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Theodore Judson is a curious case. He wrote one of my all-time favorite novels, Fitzpatrick’s War. I consider it to be one of the greatest works of science-fiction ever penned, with its sweeping world-historic story, its understandable, profoundly human characters, and most of all, its ingenious “dueling narrators” storytelling style.

Then he wrote The Martian General’s Daughter, which is a thinly-disguised re-telling of Roman History with the flimsiest patina of sci-fi coating to make it qualify as a novel. It’s hard to think of a time when I’ve been more disappointed in a book.

This past August, after many years out-of-print, with used copies costing thousands of dollars, a new edition of Fitzpatrick’s War was published. Naturally, this news thrilled me, as now I could recommend Fitzpatrick’s War to friends, family, and random strangers without reservation.

But there was a second part to this development: not only was Judson’s classic finally available again, but a sequel, The Timerman, was also being released concurrently, thus making Fitzpatrick’s War but the first entry in the “25th-Century Yukon Confederacy” series.

This news I met with a mix of excitement and apprehension. I was eager to rediscover the world of Fitzpatrick’s War… but not if this new story was on a par with The Martian General’s Daughter.

This was all or nothing, as far as I was concerned, for Judson’s literary credentials. If he could recapture the magic, he would be one of The Greats. If he came out with another Martian General-level effort set in the same universe as Fitzpatrick’s War, he would ruin his earlier masterpiece, and I would view the whole enterprise as a tragic literary collapse to rank with Harry Potter after the fiasco that was Book 7.

So, with a heavy feeling of anxiety and anticipation, I picked up The Timerman. And…

Well, I have to say this, review is a bit hard to write, because to understand anything about The Timerman, you have to also understand Fitzpatrick’s War, including how it ends. And since Fitzpatrick’s War has only become available again in the last month, probably not many of you have read it, and I don’t want to spoil it.

In my review, I said that Fitzpatrick’s War was a love letter to Clio, the muse of history. The Timerman is much the same thing: the theme is how cycles of history repeat endlessly, and individuals are in some sense destined to perform the function in the great drama that the circumstances of their birth assign them. Like the Notary sings in The Grand Duke: “Then take a card with heart of Grace / Whatever our fate, let’s play our parts.”

The Timermen are a secret organization with access to powerful technology that allows them to eternally control the cycle of history, choosing, as Leonard Cohen might say, “who will serve and who will eat.” The implicit question of quis custodiet ipsos custodes looms large in the story, but is never asked as much as it should be, much as it isn’t in real life.

The main character, John Randel, is a junior member of the organization, apprenticed to the veteran Timerman Dr. Murrey, who readers of Fitzpatrick’s War will readily recall.

Murrey is, essentially, the voice of History, as when he tells the protagonist:

“There are—I don’t put this in any of my books because it is a rather mystical idea—there are certain personality types that keep popping up over and over again throughout the recorded story of mankind.”

Even more pointed is his reply when our hero suggests to Dr. Murrey the idea that electrical power could be harnessed to benefit humanity, instead of relying on steam-power as society currently does:

“We cannot lose our focus by fussing over the possibility of helping the sick. Trust me, if you knew as much of History as I do, you would appreciate that the world is much better without the use of the electronic equipment we have on the islands. The mass media and thinking machines of olden times were, without exception, the enemies of all humanity.”

(Readers of Fitzpatrick’s War may recall that the late 20th and early 21st century are classified colloquially in this universe as “the Age of Shit.”)

The central plot of the book concerns the present ruler of the Yukon Confederacy, Lady Chelsea or “The Chrysanthemum Woman”. Again, if you have read the Fitzpatrick’s War footnotes, you will already know, in broad outlines, what will happen to her and her decadent court.

But as always with Judson (yes, even in Martian General) the point of the story is about those little individual lives that get lost when historians write on a scale of the rise and fall of empires. The book captures all the little details of life that are swept away in the great tides of time. (Ironically, this is exactly the sort of history that two characters explicitly endorse in the story itself… and are denounced by Dr. Murrey for believing in.)

