and I think (emphasis-THINK) I understood how it ended but I wouldn't swear to it. The story I'd give a 5. The flow/writing drags it down to a 3.
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