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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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THE POET

Connelly takes a break from his Harry Bosch police novels (The Last Coyote, p. 328, etc.) for something even more intense: a reporter's single-minded pursuit of the serial killer who murdered his twin. Even his buddies in the Denver PD thought Sean McEvoy's shooting in the backseat of his car looked like a classic cop suicide, right clown to the motive: his despondency over his failure to clear the murder of a University of Denver student. But as Sean's twin brother, Jack, of the Rocky Mountain News, notices tiny clues that marked Sean's death as murder, his suspicions about the dying message Sean scrawled inside his fogged windshield—"Out of space. Out of time"—alert him to a series of eerily similar killings stretching from Sarasota to Albuquerque. The pattern, Jack realizes, involves two sets of murders: a series of sex killings of children, and then the executions (duly camouflaged as suicides) of the investigating police officers. Armed with what he's dug up, Jack heads off to Washington, to the Law Enforcement Foundation and the FBI. The real fireworks begin as Jack trades his official silence for an inside role in the investigation, only to find himself shut out of both the case and the story. From then on in, Jack, falling hard for Rachel Walling, the FBI agent in charge of the case, rides his Bureau connections like a bucking bronco—even as one William Gladden, a pedophile picked up on a low-level charge in Santa Monica, schemes to make bail before the police can run his prints through the national computer, then waits with sick patience for his chance at his next victim. The long-awaited confrontation between Jack and Gladden comes at an LA video store; but even afterward, Jack's left with devastating questions about the case. Connelly wrings suspense out of every possible aspect of Jack's obsessive hunt for his brother's killer. Prepare to be played like a violin.

Pub Date: Jan. 15, 1996

ISBN: 0-316-15398-2

Page Count: 440

Publisher: Little, Brown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 1995

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ORYX AND CRAKE

From the MaddAddam series , Vol. 1

A landmark work of speculative fiction, comparable to A Clockwork Orange, Brave New World, and Russian revolutionary...

Environmental unconcern, genetic engineering, and bioterrorism have created the hollowed-out, haunted future world of Atwood’s ingenious and disturbing 11th novel, bearing several resemblances to The Handmaid’s Tale (1985).

Protagonist Jimmy, a.k.a. “Snowman,” is perhaps the only living “remnant” (i.e., human unaltered by science) in a devastated lunar landscape where he lives by his remaining wits, scavenges for flotsam surviving from past civilizations, dodges man-eating mutant predators, and remembers. In an equally dark parallel narrative, Atwood traces Jimmy’s personal history, beginning with a bonfire in which diseased livestock are incinerated, observed by five-year-old Jimmy and his father, a “genographer” employed by, first, OrganInc Farms, then, the sinister Helthwyzer Corporation. One staggering invention follows another, as Jimmy mourns the departure of his mother (a former microbiologist who clearly foresaw the Armageddon her colleagues were building), goes through intensive schooling with his brilliant best friend Glenn (who renames himself Crake), and enjoys such lurid titillations as computer games that simulate catastrophe and global conflict (e.g., “Extinctathon,” “Kwiktime Osama”) and Web sites featuring popular atrocities (e.g., “hedsoff.com”). Surfing a kiddie-porn site, Jimmy encounters the poignant figure of Oryx, a Southeast Asian girl apprenticed (i.e., sold) to a con-man, then a sex-seller (in sequences as scary and revolting as anything in contemporary fiction). Oryx will inhabit Jimmy’s imagination forever, as will the perverse genius Crake, who rises from the prestigious Watson-Crick Institute to a position of literally awesome power at the RejoovenEsense Compound, where he works on a formula for immortality, creates artificial humans (the “Children of Crake”), and helps produce the virus that’s pirated and used to start a plague that effectively decimates the world’s population. And Atwood (The Blind Assassin, 2000, etc.) brings it all together in a stunning surprise climax.

A landmark work of speculative fiction, comparable to A Clockwork Orange, Brave New World, and Russian revolutionary Zamyatin’s We. Atwood has surpassed herself.

Pub Date: May 6, 2003

ISBN: 0-385-50385-7

Page Count: 400

Publisher: Nan A. Talese

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2003

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