THE WAVE

The apparent resurrection of his dead father is only the beginning of an unemployed system administrator’s fantastic confrontation with forces that could change the destiny of the planet.

It begins with a series of crank calls from someone claiming to be Errol Porter’s father, dead and buried since 1996. What’s unnerving is that although the caller sounds increasingly like Arthur Bontemps Porter III and seems to know things only Errol’s dad could know, he looks, when Errol meets him face to face, like a much younger man. Errol wonders just what this unearthly visitation foretells. Is the man Errol dubs “Good Times,” or “GT,” a ghost, a reincarnation or a fake? None of the above, says Dr. David Wheeler, a physician who’s become a high-ranking officer in the U.S. Army. Under the auspices of Homeland Security, Wheeler pulls Errol in and imprisons him in his own home, where his wife uses Errol for sex as Wheeler looks for ways to deal with what he’s convinced is a massive invasion of parasitic “demons from hell” who assume human form with the aim of colonizing the earth and reducing humans to helpless hosts. Whom can Errol trust, the federal government or an impossible version of his father? As the stakes continue to rise, the carefully controlled emotional conflicts Mosley (Cinnamon Kiss, 2005, etc.) has woven begin to scatter like fragments of an exploding star.

Even so, Mosley’s third foray into sci-fi (Futureland, 2001, etc.) is as provocative and deeply felt as ever, right down to the enigmatic ending.