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
A smart and smart-alecky tale of technology put to bad ends by bad people..
Horror writer Tremblay shifts gears for a provocative exercise in postmodern SF.
Julia Flang is a young San Fernando Valley slacker unmotivated enough to do the Dude proud, and indeed The Big Lebowski is her favorite movie. It’s another old movie, though, that gives her the code name for the lucrative task her Big Tech mogul of an estranged mother assigns her: Weekend at Bernie’s. Julia’s Bernie is an employee who’s fallen into a coma and, now “mostly dead,” has been fitted with “proprietary technology” that can get him to a lab on the other side of the country; Julia, a pro-level video gamer, has just the joystick chops to steer him, zombielike, via remote control, through airports and down city streets. A shroud of secrecy and paranoia surrounds Bernie, and for good reason: A journalist who waylays Julia raises the prospect that while Bernie—who has a real name, as Julia learns—may prove an interesting case study in the workings of consciousness, it’s also entirely possible that the corporation has more nefarious designs (“Is it a huge leap,” our journalist asks, “to think weapons contractors wouldn’t be dreaming about remote-control soldiers?”). Though Julia is given to falling back on bits of Coen brothers dialogue—“Lotta strands to keep in old Duder’s head”—in times of stress, she’s not without inner resources. Neither, it turns out, is Bernie, who, while not exactly having a mind of his own, “a robot wearing the permeable armor of failing human flesh,” certainly proves a package that’s hard to handle. It all makes for an entertaining shaggy dog, or maybe shaggy sheep, tale, though it won’t come as a surprise that Tremblay ends it all on a nicely gory note.
A smart and smart-alecky tale of technology put to bad ends by bad people..Pub Date: June 30, 2026
ISBN: 9780063398467
Page Count: 336
Publisher: Morrow/HarperCollins
Review Posted Online: May 18, 2026
Kirkus Reviews Issue: June 15, 2026
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
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