Social media improves a dystopian future (ugh, right?) in this provocative, cyberpunk series.
Debut author Infantino launches his cli-fi series in a post-apocalyptic U.S.
Infantino sets his Wakeful Wanderer series on an Earth devastated by catastrophic climate change. Rising sea levels caused a “Great Tide,” a doomsday event that sent North America into anarchy. The poor and self-righteously angry hunted and killed the wealthy in a murder spree known as “The Vengeance.” Many of those same mobs (and some surviving dynasties) filled the power gap, ruling regions in a feudal style. An exception to the force and brutality is the “Interconnected,” high-tech humans with neural implants that link their minds at all times. Cooperative, altruistic, and empathetic, the Interconnected control sections of America’s Northeastern seaboard, especially from Boston to Tarrytown, although, thanks to their mass consciousness, they rarely need to travel. Uniting the post-apocalyptic communities, in the manner of the vagabond hero of David Brin’s The Postman (1985), is “Wakeful Wanderer” Marto Boxster. A travel blogger of sorts, Marto beams his prose directly to minds of followers as he explores neurolinked and technophobic settlements. An orphan Interconnected who considers his work a return to old-style journalism, he “writes” (and thinks directly to others, an art known as “thexting”) of his travels via motorized unicycle throughout the territories. Countless online/interactive followers learn one another’s cultures and histories through him. But the Interconnected have enemies in the form of lingering Vengeance gangs and jealous Luddite technophobes whose throwback conservative philosophies condemn these new post-humans as “xombie” abominations. Marto, while on the road, discovers discomfiting truths about himself and his origins during a conspiracy to attack the upgraded folk and return the U.S. (or what’s left of it) to “traditional” values of rule by money, violence, and slavery.
Infantino is an established musician, though only late in the narrative does he start dropping album names and song titles. Instead of this being a singer/songwriter’s dreaded side gig, the book is solid speculative fiction about transhumanist and climate issues, though by no means is it the first near-future novel to foresee a society dominated by social media (the term is never used, by the way). Via Marto and other characters, the author ruminates on the Interconnected’s progressive system of political and social economy based on “Merits” (think “likes” brought to its ultimate fulfillment) and paying it forward. The author’s evaluation of this seemingly idyllic, peaceable coexistence among those whose lives are improved by cybertechnology isn’t exactly a full endorsement of better living through science, although the bad guys enact their sinister scheme before the debates with Marto reach any sort of conclusion. Still, it’s fair to say that the Interconnected are a nicer bunch of New Englanders to inherit the Earth than their reactionary rivals. More volumes in the series have been completed, and one looks forward to more of this unsettlingly plausible world.
Social media improves a dystopian future (ugh, right?) in this provocative, cyberpunk series.Pub Date: March 27, 2021
ISBN: 978-1-64-456278-9
Page Count: 298
Publisher: Self
Review Posted Online: Aug. 11, 2021
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
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
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