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Summary
Summary
New York Times bestselling author Kim Stanley Robinson returns with a bold and brilliant vision of New York City in the next century.
As the sea levels rose, every street became a canal. Every skyscraper an island. For the residents of one apartment building in Madison Square, however, New York in the year 2140 is far from a drowned city.
There is the market trader, who finds opportunities where others find trouble. There is the detective, whose work will never disappear -- along with the lawyers, of course.
There is the internet star, beloved by millions for her airship adventures, and the building's manager, quietly respected for his attention to detail. Then there are two boys who don't live there, but have no other home -- and who are more important to its future than anyone might imagine.
Lastly there are the coders, temporary residents on the roof, whose disappearance triggers a sequence of events that threatens the existence of all -- and even the long-hidden foundations on which the city rests.
Author Notes
Kim Stanley Robinson is a New York Times bestseller and winner of the Hugo, Nebula, and Locus awards. He is the author of more than twenty books, including the bestselling Mars trilogy and the critically acclaimed Forty Signs of Rain, The Years of Rice and Salt , and 2312 . In 2008, he was named a "Hero of the Environment" by Time magazine, and he works with the Sierra Nevada Research Institute. He lives in Davis, California.
Reviews (6)
Publisher's Weekly Review
Unlike J.G. Ballard's The Drowned World, which was also set on a mid-22nd-century Earth devastated by global warming but focused on the effects of that cataclysm on the human psyche, Robinson's latest near-future novel examines the political and economic implications of dramatically higher ocean levels, specifically their effects on New York City. The writing, ironically, is dry; several sections are exposition-heavy. They not only explain why 2140 Lower Manhattan is submerged but contain dense analyses of how investments in real estate could be evaluated via a "kind of specialized Case-Shiller index for intertidal assets." Such sections illustrate the comprehensive thought Robinson (2312) has given to his imagined future, but they slow down the various interesting narrative threads, which concern a diverse cast of characters, including a reality-TV star who travels above the U.S. aboard an airship; the superintendent of the old MetLife building, which now contains a boathouse; and an NYPD inspector called in to investigate the disappearance of two coders. Readers open to an optimistic projection of how humans could handle an increasingly plausible environmental catastrophe will find the info dumps worth wading through. Agent: Chris Schelling, Selectric Artists. (Mar.) © Copyright PWxyz, LLC. All rights reserved.
Booklist Review
The year is 2140, the city is New York, and the tale is one of adventure, intrigue, relationships, and market forces. Global warming has caused a sea rise in two Great Pulses, as they became known, raising sea level around the world some 50 feet. New York has become a Super Venice, with many lower Manhattan skyscrapers becoming massive, semi-self-sufficient, residential co-ops. The focus of the story is the former Metlife building, which now houses some 2000-plus people from all walks of life. We follow the narrative from several residents' perspectives as well as through an unnamed citizen, the voice of the city itself. The cast is large and varied; just to name a few, the chief inspector of the NYPD, a dirigible captain and reality star turned animal rescue activist, two treasure hunting scamps, and the impassioned co-op executive board chairperson who is trying to help refugees from the rising waters. The individual threads weave together into a complex story well worth the read.--Goosey, Terry Copyright 2017 Booklist
New York Review of Books Review
An intergalactic war endangers a mixed-species couple; beings born of fire dance across the earth; an extraterrestrial fungus might spell the end of humanity; and New York becomes a city of water. IT'S an ancient story: Two galaxy-spanning civilizations, alike in dignity, have been embroiled in a proxy war for centuries. With multiple factions happily profiteering from the conflict, the appearance of star-crossed lovers - who inherently symbolize peace - represents a dire threat. The audacity of the "Saga" series of graphic novels, written by Brian K. Vaughan and illustrated by Fiona Staples, lies first in its allegorical examination of who fears "miscegenation" and why, and second in its defiance of the usual conventions. Here, the doomed lovers behold the forces arrayed against them and basically declare, "Not today, you don't." This saga is of their survival. By the latest installment, saga, volume 7 (image Comics, paper, $14.99), readers are thoroughly invested in the fate-defying epic of winged Alana, horned Marko and their daughter, Hazel (who is bi-species, both winged and horned), as well as their