In the end, like real history, the book doesn’t provide us with easy answers, and every reader must work out for themselves their own interpretations of events. In that regard, Judson held true to the spirit of Fitzpatrick’s War.

So, in the final analysis, is The Timerman as good as Fitzpatrick’s War?

Not quite, I think. The way the footnotes contradict the main narrative in FW was a masterful bit of writing, and this book lacks that. And the funny part is, I don’t even really blame Judson for not doing that again, because it would have felt cheap. It would have been awesome if he had come up with a different, but equally clever framing device—but that’s essentially asking him to catch lightning in a bottle again.

The Timerman is nevertheless a worthy follow-up to Fitzpatrick’s War, and like its predecessor deserves to be read by lovers of science-fiction and history alike.

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This is a good outline of a story. It’s a techno-thriller about a police detective investigating a murder. The murder victim is one of the “chipped”–that is, someone implanted with nano-chip technology.

The supposed perpetrator is one of the “unchipped”, the downtrodden underclass who have few rights. Due to the word “supposed” there, you probably suspect, as the detective does, that there is more to this story.

And indeed, there is. It’s a cyberpunk story, so of course it’s a dark tale of corrupt government officials and greedy corporations. It’s a good plot, but since it’s serving as an intro to a six book series, it has to be short.

And is it ever short. That’s why I say it feels like a good outline of a story, rather than a good story. There’s plenty of interesting material here, but it’s all just handed to us in info-dump style, rather than truly conveyed as part of a narrative.

It’s interesting to compare and contrast this book with Nightside City. Both are books about a cybernetically-enhanced detective trying to untangle a web of corruption, with only their own gut instincts and their lovingly-described sidearm to aid them.

The difference is that Nightside City is a fully-realized, vividly-painted world unto itself. This book was more like an elevator pitch for what could be a good story. Of course, it’s only meant as a teaser for the series as a whole, so what can you expect? But I guess the really unsatisfying thing about it is that it wasted some plot elements that could have been really effective had they been properly set up and fleshed out, rather than dispensed with in summary fashion.

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“Everyone talks about the weather, but nobody does anything about it,” as the old saying goes. Well, actually, some people do try to do something about it, but the weather is an immensely complex system, and doing something about it is dangerous, especially if you don’t understand it.

This field guide was recommended to me by a woman who works at my local gym, and when I saw the author was a Purdue alum, I was especially interested. I have long believed, as hinted in the book Fitzpatrick’s War, that a secret society of Purdue grads controls the world. I’ve met quite a few Boilermakers, and I can easily imagine them all gathering to boast, like the Stonecutters.

The book begins with an overview of the science behind weather, including a few basic physics principles. Then we have some definitions. (Freezing rain is rain that is frozen, for example.) But after that, we get to the really juicy stuff: namely, what you can determine about the weather from looking at the clouds. I had no idea there were so many different types of clouds; and this book presents detailed explanations of what they all mean, complete with pictures.

Unfortunately, I still can’t claim to be an expert on recognizing the different clouds. But then, I’ve only had a few days. With practice, and with repeated reference to the book, I may be able to become a more competent amateur weather spotter.

Because frankly, the weather is a bit of an obsession of mine. Not least because I’ve noticed the forecasts are almost always wrong. This annoys me. I like to be prepared, and how can I be prepared if I have inaccurate information?

For my money, the best weather forecast site is Tornado HQ. Because it isn’t a forecast site; it’s just a live radar of severe weather. (Sadly for my international readers, it only works for the U.S.) You can look at it and, once you have a feel for how the wind blows, probably guess when the next round of rain or snow will hit. I’ve found I get a far better estimate by doing this than by looking at Wunderground or Accuweather. And just forget about the Apple Weather app; it’s completely bonkers.

