Set in a fairly near future in which fossil fuels are unavailable but electrical power is plentiful–in Seattle anyway–the initial chapters create a dystopia that is actually not such a bad place to live. Pedal power rules the crumbling streets and freeways, while people live where they will and, increasingly, however they wish. The Northwest is lucky: it still . . .
Most folks reckoned that when humankind finally up and destroyed itself, it would do so with bombs, blades, brimstone and all those other things that politicians and priests had warned about. Turns out it was a poet who guessed the right of it. The end came more with a whimper than a bang. There were no great wars, no . . .
It’s 2042 in the California Free State metroplex of Bay City. Kat and Mouse are a pair of ronin—guns for hire—trying to eke out a living. They have the skill. They have the will. And they have the bad habit of getting in over their heads. Which usually means run-ins with rival ronin, punkergangs, the mob, the . . .
In the near future, New Zealand is the Free Republic of Oceania. In a world of mega-corporations, where mankind has harnessed the computational power of the human brain, a golden new age of utopia is but a few elusive steps away. This is the story of the Agency that is working to stop it. . . .
Marcus, a.k.a “w1n5t0n,” is only seventeen years old, but he figures he already knows how the system works–and how to work the system. Smart, fast, and wise to the ways of the networked world, he has no trouble outwitting his high school’s intrusive but clumsy surveillance systems. But his whole world changes when he and his friends find themselves . . .
“Little Brother” is the story of Marcus Yallow, a high school geek who gets caught in the wrong place, at the wrong time. He and his friends skip school to play an Alternate Reality Game but are picked up by Homeland Security in the aftermath of a terrorist attack on San Francisco. When they are finally released, they find their [more . . .]
This book is about young hackers fighting when tyranny passes the tipping point in their neighborhood.
What is striking is what Stephen King in his book On Writing refers to as the most important part of fiction – the truth. These characters are real, their situations ring with historicity and valid [more . . .]