It is called zero point energy, and it really exists--a state of energy contained in all matter everywhere, and thus all but unlimited. Nobody has ever found a way to tap into it, however--until one scientist discovers a way. Read more...
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The dazzling new novel in the #1 "New York Times"-bestselling series from the grand master of adventure.
It is called zero point energy, and it really exists--a state of energy contained in all matter everywhere, and thus all but unlimited. Nobody has ever found a way to tap into it, however--until one scientist discovers a way.
Or at least he thinks he has. The problem is, his machines also cause great earthquakes, even fissures in tectonic plates. One machine is buried deep underground; the other is submerged in a vast ocean trench. If Kurt Austin and Joe Zavala and the rest of the NUMA team aren't able to find and destroy them, and soon, the world will be on the threshold of a new era of earth tremors and unchecked volcanism.
Now, that can't be good.
- ISBN-13: 9781611761689
- ISBN-10: 1611761689
- Publisher: Penguin Audiobooks
- Publish Date: May 2013
- Page Count: 9
- Reading Level: Ages 18-UP
Series: NUMA Files
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2013-09-02
- Reviewer: Staff
This latest NUMA adventure from Cussler and Brown features the heroic members of the National Underwater and Marine Agency—Kurt Austin, Dirk Pitt, Joe Zavala, et al.—battling yet another madman who hopes to conquer the world. But crazed scientist Maxmillian Thero’s weapon is unique: it uses of zero-point energy to create machines capable of causing continent-shattering earthquakes. Narrator Scott Brick is skilled at creating accents—a much-needed talent considering that Thero has marked both Australia and Russia as his main targets. Brick treats the book’s Aussies, male and female, to a credible, near musical twang. His Russian accents are solid, especially the voice he uses for an oddly likeable Moscow assassin. When it comes to most of the NUMA world-savers, Austin and Pitt included, Brick uses an all-purpose, broadcast-quality stalwart tone, though the down-to-earth Zavala’s comments have an added touch of Brooklyn sarcasm. It’s the voice of Thero that presents the biggest challenge. The authors describe it as being the result of vocal chords damaged in an intense fire that nearly killed the man and drove him mad. Brick’s croak is so effectively garbled and strained one hopes he has his own award-winning voice properly insured against misuse. A Putnam hardcover. (May)