A bracing blast of neo-cyberpunk with some smart tweaks to the operating system.
In a future Germany of wet-wired hackers and tech-enhanced para-humans, a woman awakens from an induced sleep to find her personality transplanted into another body—and, worse, that she’s accused of murder.
Dubbed “ecopunk” by Price, this SF thriller takes place in a blighted future Germany following mass extinctions and water shortages. While healing the planet’s shattered climate is supposedly an overwhelming priority, to desperate, ordinary Berliners, such as Mara Kinzig, the carbon obsession has become weaponry by which the Big Five corporate entities and their minions dominate and oppress. For women, things have grown worse after medical mad-science made a breakthrough with the “Seahorse programme,” enabling men to conceive and deliver genetically flawless offspring in well under nine months—meaning less fuss and less wasted carbon. Unemployed and derided as an “obsol,” Mara submits to an exploitive “dreamtech” process meant to mine and sell brain waves while she sleeps. But she wakes beside the incriminating corpse of a man from the powerful executive business caste. Worse, the body in which Mara awakens is not her own—courtesy of a full neural-personality transplant technique available only to the most elite. An instant fugitive from deadly law enforcement automatons who want her for murder, Mara (or whoever she is now) seeks sanctuary and hunts for answers among the rebels and underground-resistance misfits who trust neither her story nor her scrambled identity. Readers will find an instant echo of the invigorating cyberpunk territory famously birthed by visionary SF author William Gibson—and, not long after, written off by the novelist himself as a genre past its expiration date. But Price reboots the familiar noir scenarios of greedy multinationals, hero hackers, and freakishly augmented adventurers, upgrading the software with piquant bytes of green politics run amok and the unholy intersections of capitalism, recession, and transhumanism. The prose is bullet-point sharp and rich in future-speak street argot (“Lightwalls are feeding them all kinds of ads for biomed and dreamtech schemes. Carbon out your eyes if you survive the biomed ones”). If the author does not reach Margaret Atwood’s high level in envisioning a nightmare technocracy seemingly eradicating the female gender on a claim that it’s good for the environment, that stinger in the cyber-scorpion’s tail still makes for just one more piece of fitting bad news in Price’s well-conceived dystopia.
A bracing blast of neo-cyberpunk with some smart tweaks to the operating system.Pub Date: Jan. 6, 2021
ISBN: N/A
Page Count: 289
Publisher: Black Rose Writing
Review Posted Online: March 24, 2021
Kirkus Reviews Issue: May 15, 2021
Review Program: Kirkus Indie
PERSPECTIVES
Vintage King: a pleasure for his many fans and not a bad place to start if you’re new to him.
The master of supernatural disaster returns with four horror-laced novellas.
The protagonist of the title story, Holly Gibney, is by King’s own admission one of his most beloved characters, a “quirky walk-on” who quickly found herself at the center of some very unpleasant goings-on in End of Watch, Mr. Mercedes, and The Outsider. The insect-licious proceedings of the last are revisited, most yuckily, while some of King’s favorite conceits turn up: What happens if the dead are never really dead but instead show up generation after generation, occupying different bodies but most certainly exercising their same old mean-spirited voodoo? It won’t please TV journalists to know that the shape-shifting bad guys in that title story just happen to be on-the-ground reporters who turn up at very ugly disasters—and even cause them, albeit many decades apart. Think Jack Torrance in that photo at the end of The Shining, and you’ve got the general idea. “Only a coincidence, Holly thinks, but a chill shivers through her just the same,” King writes, “and once again she thinks of how there may be forces in this world moving people as they will, like men (and women) on a chessboard.” In the careful-what-you-wish-for department, Rat is one of those meta-referential things King enjoys: There are the usual hallucinatory doings, a destiny-altering rodent, and of course a writer protagonist who makes a deal with the devil for success that he thinks will outsmart the fates. No such luck, of course. Perhaps the most troubling story is the first, which may cause iPhone owners to rethink their purchases. King has gone a far piece from the killer clowns and vampires of old, with his monsters and monstrosities taking on far more quotidian forms—which makes them all the scarier.
Vintage King: a pleasure for his many fans and not a bad place to start if you’re new to him.Pub Date: April 20, 2020
ISBN: 978-1-9821-3797-7
Page Count: 448
Publisher: Scribner
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
SEEN & HEARD
SEEN & HEARD
PERSPECTIVES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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