Killer apps outnumber the glitches in 20 short, bracing narratives of cyberpunk sci-fi.
An anthology of cyberpunk short fiction takes readers to a malleable world where advanced data technology and human interfaces create shifting realities, altered perceptions, and para-human intelligence.
There used to be a defiant rock-music catchphrase, “Punk’s not dead.” This anthology seeks to prove that cyberpunk’s not dead. The software and silicon-age subgenre of sci-fi, typified by direct interfaces between humans and data technology (be it cyborgs or virtual reality), burst onto the literary scene in the computer-hacktastic 1980s. But the once-buzzworthy trend was declared tiresome and defunct by its own godfather, William Gibson, only about a dozen years later. In his introduction here, Richard Kardrey sagely points out that if vinyl records and paper-making could make a comeback concurrent with tablet PCs and “Second Life,” then why not androids in the age of Android? These 20 compact stories exhibit the genre in its future-shock glory, as though Max Headroom never got canceled or Prodigy never went offline. The theme of body modification—especially the arbitrary, bewildering, and often desperate switching of genders—has particularly aged well (as in “WYSIOMG” by Alvaro Zinos-Amaro). The inherent multiculturalism of cyberpunk (telecommunications and powerful multinational corporations turning the world into a scaled-down global village) means many of the stories embrace diverse locales and beliefs. These include tales set piquantly amid the culture of war-distorted, futuristic Islam, where Allah possibly speaks through a veteran’s neural implant (“The Faithful Soldier, Prompted” by Saladin Ahmed); superpower-exploited Thailand, where nanotech is poised to execute the have-nots’ bitter revenge on the haves (“The Bees of Kiribati” by Warren Hammond); or denuded Nigeria, where biomechanical life forms are replacing humanity (“The Ibex on the Day of Extinction,” by Minister Faust). Many of the tales in this anthology, edited by Viola (Nightmares Unhinged: Twenty Tales of Terror, 2015) and Heller, are told in the first-person. As a result, they show off an argot of rich (if overused) cyberslang: “meatspace,” jokey Lord of the Rings references, and lines from Blade Runner. What may have changed since the 8088-processor days is that hardly anyone relies on “jacking in” to describe entering a virtual reality/online consciousness. “Diving in” seems to be the 2.0 version.
Killer apps outnumber the glitches in 20 short, bracing narratives of cyberpunk sci-fi.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Hex Publishers
Review Posted Online: June 20, 2016
Kirkus Reviews Issue: Aug. 1, 2016
Review Program: Kirkus Indie
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
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