extended family: the ax-wielding grandma Klara, the spectral babysitter Izabel and an unstable orbit of allies and enemies. Readers should also be used to Vaughan's tendency to dispatch beloved characters with unexpected and often brutal deaths. Good thing, because Volume 7 continues the tradition in heartbreaking fashion. This highlights a growing problem, however: As the family's tribulations proceed with no discernible arc or endpoint, the hovering question of who will die next provides the only real tension. Fortunately, Staples's dynamic visuals more than make up for this stagnancy. Hers is a universe of vivid colors and stark imagery, whose nonhuman characters resonate humanity. Some of this comes from the refreshing bodily complexity in every frame: fat women's folds, dark skin rendered through more than just brown tint, gay men who aren't toned or young or white, trans women whose identity is signaled by horns rather than jawlines and genitals. What makes it work is that Staples applies the same detail to the distinctly fantastic. Talking cats wrinkle with worry-lines; angry giants brandish big cudgels and small penises. Vaughan's incredible universe is made credible through Staples's realism. This story ranks among the most creative, original examples of contemporary fantasy. Start at the beginning with Volume 1, and brace yourself for a wild ride. in the quran, Allah creates human beings from clay and (in a parallel genesis) djinn from fire. Therefore - as the editors Mahvesh Murad and Jared Shurin suggest in their introduction to a new anthology of djinn-themed short fiction, THE DJINN FALLS IN LOVE: And Other Stories (Solaris, paper, $15.99) - djinn reflect humankind not just as mirror-images but almost as a sibling species: "We may stem from different materials," they write, "but in all the ways that matter we are very much the same." As humans sit around a campfire, pondering their foibles and aspirations amid the dancing of numinous flames and shadows, we may be catching "a look into the other world; a glimpse into beings who are like us and not us, made of a smokeless fire that can consume us." These then are not Disneyfied tales of wish-granting tricksters, but stories of people burning like djinn and djinn as fiery people. The collection ranges widely in style and perspective, making room for the title poem by the Egyptian writer Hermes (translated from Arabic by Robin Moger) as well as poetic prose by the Canadian writer Amal El-Mohtar and a distinctly feminist take on wizards and harem intrigue by the British fantasy writer Claire North. Several stories are set painfully in the present, like Sami Shah's "Reap," which involves an American Air Force officer conducting remote surveillance in Pakistan. Others find parallels in secondary worlds, as in K. J. Parker's "Message in a Bottle." In a nod to the dance of djinn through different cultures, the editors retain the creatures' various translated names: jinn, genie, ifrit and more. This choice highlights the collection's range. Nearly all of the stories are haunting, reflective and firelight-beautiful, but there are standouts. Jamal Mahjoub's "Duende 2077" is the most explicitly rebellious simply for its premise, which posits a futuristic Caliphate after the fall of Christian/Western hegemony. Nnedi Okorafor's "History" is gloriously gonzo, following an Ibo-trained African-American sorceress as she gives the performance of her career to an audience of literal gods. And Neil Gaiman's "Somewhere in America," excerpted from "American Gods," comes closest to reflecting the collection's theme. In this tale, a painfully lonely foreign businessman, adrift in a frightening land called New York, finds comfort and possible freedom in the arms of a taxi-driving ifrit. Exquisite and audacious, and highly recommended. caitlÍn R. kiernan has long been hailed as one of the pre-eminent authors of weird fiction, and her new novella, AGENTS OF DREAMLAND (Tom Doherty, paper, $11.99), shows why. In this recursive, Lovecraft-inflected police procedural, two agents of the shadowy government group Y pursue the cult leader Drew Standish, whose activities seem to herald a Jonestown-like mass murder. But far more important than whether the killing can be stopped is whether it's already too late, since the manhunt coincides with the appearance of a deadly extraterrestrial fungus. The clock is ticking, the Elder Beings have been invoked and possible futures have begun to solidify in ways that spell the end of humanity. Despite the apocalyptic narrative, this is a character study, focusing on the two agents and layering exposition over their respective quirks. Immacolata Sexton is as intriguing as her name; she sees the future, might not be quite human and happily uses her prescience to intimidate rivals and colleagues. The Signalman initially seems more conventional, yet he struggles against PTSD and fear of infection caused by an encounter with the grotesque fungus. This ultimately makes him more engaging than the flamboyant Immacolata or even the ostensibly charismatic Standish. Kiernan's