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Overview
In Vancouver in 2036, people are tired of the rain. They're willing to give up a lot for guaranteed sunshine, a life with no wasted hours. A life free of crime and disease. A life that ends when you want it to, not when some faceless entity decides it's your time. Those who don't buy in β the poor, the old, the paranoid β have to watch as their loved ones, their friends, and their jobs leave the city. They have to watch as the latest prestige technology, Self, changes everything β not just the world but humanity itself. On the bright side, the rents have dropped. And in several unexpected ways, resistance is growing. This fascinating work of fiction tells what can happen when the cyberworld becomes more important than the real world.
Synopsis
In Vancouver in 2036, people are tired of the rain. They’re willing to give up a lot for guaranteed sunshine, a life with no wasted hours. A life free of crime and disease. A life that ends when you want it to, not when some faceless entity decides it’s your time. Those who don’t buy in — the poor, the old, the paranoid — have to watch as their loved ones, their friends, and their jobs leave the city. They have to watch as the latest prestige technology, Self, changes everything — not just the world but humanity itself. On the bright side, the rents have dropped. And in several unexpected ways, resistance is growing. This fascinating work of fiction tells what can happen when the cyberworld becomes more important than the real world.
Publishers Weekly
Canadian author Munroe's third novel (after Flyboy Action Figure Comes with Gas Mask and Angry Young Spaceman), set in Vancouver, offers a fresh and amusing take on how technology can be used or misused in a consumption-obsessed society. In 2036, a new technology called Self is available to download individual consciousnesses into a shared digital existence where anything is possible for a price. As most people abandon this polluted, intractable world, a few holdouts try to help recreate nature. Those who resist the allure also try to find out what's happening to the "meat" bodies of the multitude who've opted for Self. The narrative switches focus among a small cast of more or less wary holdouts, and Munroe exuberantly studs the action with grotesque extrapolations of politics and advertising that most people accept unthinkingly. Stolen clothing doesn't just set off an alarm, for example; it bursts into flame and kills the shoplifter. Such images prompt a chuckle but also make us wince because they're so close to what we accept. At the same time, the novel allows that Self could be a place to begin escaping familiar, strangling limitations. Munroe balances the danger and the hope waiting in our future. His characters are so stuck in their preconceptions that they have trouble seeing new choices; maybe readers can do better. Those who value deft, witty SF should be well pleased. (Oct. 14) FYI: The author sent copies of the self-published Canadian edition to several corporations featured in the novel and invoiced them for product placement; he still awaits payment. Copyright 2002 Cahners Business Information.
Editorials
Publishers Weekly
Canadian author Munroe's third novel (after Flyboy Action Figure Comes with Gas Mask and Angry Young Spaceman), set in Vancouver, offers a fresh and amusing take on how technology can be used or misused in a consumption-obsessed society. In 2036, a new technology called Self is available to download individual consciousnesses into a shared digital existence where anything is possible for a price. As most people abandon this polluted, intractable world, a few holdouts try to help recreate nature. Those who resist the allure also try to find out what's happening to the "meat" bodies of the multitude who've opted for Self. The narrative switches focus among a small cast of more or less wary holdouts, and Munroe exuberantly studs the action with grotesque extrapolations of politics and advertising that most people accept unthinkingly. Stolen clothing doesn't just set off an alarm, for example; it bursts into flame and kills the shoplifter. Such images prompt a chuckle but also make us wince because they're so close to what we accept. At the same time, the novel allows that Self could be a place to begin escaping familiar, strangling limitations. Munroe balances the danger and the hope waiting in our future. His characters are so stuck in their preconceptions that they have trouble seeing new choices; maybe readers can do better. Those who value deft, witty SF should be well pleased. (Oct. 14) FYI: The author sent copies of the self-published Canadian edition to several corporations featured in the novel and invoiced them for product placement; he still awaits payment. Copyright 2002 Cahners Business Information.Kirkus Reviews
Young Toronto author Munroe proves no less inventive with his third novel than he did with his others (Angry Young Spaceman, 2001; etc.) as he projects a future in which a global virtual reality corporation is winning the p.r. battle against those who prefer to live their lives the old way. In Vancouver in 2036, SELF (the name of the company) is massively promoting its thriving VR location, Frisco, where old and young can leave their "meat" behind and go to reinvent themselves in any way they chooseβfor a price. The cost is variable, with low-end trippers barraged with ads no matter what they do, but the unadvertised fact that the trip seems to be almost always one-way sets retired special ops agent Eileen into motion as she reactivates her superwoman suit to search for her missing clone "grandson." She connects with a powerful underground organization trying to undermine SELFβs global takeover by figuring out what happens to the bodies of those who leave for Frisco, as does a young artist, Nicky, whose work in "biologicals," the engineering of new creatures by genetic manipulation, makes her an ideal collaborator in the attempt to bring the long-vanished rainforest back to Vancouver.The plot dynamics and imaginative leaps here are engaging, and the care Munroe takes in examining Frisco as a full-fledged, not unattractive phenomenon also marks this as a story to be taken seriously.