A truly visionary techno-thriller that not only depicts how we might live tomorrow, but asks why we don’t already.

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WALKAWAY

Doctorow (Information Doesn’t Want to Be Free, 2014, etc.) offers a counterintuitive alternate (possible?) future in this gritty yet hopeful sci-fi epic.

Inspired by Rebecca Solnit’s A Paradise Built in Hell (2009), Doctorow offers meticulous worldbuilding and philosophizing about how the world just around the corner might be. In an age of makers, 3-D printers, mobile fabricators, and endless food sources, the book asks what life would be like—or should be like—in a post-scarcity, post-employment world. The short answer is the rich have gotten insanely richer and everyone else has chucked it—walking away from society to live communally in environmentally gutted rural areas and dead cities. Our entry into this new societal framework is multinamed Hubert, known as Hubert, Etc., his pal Seth, and their new friend Natalie Redwater, the daughter of a member of the 1 percent. In the wilds of Canada, they fall in with a tech-savvy barkeep, Limpopo, who explains the precarious, money-less walkaway culture to the newbies: “In theory, it’s bullshit. This stuff only works in practice.” It’s a world where identity, sexuality, and perception are all fluid, enlivened by fiercely intellectual debates and the eternal human collisions that draw people together. Visually and culturally, it’s also a phantasmagorical scene with beer made from ditch water, tactical drone fleets, and the occasional zeppelin or mech—all technology that exists today. The tense situation escalates when the walkaways discover a way to scan and preserve consciousness online—if the body is gone, does perception remain? What threat might a tribe of immortal iconoclasts present to their capitalist overlords? Much of the novel focuses on Natalie (now “Iceweasel”), who is kidnapped by her father’s mercenaries. Doctorow sticks the landing with a multigenerational saga that extends this tale of the “first days of a better nation” to a thrilling and unexpected finale.

A truly visionary techno-thriller that not only depicts how we might live tomorrow, but asks why we don’t already.

Pub Date: April 25, 2017

ISBN: 978-0-7653-9276-3

Page Count: 384

Publisher: Tor

Review Posted Online: Dec. 27, 2016

Kirkus Reviews Issue: Jan. 15, 2017

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A kicky, kinky, wildly inventive 21st-century mashup with franker language and a higher body count than Hamlet.

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SHAKESPEARE FOR SQUIRRELS

Manic parodist Moore, fresh off a season in 1947 San Francisco (Noir, 2018), returns with a rare gift for Shakespeare fans who think A Midsummer Night’s Dream would be perfect if only it were a little more madcap.

Cast adrift by pirates together with his apprentice, halfwit giant Drool, and Jeff, his barely less intelligent monkey, Pocket of Dog Snogging upon Ouze, jester to the late King Lear, washes ashore in Shakespeare’s Athens, where Cobweb, a squirrel by day and fairy by night, takes him under her wing and other parts. Soon after he encounters Robin Goodfellow (the Puck), jester to shadow king Oberon, and Nick Bottom and the other clueless mechanicals rehearsing Pyramus and Thisby in a nearby forest before they present it in celebration of the wedding of Theseus, Duke of Athens, to Hippolyta, the captive Amazon queen who’s captured his heart, Pocket (The Serpent of Venice, 2014, etc.) finds Robin fatally shot by an arrow. Suspected briefly of the murder himself, he’s commissioned, first by Hippolyta, then by the unwitting Theseus, to identify the Puck’s killer. Oh, and Egeus, the Duke’s steward, wants him to find and execute Lysander, who’s run off with Egeus’ daughter, Hermia, instead of marrying Helena, who’s in love with Demetrius. As English majors can attest, a remarkable amount of this madness can already be found in Shakespeare’s play. Moore’s contribution is to amp up the couplings, bawdy language, violence, and metatextual analogies between the royals, the fairies, the mechanicals, his own interloping hero, and any number of other plays by the Bard.

A kicky, kinky, wildly inventive 21st-century mashup with franker language and a higher body count than Hamlet.

Pub Date: May 12, 2020

ISBN: 978-0-06-243402-9

Page Count: 288

Publisher: Morrow/HarperCollins

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some white people prefer to treat them as interlopers. It's no accident that the only white avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, white people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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