writing - starkly visual, tongue in cheek and disturbingly visceral - carries the day as the story churns toward its uneasy conclusion. And since the door is left open for future stories (and other futures) featuring Immacolata and the Signalman, let's hope Kiernan will delve further into their adventures. it is altogether peculiar to immerse oneself in a story of New York written by a near-lifelong Californian. Then again, Kim Stanley Robinson's new York 2140 (Orbit, $28) is a novel of contradictions. It explores capitalism but addresses class strife only obliquely; it makes predictions for Harlem and the South Bronx yet relegates racial and ethnic dynamics to the background; and in an age when local real estate agents already toss around terms like "Anthropocene" and "flood zone" over brunch, its audacious futurism arrives feeling a bit obsolete. Still, New York is among other things a city of immigrants, as Robinson recognizes, so it's only appropriate that an outsider should be the one to bring fresh perspective to its streets. Or its canals, I should say: In Robinson's post-icecaps future, Lower Manhattan has become the Venice of North America, with subways exchanged for bridges between buildings and business suits exchanged for drysuits. There are several plots here, the most intriguing of which follows an investigation into two missing computer scientists, and there are memorable characters as well. Make no mistake, though: The main character is the transformed New York, and Robinson gets it more right than wrong. The novel deftly conveys its unnerving strangeness through interludes and asides: "New York, New York, it's a hell of a bay" does have the ring of a culture adapting itself. (It's also the quintessential outsider's touch, since it riffs on a 1940s-era Broadway musical. Romanticizing the past and predicting the future while eliding the present: This is what tourists do.) Yet it is refreshing to see a futurism that acknowledges the innate resilience of the city and, by inference, of humanity itself. Amid this, many liberties can be forgiven. These streets will still make you feel brand new, Robinson suggests, even in a future when they're soaking wet. ? n.k. jemisin won a 2016 Hugo Award for her novel "The Fifth Season." Her latest book is its sequel, "The Obelisk Gate." Her column on Sciencefiction and fantasy appears six times a year.
Guardian Review
Environmental catastrophe has hit New York while the world's richest continue to get richer in this towering novel Kim Stanley Robinson's new novel is set a dozen decades hence, in a world where climate change has bitten deep. The waters have risen 50ft, submerging much of New York City. Every street has become a canal; every skyscraper an island, linked by sky bridges and boat taxis. This is a large-scale novel, not only in terms of its 624 pages, but also the number of characters and storylines Robinson deploys, the sheer range of themes and topics. There are eight main narrative strands, focusing on a group of characters who all live in the same building, the Met Life skyscraper on Madison Square. Each strand elaborates a different type of plot: kidnap; politics small and large; Wall Street; police investigation; polar exploration; even a treasure hunt for buried gold. The premise is reminiscent of John Lanchester's 2012 novel Capital, with a NY skyscraper instead of a London street, though New York 2140 is considerably broader in scope and ambition. This range and variety make summarising the plot a tricky business. Lots goes on. Robinson is not a writer who does villains; none of his characters here is evil, although some are grubbier and more compromised than others. The villain in this novel is capitalism itself. "Immiserate the same people who keep you alive?" boggles one character, talking about the 1%. "Which god or idiot in Homer did that? None of them. They're worse than the worse gods in Homer." This means that in place of melodrama we get fine-grained future-realism. New York 2140 does what Robinson's award-winning Mars books did: it creates a whole world in such compelling detail that the reader starts to suspect the author has actually been there, in a time machine, and has come back to file what amounts to documentary reportage. The fact that all these individuals are so different from each other makes its early stages a little sticky. Robinson also has a habit of blithely info-dumping about everything from New York history to arctic fauna, from the structural engineering of waterlogged buildings to the flow of international capital. Don't get me wrong, though: these insights are fascinating, and the novel does accumulate a magnificent momentum, a richness rare in contemporary fiction. Amitav Ghosh recently asked: "Where is all the fiction about climate change?" New York 2140 makes you want to grab him by his lapels and tell him: "Here! here!" To be fair, his lament was that "serious" fiction is failing in its duty when it comes to addressing climate change. He exempts science fiction from his rebuke, but insists that the literary