A slick but surprisingly humane piece of work from the father of cyberpunk.

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PATTERN RECOGNITION

A return to the present makes this SF scribe more prescient than ever.

It’s been a long time since Gibson wowed us with Neuromancer (1984) and the rest of the Sprawl trilogy that changed the then-moribund field of science fiction forever. Unfortunately, it’s been a hard act to live up to. His latest might not satisfy his readers’ high level of expectation, either, but it’s doubtless his best work since Count Zero (1986). Even though it’s his first novel set entirely in present time, there’s a sense that he’s getting back to his roots. The heroine, Cayce, is a nod to the hacker in Neuromancer who became the prototypical cyberpunk antihero. She’s a cool, slinky, yet insecure piece of mystery who has a near-oracular ability to predict the Next Big Thing. After being called in to consult on whether a new logo will work, Cayce says only one word, “No,” and her fee is earned. She’s then hired for a bigger project by über-cool marketing firm Blue Ant to investigate the origins of a strange series of film clips—over a 130 now—that have been showing up on the Internet and attracting a wide cult of fans, including Cayce, who try to figure their origin and purpose. Soon Cayce is jetting off to Tokyo, back to London, then off to Russia, following the wispiest threads of evidence, rumor, and blind conjecture. Someone’s tracking her, and a sinister fog of suspicion fills Cayce’s jet-setting, wireless world. Gibson’s narrative is more relaxed than it has been in years, trusting in Cayce’s strangely addictive personality and in his own laser-perfect cultural radar—Malcolm Gladwell meets Marshall McLuhan in a chat room—to carry the story along. Some elements could have easily been jettisoned (Cayce’s literal allergy to brands and logos is ridiculous), but for every misstep there’s a dash of pure, beautiful insight: “We have no future because our present is too volatile . . . We have only risk management. The spinning of the given moment’s scenarios. Pattern recognition.”

A slick but surprisingly humane piece of work from the father of cyberpunk.

Pub Date: Feb. 1, 2003

ISBN: 0-399-14986-4

Page Count: 368

Publisher: Putnam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 15, 2002

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Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

A CONSPIRACY OF BONES

Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.

A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”

Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

Pub Date: March 17, 2020

ISBN: 978-1-9821-3888-2

Page Count: 352

Publisher: Scribner

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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Creepy, violent, and propulsive; a standout gothic mystery.

THINGS IN JARS

Lady detective Bridie Devine searches for a missing child and finds much more than she bargained for.

Bridie Devine is no stranger to the seedy underworld of Victorian London. An accomplished detective with medical training, she sometimes helps the police by examining bodies to determine the cause of death. Bridie recently failed to find a lost child, and when she’s approached about another missing child, the daughter of Sir Edmund Berwick, she isn’t enthusiastic about taking on the case. But Christabel Berwick is no ordinary child. Sir Edmund has hidden Christabel away her whole life and wants Bridie to believe this is an ordinary kidnapping. Bridie does a little digging and learns that Christabel isn’t his daughter so much as his prized specimen. Sir Edmund believes Christabel is a “merrow,” a darker and less romanticized version of a mermaid. Bridie is skeptical, but there are reports of Christabel’s sharp teeth, color-changing eyes, and ability to drown people on dry land. Given that Bridie’s new companion is a ghost who refuses to tell her why he’s haunting her, Bridie might want to open her mind a bit. There’s a lot going on in this singular novel, and none of it pretty. Bridie’s London is soaked with mud and blood, and her past is nightmarish at best. Kidd (Mr. Flood’s Last Resort, 2018, etc.) is an expert at setting a supernatural mood perfect for ghosts and merrows, but her human villains make them seem mundane by comparison. With so much detail and so many clever, Dickensian characters, readers might petition Kidd to give Bridie her own series.

Creepy, violent, and propulsive; a standout gothic mystery.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9821-2128-0

Page Count: 384

Publisher: Atria

Review Posted Online: Sept. 30, 2019

Kirkus Reviews Issue: Oct. 15, 2019

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