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SLEEPERNET

Team-superhero–style action meets cyberpunk sci-fi with satisfying, sometimes-head-spinning results.

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In the year 2085, Nathan Wainwright, chief architect of advanced computers that regulate a ubiquitous virtual reality environment, is lured into top-level U.S. government intrigue and treachery thanks to his sideline as vigilante. 

Earth has been radically transformed, not only by natural disasters resulting from climate change and pollution, but also by technology spawned under the 40-year presidency of an American strongman/dictator, Victor Marconi, who showed his mettle by instantly, ruthlessly vaporizing major cities in Russia, China, India, and Brazil, which had formed an alliance and seemingly orchestrated a monstrous Pearl Harbor–style sneak nuclear attack. One of Marconi’s other feats (prior to his suicide during a corruption investigation) was sanctioning the creation of Sleepernet, a virtual reality system accessible to all and monitored by 10 space-based supercomputers so advanced that they have outsized personalities to match their mythic names (Zeus, Olympus, Titan, Hera, Isis, etc.). Nathan was foremost among 10 brilliant engineers who brought Sleepernet online a decade earlier. Now, with a strong Bruce Wayne–like drive borne from tragedy—his wife died in an early Sleepernet snafu—Nathan dons a high-tech disguise (more like the Grim Reaper than Shazam) and foils lawbreakers and evildoers. He fights crime with or without the assistance of his fellow Sleepernet creators, who don’t always share his ideals. Nathan is approached by sexy Susan DiRevka, a congressional aide who fears that a senator has been replaced by an imposter (easy enough; it’s a peculiarity of the post-Marconi era that elected officials go masked and anonymous). But is Nathan being set up by those who covet Sleepernet as the ultimate tool of power and surveillance? Or is the conspiracy even bigger?   Punctuating his chapters with pithy Mark Twain quotes (“Be respectful to your superiors, if you have any”) and working Winston Churchill–isms into the narrative here and there, debut author McCool isn’t the first sci-fi writer to try to reboot the superhero aesthete with a what-if premise: What if costumed avengers were real or at least scientifically achievable and socially valid? But he approaches the material with a degree of realism that surpasses merely riffing ironically on clichés of the funny pages. The highly readable results lean more toward cyberpunk than Stan Lee (maybe Frank Miller is a good compromise), with high-tech combat described against a political background smacking of the George W. Bush era—a fascistic USA ruled by corporate stooges and military-industrial warmongers who are never held accountable, especially not by the propaganda-spewing media or the docile, duped, dopily patriotic public. Hence Nathan’s crusade, which ultimately (and rather unsurprisingly) uncovers the lies on which the unconstitutional Homeland Security–style reach of the Marconi presidency/personality cult is based. Scientific infodumps can grow tortuous: Virtual reality overlaps with the real thing (even to the point of distorting space-time), and omnipotent AIs endow their programmers/votaries with demigod skills to match superhuman strengths—the proverbial gadgetry sufficiently advanced so as to be indistinguishable from magic.

Team-superhero–style action meets cyberpunk sci-fi with satisfying, sometimes-head-spinning results.

Pub Date: Feb. 12, 2016

ISBN: 978-1-5327-7925-1

Page Count: 498

Publisher: CreateSpace

Review Posted Online: June 14, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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