A PLACE CALLED ZAMORA

In this post-apocalyptic series opener, two young people from the semi-anarchic streets find themselves at the center of unrest and a brewing revolution in a police state.

Gschwandtner’s tale is part of the alarmingly fecund SF genre starring YA characters fomenting revolt in a future dystopia. The setting is an unspecified country sometime after the ecological and economic “Collapse” of civilization. Widespread communication has ceased, and a city called Infinius is now a harsh, self-contained metropolis. Its dictator, Villinkash, uses a sort of sonic brainwashing to turn much of the populace into regimented proles, largely ignorant of the past and bombarded by Orwellian media propaganda. Meanwhile, children either run feral in the streets or suffer in Child Holding Centers. Teenage Niko ran away at age 12 from such government control, persevering among outcasts, loners, and predator gangs. But he has a guardian/benefactor, a mystery man called Huston. Niko is also cautiously friendly with El, a beautiful girl raised—and protected from ever present rape threats—amid an aging, nearly vanished order of nuns (and one holdover Roman Catholic priest) that the Regime tolerates. Niko enters The Race, a cruel but popular annual motorcycle spectacle designed to kill all but one of the 13 contestants. Huston ensures that Niko emerges triumphant from the barbaric Race, but when the teen shares his victory with El—instead of following the tradition of deflowering a state-offered virgin—the couple incur the wrath of Villinkash. While characterizations and psychological motivations are nicely detailed, readers may get a sense of a literary YA dystopia buffet cart stopping for extra-large helpings of Suzanne Collins’ Hunger Games series. As Niko and El go rapidly from Infinius idols to enemies of the Regime (and of each other), readers will feel a little whiplash at the change of fortune even if it serves the genre’s mechanics (Villinkash really isn’t much more than a thuggish President Snow). Closing acts reveal that what seems to be a spontaneous rebellion in fact has deeper, more calculated intrigues behind it, though the volume ends with many narrative strands left dangling. Gschwandtner is bolder than most writers in this territory in deploying R-rated language and elements of violence and lust, though she never lapses into poor taste in the process.

Vivid urban jungle SF settings and vigorous storytelling—if readers can overlook Katniss Everdeen’s shadow.