Nexus by Ramez Naam

Published by Angry Robot on December 18, 2012 

What does it mean to be posthuman? It means with the right software, you can fight like Bruce Lee and perform like Peter North. It means your mind can network with those of other posthumans. It means your intelligence is vastly superior to that of mere humans. But can humans and posthumans coexist? Does the rise of the posthuman necessitate the death of the human? The questions posed in Nexus aren't new, but they have rarely been explored in such an entertaining fashion.

Although it is swallowed like a drug, Nexus is a nano-structure that creates an interface between the brain and computer software. It acts as a networking platform and an operating system. It creates the potential for one Nexus user to control another. Nexus is both a regulated drug and a prohibited technology. In short, it is illegal. Should it be?

Kaden Lane is one of a select group of people who, in addition to researching Nexus, is permanently infected with it. He thinks Nexus should be available to everyone, although he's worried that some users (and some governments) will abuse it. Samantha Cataranes works for a division of Homeland Security that responds to emerging risks. She views Nexus as a risk. She could lock up Kaden but she'd prefer to enlist his help for a more critical mission: determining whether the Chinese are using Nexus to create remote controlled assassins. If Kaden doesn't want to spend the rest of his life in prison, his task is to cozy up to Su-Yong Shu, suspected of being the primary architect of China's neurotech program. She is also suspected of being posthuman.

Kaden is a well-rounded, believable character. He isn't the only one. Samantha is Kaden's backup on the mission, a role that troubles her because she will need to use Nexus. The thought frightens her because she knows she enjoys Nexus despite her moral opposition to it, adding a layer of complexity to her character. Watson Cole, on the other hand, has no such qualms. Nexus gave him the gift of empathy. Once a battle-hardened marine, Cole is now a disciple of peace. Cole has a mission of his own: to make Nexus available to everyone, so they can experience the same transformation. While Cole's transformation occurs before the novel begins, Kaden and Samantha are continually questioning their beliefs, reevaluating their loyalties, evolving in response to new experiences and discoveries. They are fascinating characters.

Nexus gains intellectual heft from a contemporary philosophical debate that Ramez Naam projects into the future. Drugs and technology can be abused or they can be used responsibly. Should government prevent abuse by prohibiting the possession of anything new that might be abused, or should government tolerate a degree of abuse to promote individual freedom and societal advances? By developing and potentially releasing the means to develop posthuman life, is Kaden "threatening to make real humans obsolete," as Samantha argues, or is he empowering people with options they've never had before? This is the sort of debate that science fiction does so well -- anticipating ethical dilemmas of the future and, in so doing, shining a light on ethical dilemmas of the present.

Nexus tackles other issues as well, including the acquiescence of scientists in the suppression of science (scientists who protest put their research grants at risk) and the tendency of American foreign policy to disrupt or destroy the lives of innocent foreigners. Other things I liked about Nexus: the imaginative surveillance technology; the eagerness (as always) of the government to become just as bad as the bad guys it condemns; the grounding of repressive legislation in fear that the government instills, and the willingness of Americans to surrender their rights in response to those fears; the layers of intrigue; the characters' ever-changing perspectives of right and wrong; the true and surprising nature of Su-Yong Shu; the incorporation of Buddhist philosophy; the use of a virally infected religious cult and a Waco-like incident to explain Samantha's background; the extrapolation of the "war on drugs" and "war on terror" to a "war on science"; the paradox that sharing minds might promote individuality rather than "groupthink"; the battle between the government, as it attempts to suppress information released virally, and net users who labor to defeat the government's efforts.

And then there's the writing. Neem writes clear prose that, if not particularly lush, is well suited to the kind of story he tells. Action scenes are vivid and more imaginative than most thriller writers manage. Once the background is established, the pace is furious. A touch of melodrama in the ending is easy for forgive, as is a needlessly preachy epilog.

Nexus is intense, exciting, and thought-provoking. It's also fun.

RECOMMENDED

The Listeners by Harrison Demchick

Published by Bancroft Press on December 17, 2012

The Listeners is a new addition to the ever-expanding clutter of post-apocalyptic novels. The set-up is common: a plague leads to the quarantine of a New York City borough; within that borough, plague sufferers are behaving strangely. They get boils, the boils erupt, and they become creepy killers. It's not exactly a zombie apocalypse, but close enough.

