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HENRY PASH AND THE BOTZEC REVOLUTION

A prospective technology-driven future enriched by an endlessly funny protagonist.

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In Goorha’s witty debut novel, the world adjusts to a company’s revolutionary computerization of businesses, an efficient method that leaves some people shortchanged.

Henry Pash laments his failure to patent his idea (not immediately revealed to readers). According to the Chief Patent Officer, his idea isn’t ideal since it’s not likely to result in something tangible. Henry later encounters the more successful George Wells, CEO of Wellspring, the company behind Botzec technology. A Botzec is a computer designed to take over the role of business executives, often replacing multiple execs and reducing costs so substantially that employment actually increases. Not surprisingly, the chiefs rebel and respond by launching the Save the Executives Movement. But Henry also witnesses the unexpected fallout of Wellspring, which moves into the education sector and leads to teachers losing their jobs. The company continues to grow into what’s practically a global takeover: purchasing banks, automating traffic, and creating a new legal tender of Well-credits, or W-creds. Moreover, aiding governments in establishing a new regulatory system prevents individuals or groups from identifying Wellspring as a monopoly. Henry fortunately has a bit of good news. His pal Kevin inadvertently discovers that Henry’s algorithm (his idea that the patent office dismissed) generates quality music, including rather poignant lyrics. Though its original purpose was entirely different, it turns out the algorithm might be better at maximizing business productivity than Wellspring. This could precipitate serious competition for Wells’ company, regardless of Henry’s reluctance to monetize his algorithm. Despite much of it resembling a cautionary tale of a technology takeover, Goorha’s story is persistently amusing. This, in large part, is courtesy of Henry’s first-person account. He has a tendency to interrupt people, sometimes with a mere thought or, as in one scene, by munching loudly on a piece of toast. But while he may be an annoyance to other characters, he’s a veritable comic gem as a narrator. In one scene, Henry finds friend Stephanie’s presentation on Botzecs so tedious he counts the bricks in a wall and ducks out for a coffee. He still manages to drop snippets of insight, even when he’s verbose: “You cannot look kindly on a friend who asks you about the make and design of the dagger stuck in your back, when you are telling him how profusely it makes you bleed.” The story, meanwhile, steadily progresses, complemented by a refusal to either laud or rebuke technological advancement. Wellspring, for example, does occasionally provide humans with paid positions, while a few sympathetic characters may be more avaricious than they initially appear. Lighter narrative touches are further improvements: Henry’s older brother, Guy, makes not a single appearance but displays a bold personality via reports of his insults (simply seeing Henry evidently turns his stomach). The ending befits the story’s overall subdued tone; it’s quiet but indelible, a denouement steeped in irony and a weighty notion or two for readers to ponder.

A prospective technology-driven future enriched by an endlessly funny protagonist.

Pub Date: Oct. 26, 2017

ISBN: 978-1-84897-966-6

Page Count: 152

Publisher: Olympia Publishers

Review Posted Online: Dec. 14, 2017

Kirkus Reviews Issue: Feb. 1, 2018

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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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