establishment disregards the genre. I'm not sure that's true any more; SF is threaded everywhere through culture nowadays, and it would take an act of critical myopia to miss the fact that Robinson is one of the world's finest working novelists, in any genre. And that's the bottom line. New York 2140 is a towering novel about a genuinely grave threat to civilisation. Impressively ambitious, it bears comparison with other visionaries' attempts to squeeze the sprawl and energy of the US between two covers: John Dos Passos's USA trilogy and Don DeLillo's Underworld. Dos Passos orchestrated his multifarious account through a literary-experimental approximation to news media: daily papers, newsreels and so on. DeLillo is similarly capacious in his ambition and uses baseball as his governing metaphor. New York 2140 is more urgently relevant than those two masterpieces. Robinson organises his novel around the flood: the literal waters, the metaphorical sense of events -- environmental change, technology, immigration -- overwhelm us. And the deluge is not only metaphorically eloquent, it is dangerously close to becoming a reality. Critics sometimes praise a new novel for being "challenging". The term is often just another piece of reviewers' jargon, but it happens to describe New York 2140 unusually well. Robinson's fiction challenges us to pay attention, to try to grasp how broad and complex the situation of the world is now, and above all it challenges our climate change complacency. Apres nous, le deluge. * Adam Roberts' The Thing Itself is published by Gollancz. - Adam Roberts.
Kirkus Review
The Big Apple persists, despite climactic disasters that have flooded the lower floors of New York City's buildings and turned the metropolis into a so-called "SuperVenice."Armistead Maupin's Tales of the City meets George Turner's Drowning Towers in this series of interconnected narratives concerning the residents of the Met Life tower, a historic skyscraper converted into a co-op. The head of the co-op board and the building's super fend off an offer to purchase the building from a shadowy corporation so determined to buy that they're willing to sabotage the building's infrastructure. Two coders living in an inflatable structure on the building's farm floor are held prisoner in an underwater container after one of them hacks the financial system. A tough cop investigates the coders' disappearance and links it to a wide-ranging conspiracy. An ambitious trader tries altruism and civic improvement to impress a woman. A pair of "water rats" (homeless boys with a boat) search for sunken gold in the Bronx. And a media star famous for her "assisted migrations" tries to transport polar bears in her dirigible from the warming Arctic to cooler Antarctica. This offers parallels to Robinson's previous novel, Aurora, which also featured an ecosystem in distress (in that case, a generational spaceship). Of course, this being Robinson, there are plenty of infodumps, mostly on climate, finance, and history, with some trenchant commentary on both gentrification and the perils inherent in ignoring human damage to the environment. But he also lightens the mood with a heavy dose of witty epigrams, including two delightfully relevant quotes from the children's classic The Pushcart War. And exploring this vastly changed cityscape, where familiar streets are replaced by skybridges and subways by vaporettos, is great fun. A post-disaster fairy tale that's light on plot and heavy on improbable coincidences but a thoroughly enjoyable exercise in worldbuilding, written with a cleareyed love for the city's past, present, and future. Copyright Kirkus Reviews, used with permission.
Library Journal Review
In the 22nd century a series of climate disasters and ocean level risings have left New York City partially underwater. In -Manhattan, the old Met Life building is one of the skyscrapers-turned-islands that houses residents determined to stay in the city. Robinson focuses on those residents to tell a story of real estate, finance, climate change, treasure hunting, and kidnapping. Two missing computer programmers bring an unusual mix of the Met residents together, including a financial trader, the building super, a tenants' rights advocate, a police inspector, and two intrepid orphans. Robinson (Aurora; "Mars" trilogy) writes dense sf that often has an ecological bent. His large cast of characters provide appealing windows into his near-future world, but the cityscape itself is the most interesting protagonist, with New York ringed by superskyscrapers housing the rich as well as the lower regions of canals, collapsing buildings, and encroaching tides. The only frustration in this ambitious and impressive work is that the author relies too heavily on information dumps to fill in the details of climate change, explain the financial world, and liberally sprinkle fascinating nuggets of New York history. VERDICT Robinson's many admirers and sf readers who enjoy ecofiction will want this. [See Prepub Alert, 10/6/16.]-MM © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.