Does the world need another zombie apocalypse novel? Probably not, but this one has some merit. After Daniel Raymond's mother disappears, he becomes one of many kids inside the quarantined area adopted by the Listeners, a group of one-eared men who consider themselves soldiers of destiny. They are led by a two-eared prophet who is aptly named Adam. The police have branded the Listeners as criminals, but Adam convinces Daniel that they are helpers, that the police are the real criminals. Either way, the Listeners are a cult. Daniel seems an unlikely candidate for cult membership, but Harrison Demchick seems to be making the point that cults thrive in extreme circumstances by preying on the lost and confused. In any event, the police and the Listeners are soon at war, and Daniel (whose close friend Katie is the daughter of a cop) is caught in the middle.

Various interludes and asides fill out the story. An advertising copywriter outside the quarantined zone, sensing that the end of the world is nigh, takes it into his head to start an ad campaign urging sinners to repent. He becomes, in short, God's ad man. A barfly named Roy blames a more successful barfly with Middle Eastern ancestry for the plague based solely on Roy's certainty that people from that part of the world are troublemakers. Tyrone, with his brother Anton, finds sanctuary with other survivors in a church, hoping to discover God's plan but instead finding a hidden exit from the borough. Other profiled characters include a nurse who shows up in Daniel's life and a reporter who is trapped inside the borough, forced to trade sex for food that the cops provide. Some of the interludes are more effective than others (the nurse's story of cowardice and greed is particularly strong); some are so disconnected from the main story that they act as unnecessary drags on the plot's momentum.

The misuse of power is the novel's central theme. The police declare martial law within the quarantined area (which, of course, they have no authority to do) and coerce citizens into surrendering their firearms at exactly the time they are most needed. The media report only what the police tell them, and the police are interested only in making themselves look good (while doing a bit of looting in their spare time).

While I enjoyed much of The Listeners and admired the immediacy of Demchick's prose, I found it difficult to understand what motivated the primary characters. We learn very little about Adam or about the origin of the Listeners. What we do learn comes as a plot twist late in the novel, but the explanation is incomplete and unsatisfying. Too many of the novel's events, in fact, are unaccompanied by a sensible explanation. Why, for instance, do plague sufferers have an aversion to babies? The concept of one-eared listeners makes little sense, but cults rarely make sense so I was willing to let that slide. Insofar as it involves Daniel, even the ending (for reasons I can't discuss without spoiling it) didn't make a lot of sense to me. Maybe Demchick has a sequel in mind that will answer these questions, but as a stand-alone novel, I found the lack of information to be frustrating.

Daniel and his friend Katie are likable, but by making Daniel obsessed about his feelings for Katie, Demchick strives for a poignancy the novel never quite attains. The reader is meant to empathize with Daniel and to feel sorrow at the losses he experiences, but I was never able to convince myself of the story's reality and, for that reason, could never invest in Daniel's plight. I nonetheless give Demchick credit for making a valiant attempt at creating a zombie apocalypse novel with heart. He's a skillful writer, and I would love to see him focusing his talent on something meatier than a retread of a well-worn plot.

RECOMMENDED

Gray Matter by Shirley Kinnett

First published in 1996; published digitally by Open Road Media on October 30, 2012 

Gray Matter was first published in 1996, and like any story more than a couple of years old that depends upon computer technology, it seems dated. More problematic is that the lackluster story is too ordinary to stand out in the field of crime fiction.

The first chapter introduces a deranged killer named Dog -- that, at least, is the name used by one of his multiple personalities -- who believes he can acquire skills by eating the brains of people who possess those skills. The next chapter introduces Penelope "PJ" Gray, a psychologist newly hired by the St. Louis Police Department to lead the Computerized Homicide Investigations Project (which, despite the name, does not investigate computerized homicides). In addition to being a psychologist, PJ designs virtual reality software. She seems to think crimes can be solved by "recreating" them (i.e., speculating about how they occurred) using computer simulations. PJ is thrust into a homicide investigation on her first day on the job, alongside a washed-up detective named Leo Schultz who hasn't had a field assignment in years. Schultz doesn't understand how "all this cartoon stuff" will help solve the crime, making Schultz smarter than PJ. The cartoon stuff doesn't actually help them solve the crime, which made me wonder why it is the primary focus of the novel.