Anyway, back to the book. Besides the clouds, the most vital piece of info I got from it was that when you want to know how humid it is, don’t look at the humidity. Look instead at the dew point; that’s the real indicator. Another good metric, which I already knew, is barometric pressure. (The executive summary is: high pressure good, low pressure bad.)

All told, this is a handy guide to refer to if you want to learn how to tell if it’s going to rain for your evening commute just by eyeballing it. And you might as well, because you are not going to get reliable info from the local TV news or the internet.

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Do you remember a few weeks ago, when I rhapsodized about my love of powered armor? Well, related to that, I also have a fondness for giant battle tanks, mechs, and other giant armored weapons platforms. Maybe, like other aspects of my personality, it’s thanks to Metal Gear Solid.

The titular “trolls” in this story are massive battle tanks called “Bolos”. Our protagonist is a man named Jackson who has awakened from suspended animation in some sort of military base. He stumbles outside to find the door guarded by one of these huge units. He manages to evade it and sets out to find his way home.

Unfortunately, as often happens in science-fiction stories, he realizes he’s been asleep far longer than he realized, and that the world has turned into a war-torn dystopia. He returns to his old home, and finds it a ruin, inhabited only by an eccentric old man.

Gradually, Jackson learns that this ravaged hell-scape is ruled by a mysterious figure called “the Baron,” who is believed to possess powerful and terrible mana which enables him to control the “troll” guarding his estate—that is, another Bolo. With help from the old man, Jackson makes his way there, and infiltrates one of the Baron’s social gatherings by disguising himself as a haughty officer.

So far, this sounds like a typical post-apocalyptic affair. And it is, but what sets it apart is the style of writing. It’s written like a hardboiled Chandler-esque detective story, with memorable lines and plenty of gallows humor. Darkly comic metaphors and similes abound: “The joy ran out of his face like booze from a dropped jug.” “The grin fell like a stripper’s bra.” etc.

At one point, the old man tells Jackson many of his shotgun shells are spent:

“There are shells–but the magic is gone from many.”

“That’s the way magic is, Pop. It goes out of things before you notice.” 

And then there is this magnificent passage from Jackson’s infiltration of the Baron’s estate, which I cannot resist quoting at length:

This was Baronial country, all right. A pair of guards stood at the far end of the corridor.

I’d passed half a dozen with no more than a click of heels to indicate they saw me. These two shouldn’t be any different—and it wouldn’t look good if I turned and started back at the sight of them. The first rule of the gate-crasher is to look as if you belong where you are.

I headed in their direction.

When I was fifty feet from them, they both shifted rifles—not to present-arms position, but at the ready. The nickle-plated bayonets were aimed right at me. It was no time for me to look doubtful; I kept on coming. At twenty feet, I heard their rifle bolts snick home. I could see the expressions on their faces now; they looked as nervous as a couple of teen-age sailors on their first visit to a joy-house.

“Point those butter-knives into the corner, you banana-fingered cotton choppers!” I said, looking bored and didn’t waver. I unlimbered my swagger-stick and slapped my gloved hand with it, letting them think it over. The gun muzzles dropped—just slightly.

“Heard the rifle bolts snick home!” “Banana-fingered cotton choppers!” It’s all so vivid, and, despite being a tense moment in our hero’s journey, rather funny.

If I have a complaint about the book, it’s that it all moves a little too fast. There a surprising number of plot twists packed into this for a short story, and sometimes it feels like we receive a really head-turning bit of information, but have to move on to the next thing before it’s even been processed. It’s a little like a Twilight Zone episode, if the Twilight Zone had had the budget to build futuristic battle tank sets. Can you imagine?

I highly recommend this story to anybody who enjoys sci-fi adventure or Golden Age pulp stories told with flair and wit. And, of course, to my fellow giant tank enthusiasts. I haven’t talked about it much so as not to spoil anything, but rest assured that the Bolos see plenty of action in the last act of the story.