PJ is so busy trying to solve Dog's murders by playing with cartoons on her computer that she ignores obvious clues to the killer's identity. Schultz is just as inept. When PJ isn't playing with her computer, she and Shultz are too busy yammering about their tedious, unfulfilled lives to notice that the killer is right in front of them.

PJ's skill as a computer programmer struck me as unlikely but within the realm of possibility until she boasted of giving her program an "artificial intelligence" component that allowed it to "use its imagination" by filling in unknown events at the crime scene. If she could do that, she'd be teaching at MIT, not dogging away at a low rent job with the St. Louis Police Department.

Shirley Kennett's writing style is capable; it is the content that needs work. Some of the narrative is silly, like her description of a pickup truck as "red and arrogant and threatening, like the engorged penis of a rapist." Kennett seems a bit obsessed with penises; they are frequently in the thoughts of her characters.

The mundane background of PJ's life (divorced from cheating husband, sullen son who blames her for the divorce) shapes her lumpy personality. She spends much of the novel giving herself pity parties that I had no desire to attend. There's a touch of chick lit as PJ ponders the relationship potential of every man who ventures within her radar. PJ and Schultz both have troubled relationships with their sons that add nothing of interest to the story

The relationship between PJ and Schultz is filled with friction, but it all seems forced, in part because their exchange of dialog is so often unrealistic. Much of their bickering is gratuitous, clearly intended to give PJ a chance to show that she's a strong woman in a man's world. There would be nothing wrong with using that as a hook to establish PJ's personality if it were handled in a less contrived manner. Schultz's misogynistic nature is so outsized that he isn't credible. Schultz eventually gives a little speech about how police work sometimes makes him feel like he's lost a piece of his humanity -- a speech that is completely out of character and wholly unbelievable, inserted solely to generate sympathy for a character who is otherwise a bozo.

Notwithstanding the book's many flaws, the story has its virtues. It moves quickly and the concluding scenes create a modest amount of tension. Still, the ending is predictable and the book as a whole never shines.

NOT RECOMMENDED

Debris Dreams by David Colby

Published by Candlemark & Gleam on November 13, 2012 

If you read military science fiction, you've read Debris Dreams many times before. A cadet rather improbably becomes a leader and war hero within a short time, all the while questioning her courage and ability. While Debris Dreams isn't a bad attempt at a science fiction novel, the writing occasionally comes across as amateurish, the plot is formulaic, and the characters are underdeveloped. For the most part, David Colby's writing style is competent and the environment in which the story unfolds is carefully considered, but there is little in Debris Dreams that will engage the imagination of a veteran sf reader.

The Lunar Separatist Movement destroys the space elevator, killing Drusilla Xao's parents, stranding her on a space station, and dampening Dru's relationship with a girl on Earth named Sarah. The Chinese-American Alliance responds with a declaration of war against the LSM. This causes Dru to be conscripted into the Space Marines, which leads to standard scenes of military training led by a bullying drill sergeant, as well as discussions of strategy and tactics that are somewhat reminiscent of (if considerably less compelling than) those in Ender's Game. Training is followed by the first mission, giving Dru a chance to face her fears and be heroic. The war involves CAA forces and LSM forces shooting at each other through a debris field, unless you count Texas, which seems to be at war with the rest of America (as always).

Dru is an inexperienced lipstick lesbian who has a lipstick lesbian girlfriend on Earth, although they have never met in person. This gives Dru an excuse to compose anguished emails that Colby probably hoped would flesh out Dru's personality while creating an opportunity for the kind of expository writing that fills in background. Dru (or perhaps Colby) has a sophomoric obsession with sex, particularly of the lesbian variety. When a team member dies, Dru mentally composes his memorial, beginning with "He never turned down sex." That just makes him a teenage boy, not a hero, but sex seems to be all Dru can think about, perhaps because she never has any. Other than her sex-obsessed thoughts, however, there's nothing interesting or unique about Dru: she's the standard reluctant hero, thrust into a world she never made. The other characters have no personality at all.

The most interesting aspect of the plot focuses on a moral dilemma involving a potential war crime. It didn't strike me as much of a dilemma (or much of a crime), and the likelihood of the General who orders it thinking he could get away with it (and thus actually issuing the order) is nil. Dru's response to the illegal order is ridiculously self-righteous, but she's a teen and teens are always getting self-righteous so that, at least, rang true. Also interesting is the notion of the debris field, based on the Kessler Syndrome. Using the debris field as a backdrop is the story's most original touch. The rest of the novel tends to be standard (and unconvincing) military sf. The battle scenes are all pretty much alike; none are so powerfully written as to convey the adrenalin-rush of true combat. Maybe military sf junkies will get a kick out of Debris Dreams and find value in its carefully developed setting, but the absence of compelling characters and sharper writing prevent me from recommending it to most sf fans.

NOT RECOMMENDED

Political Suicide by Michael Palmer

Published by St. Martin's Press on December 11, 2012 

Michael Palmer writes medical/political thrillers. While the world of medicine offers ample opportunity for drama, Palmer makes the puzzling choice to focus the plot of Political Suicide on secret military missions in which medicine (or, more aptly, chemistry) plays only a tangential role. Since the plot is derivative, far-fetched, and well removed from what Palmer does best, Political Suicide is one of his lesser works.

The prologue describes three marines on a suicide mission in Afghanistan. The main story shifts from 2003 to the present, where marines from the same unit (Mantis) are preparing for something called Operation Talon.

Most of the novel, of course, centers on the hero of the series, Dr. Lou Welcome. Gary McHugh, the favored physician of D.C. celebrities and politicians, has been having an affair with a congressman's wife. The last time he visited the congressman's house, he discovered the congressman's dead body, the victim of an execution. Knowing he is about to be arrested for murder, he asks his friend Welcome for help. The Mantis story connects to McHugh's when we learn that one of the congressman's sons was a marine who died in Afghanistan.

Welcome and McHugh's feisty lawyer, Sarah Cooper, both want to help McHugh, leading to an inevitable clash of personalities and, inevitably if unconvincingly, to romance. Welcome's efforts to uncover the truth about the congressman's death are frustrated by highly placed military and government officials who want to keep it buried -- and who try to assure that Welcome is buried.

For the sake of enjoying the story, I was willing to accept that Welcome repeatedly avoids capture and death when he's being stalked by military commandos, armed desperadoes, and an attack dog. Other aspects of the plot are more troubling. It makes no sense that Welcome and his friends would take it upon themselves to stop Operation Talon, once they know the truth about it, rather than blowing the whistle and letting the authorities deal with it. The pharmaceutical foundation of Operation Talon is familiar ground, well-plowed by other thriller writers. The operational aspect, on the other hand, is just plain silly. I can accept a certain amount of silliness for the sake of a good thriller, but the notion that an elite military unit could plan and train for a mission like Operation Talon without whistles being blown is preposterous. The truth would certainly come out after the fact, if not before, and its career-ending nature would dissuade its creators from ever implementing the scheme.

Dr. Welcome works part-time for the Physicians Wellness Office, helping doctors with alcohol or drug addictions earn reinstatement of their licenses. Readers of Oath of Ofice will be familiar with Welcome's recovery mantra and with his disapproval of his boss' belief that all addicted doctors should engage in extensive psychotherapy. There is little need to cover that ground again, but Michael Palmer seems inclined to use his novels to deliver a message -- over and over -- whether or not it advances the plot. His proselytizing for AA becomes wearisome, and Welcome's frequent mentions of his successful struggle with addiction come across as self-aggrandizing smugness. Fortunately, Palmer set aside the lectures in the novel's second half.

I give Palmer credit for giving the plot an unexpected twist at the end and for keeping the story moving at a brisk pace. He is a capable writer and the novel is an easy read. If he writes another Lou Welcome novel, however, I hope he focuses on the drama of medicine and avoids improbable, overworked thriller plots.

RECOMMENDED WITH RESERVATIONS