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Ah, submarine warfare! Sure, kids these days have their grand notions about space battles, and romantics may long for the days when Hearts of Oak Really Ruled The Waves, but me? Give me being locked in a cramped metal tube deep under the ocean for months at a time, breathing stale air and never seeing trees, grass, or sunshine.

No, actually, I’m kidding. Being a submariner sounds horrible, and I have nothing but respect for people who serve their country by doing it.

Search and Destroy tells the story of such people, an American submarine crew engaged in a massive war against China, as seen largely through the eyes of Commander Christopher Coe.

Captain Coe is a harsh disciplinarian, and as the book goes on, he sometimes veers close to being a Captain Bligh. His harsh, no-nonsense attitude leads him to clash repeatedly with his executive officer, Richard Wickham.

And that’s about it on the human drama level. Most of the book’s conflict comes from listing the various pieces of awesome high-tech naval weaponry the dueling vessels (it’s more fun if you pronounce it “wessels“) hurl at one another. I admit, these scenes were a bit hard to follow–as I would imagine real-life submarine warfare is.

The book says it’s a techno-thriller on the cover, so I can hardly complain about the many references to technology. I don’t have a problem with that.

I do have a problem with the some of the prose style. For example, people say “very well” astonishingly often aboard this sub. Now, again, I’ve never been in the military, so I don’t know, but I would think the terser “okay” or “yes” would be the preferred form in intense, often radio-transmitted communications.

And then there are other oddities of style, perhaps the most interesting of which is:

“Aye, sir,” Wickham nodded through gritted teeth.

Obviously, what this means to say is “Wickham nodded and said ‘aye, sir’ through gritted teeth.” I’m not sure how you nod “through” gritted teeth. It sounds painful. But even apart from that, just try saying “aye, sir” while gritting your teeth.

But, we’re not here for lyrical prose. It’s true that some of the most interesting books about submarine warfare feature clever writing and complex psychological drama, but this one is more in the vein of Tom Clancy, where the point of the story is to watch our heroes defy the odds over and over and defeat the bad guys with their awesome technology.

And you can’t say it isn’t popular! The book has almost 4,000 reviews on Amazon, most of them positive. And for all I know, it may be a perfectly realistic depiction of how a submarine operates. Which just affirms my desire to never be on one.

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Sentient Secrets is a short story that packs a lot into a few pages. It’s a teaser for the novel Sisters Arcana. The protagonist is Lulu Wren, whose company mandates her to do a journaling project with an AI assistant.

At first, Lulu finds the exercise tedious, stupid, and cringeworthy. But soon, after gathering enough input from her, the AI starts producing new entries in her voice. More than that, it soon seems that entries in the journal have predictive power.

It was a compelling concept, and made me interested in reading Sisters Arcana. I’ll probably pick that one up at some point.

I am, as you may have noticed, extremely interested in non-linear conceptions of time. Try reading about the delayed-choice quantum eraser experiment sometime. It doesn’t actually demonstrate that information can be sent backward in time. However, it takes advanced knowledge of quantum mechanics to explain why it doesn’t demonstrate that, which means that it’s close enough to time-travel for government work.

Time-travel is a bit mind-bending to think about, and that is probably why it’s one of those concepts best suited to machine minds, which are entirely comfortable with hallucinations and things that sound cool but make no logical sense to those of us made out of meat.

This kind of techno-sorcery is what is going on in Sentient Secrets, and if this blend of esoteric mysticism and modern computer technology doesn’t put you in mind of the CCRU, well… congratulations, that means you’re a normal, well-adjusted person. How did you even find this blog? Were you perchance led to it by The Almighty Algorithm?

Well, like Hunter S. Thompson said, “when the going gets weird, the weird turn pro.” The computer age is proving to be a weird one indeed, and Sentient Secrets is a concise distillation of that weirdness.

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Literary theorist Georg Lukács said that novels were “the epic of an age in which the extensive totality of life is no longer directly given.”

Well, who am I to argue? But let me just say that I think it is hard to capture all that in a single novel, unless maybe you’re doing it the Russian way. But the short story collection, now there’s a way to capture “the totality of life.”

Pacotti is like Mark Paxson and a few other gifted writers of literary fiction who have this extraordinary ability to inhabit the heads of different people and show the world from their perspective. This collection is a beautiful mosaic of unique characters in varied circumstances, all written with care and empathy. Whether it’s the wife of an alcohol smuggler in Tehran, a pair of rebels in a dystopian Hong Kong, or a young boy growing up believing he will never be as brilliant as the rich kids in his class due to their chemically-induced mental advantage, Pacotti invites us to walk around in many different shoes.

Of course, I knew of Pacotti first from his work on the dystopian video game Deus Ex, and later from his prophetic neo-noir cyberpunk horror thriller Demiurge. Both of these are absolute classics of 21st-century sci-fi, and each share many things in common with the stories found in this volume.

The most obvious common element among these stories is… drugs. Not just the typical illegal kind (though those certainly show up) but all manner of mind-altering substances, both real and, at least so far, imagined. Pacotti returns again and again to the subject of chemically changing the patterns of the brain.

And yet, at the same time, he clearly isn’t just a materialist who sees consciousness as just an accidental product of a bubbling stew of chemicals. There is an implicit human core that is somewhere beyond the reach of the drugs, and that’s the part that makes Pacotti’s work so haunting. Over and over, we meet characters exposed to the most fundamentally anti-human and unnatural circumstances, but what makes the story work is the undeniable basic humanity struggling to break through.

I haven’t done a very good job describing these stories, and I am sorry for that. The power of them is a hard thing to concisely summarize; it’s more like a feeling that gradually steals over you as you read, and find yourself rooting for (or against) his vividly-drawn characters.

I liked all the stories, but probably my top three are “Evil Spirits Travel in Straight Lines”, the eerily prescient “Conversations with the Noösphere” and “Incantation.” All the stories are available on the author’s website, so I encourage you to check these out, and read the rest if you enjoy them as much as I did. Pacotti is one of the great sci-fi authors of our era, and when the history of fin de millénaire literature is written—if it is written—it will be impossible not to include his name in it.

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The great Noah Goats once told me something I’ve never forgotten. “Berthold,” he said to me, “books lead on to books, sometimes in strange ways.” Then he closed up his butterfly knife and walked away into the darkness.

Okay, I’m embellishing. But he really did tell me that. And he was right. Today’s book is a case in point: it’s written by one of the authors of Best, which I reviewed last week. Reading another book by an author of a book you’ve enjoyed may not seem that strange, but what piqued my interest is that while Best, is a light-hearted rom-com satire of academia, Kenai is military science-fiction.

This got my attention. There aren’t many authors who dabble in genres as diverse as that. (Full disclosure: I have also written a light-hearted rom-com satire of academia and military science-fiction. Now are you starting to get an idea of what kind of eccentricity it takes? 🙂 )

Kenai tells the story of Jess Amiko, an ex-space marine trying to forget her past. During her time in the service, she was railroaded into serving a prison sentence for war crimes. They really gave her the Breaker Morant treatment, minus the firing squad, obviously. Which isn’t to say she doesn’t have plenty to feel justifiably guilty about! She does, and… she does.

Once she is finally released from prison, Amiko works as a private security guard on the world of Kenai, assisting with an archeological dig to uncover the ruins of a lost civilization.

Naturally, things don’t go smoothly. Amiko soon finds herself under attack by mercenary thugs, meeting sentient trees, and generally having a whole bunch of experiences that make her question her own sanity.

Interwoven with all this are flashbacks to her time in the service and in prison, including the lengthy counseling sessions she underwent as part of her rehabilitation. These scenes serve to flesh out her character, and also serve another purpose…

…a purpose which I’m afraid I’m not at liberty to divulge. You see, about halfway through the book, there’s a very clever plot twist that forces you to reevaluate a good deal of what came before. And after. But I can’t explain what that is without spoiling it, and that would be very wrong. Now, I could it put it behind a spoiler tag, ’tis true. But in these days of AI combing through everything to slap together answers for inquiring minds, I can’t guarantee my spoiler might not find its way into some LLM-generated reply to a query, and I wouldn’t want that. Therefore, it’s very important I not talk about some of the things that happen in this book.

(Curiously, it occurs to me that not talking about some of the things that happen is also a key plot element in the book itself. There appears to be some sort of recursive hyperstition effect at work in this text which affects not only the book itself, but also writings about the book. But probably best not to think about it too hard. “How quaint the ways of Paradox! / At common sense she gaily mocks!”)

But anyway, what I can say is that this is a fine MilSciFi adventure. Who doesn’t love the trope of a flawed protagonist on a quest for redemption? Especially if that quest for redemption involves the liberal use of POWERED ARMOR!

Gad, I love powered armor. Any story is automatically rendered better by the inclusion of powered armor. Remember how like 15 years ago there was a fad for rewriting classic works of literature but with zombies? That really never moved me, but if they did it with powered armor? Pride and Prejudice and Powered Armor even sounds better!

In short, I unhesitatingly recommend Kenai to anyone who enjoys science-fiction and clever, mind-bending plot twists. Be sure not to skip over the author’s note at the end if you’re a writer, it reveals interesting details about the process.

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It is said that God created academia to train the faithful. Oh, no, wait; that’s Arrakis I’m thinking of. But, the point stands: the academic setting is full of little conflicts, petty rivalries, and various other annoyances that test the patience of those working in it.

And it can also be a place where people find love. At least, that’s what the dual protagonists of this book, Prof. Flora Fineman and Prof. Mark Reynolds, are hoping. Flora is still recovering from a disastrous relationship during her post-doc years, and Mark is dealing with the double-whammy of a divorce and raising a child recovering from cancer. Both of them have a lot on their plates, and that’s before they’re assigned to serve on Astor College’s budget committee for the semester.

The thing is, Flora and Mark don’t like each other. They haven’t interacted much, but to the extent that they have, their encounters have been unpleasant. But, you know how it is: fate and committee meetings have a way of throwing people together.

And soon, their work gives them another challenge to confront. An anonymous informant notifies members of the budget committee that something strange is going on with Astor’s finances, and sends the committee members a spreadsheet of all the college’s financial transactions, something which even faculty are not normally allowed to see.

Flora and Mark may not like each other, but they do like investigating mysterious goings-on, and these financial shenanigans appear to go all the way to the top.

Of course, figuring all this out means working together closely. And in so doing, Flora and Mark each realize that their judgments of each other may not have been entirely accurate.

The book is written with chapters alternating between Mark and Flora’s points of view. What makes this especially interesting is that the co-authors wrote the different chapters, with Dobson writing Mark and Anonymous Ph.D. writing Flora. The two authors have different styles as well; one being a “pantser” and one a “plotter.” This gives each character a subtly different feel, and makes the evolution of the plot feel spontaneous. As explained in the Afterword, the authors would often surprise one another with the direction they took the story.

I loved the book, partially for its unique storytelling style, but above all for its extremely vivid portrayal of the setting and denizens of Astor College. The personalities, the intrigues, the cynical humor which most people adopt as a coping mechanism… all of it felt like a very accurate depiction of a bureaucratized institution of higher learning.

I recently watched the BBC series The Barchester Chronicles, starring Donald Pleasance and Alan Rickman. It’s a delightful romantic dramedy, based on novels by Anthony Trollope, about church politics in 19th-century rural England. One of the main sources of humor in it is how unbelievably petty are the concerns of the churchmen. They imagine themselves as crusaders for Holy Justice, doing the work of their Lord and Savior… when all that they are really arguing over is some trivial question like who shall receive wardenship of a Church hospital. The meek and mild-mannered Mr. Harding muses that all this hardly seems worthy of worshippers of Jesus Christ, to which the perpetually-outraged Dr. Grantly angrily fumes, “Christ has nothing to do with it!”

There’s something similar going on in The Academy, I think. Perhaps the cathedrals of yesteryear have been replaced by university administration buildings, and yet the fundamental dynamics remain the same. The same fights over trivial fiefdoms and fleeting political power override the institution’s true mission. As my Sith mentor used to tell me, “it’s all about power and control.”

But as my other Sith mentor used to tell me, “apathy is death.” And indeed, the apathy of the faculty and staff is the principle weapon which the villains of the piece count on to ensure their scheme will succeed. So when Flora and Mark realize they themselves actually care…

Well, “it’s an unjust world, and virtue is triumphant only in theatrical performances.” To which I might add, rom-coms and other light entertainments. Perhaps if more people took the trouble to actually care, things would be different. Then again, perhaps not. Either way, though, this book is a fun and funny look at academia through the eyes of two rivals who gradually learn the oldest and most fundamental lesson of all human endeavor: that sometimes you have to be willing to admit when you’re wrong.

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🎶”Oh, take me down to the Nightside City / Where the grass is rock and the girls are implanted with symbiotes…”🎶

Okay, that’s not too catchy. But it is an accurate description of the setting for this neo-noir cyberpunk detective story.

Carlisle Hsing is private investigator who is down on her luck and down in the dumps. Quite literally, because she lives in the slums at the bottom of a giant crater. Also, it’s always night, because the planet it’s on, Epimetheus, doesn’t rotate. Naturally, the place has become a tourist trap; a Sin City on a par with Vegas, with the added attraction that it will be destroyed someday.

Because the planet doesn’t quite not rotate. It rotates, but very slowly. So eventually, Nightside City will be in the blistering hot sunlight, and will then stay there for a long time, becoming an unlivable irradiated hellhole.

Hsing is hired by some slum-dwellers to investigate a mysterious effort to buy up their properties on the dingy outskirts.  Why someone would be buying land on a place that is soon to become uninhabitable is anybody’s guess, and that’s what makes Hsing take the case. That and the fact that she desperately needs money.

And so, she plunges into a web of conspiracy, intrigue, backstabbing, lying and cheating, in a world populated by persistent surveillance drones, sentient taxis, and augmented cyber-decadents, with only her wits, her own cybernetic enhancements, and her massive gun to help her survive.

In a weird way, the book made me think of Chuck Litka’s stories. Both in the ways it was like them and in the ways it was profoundly unlike them. It resembled his in that the mystery was low-stakes, and, Hsing’s aforementioned massive gun notwithstanding, is pretty low on actual violence. All that ever gets shot is one of the surveillance drones.

On the other hand, it was unlike a Litka book in that the tone is dark, and gritty, and many of the people are rather nasty. Although there isn’t much actual violence, there are numerous threats of violence. Anger, greed, lust, vanity, pride… all the standard sins are featured here. And while stupidity isn’t a sin officially, a number of the denizens of Nightside City indulge in that as well.

But the story isn’t stupid. Far from it; some of the details about planetary motion and gravity were like an intro physics class. Fortunately, Hsing’s sardonic wit makes these bits of background information interesting.

This is pretty much everything you could want in a cyberpunk story. It’s clever, biting, prophetic, and ultimately morally ambiguous. Not everyone will find the setting of a cyberpunk dystopia compelling, of course. (Though you might want to start… you’re living in one. 🙂 ) But anybody who enjoys what I have occasionally called “Techno-Decadence” will certainly want to pick this up. And that cover! Just an absolute work of art. I miss covers like that.