About the Book
RELEASE DATE: February 15, 2017
AUTHOR: Rick K. Reut
PAGE COUNT: 276
IMPRINT: Devil’s Tower
GENRE: Science Fiction/Dystopian/LGBT
SYNOPSIS: The story is a sequel to Aldous Huxley’s Brave New World. It takes place seventy-seven summers since. The World State has changed considerably, having taken a bio-technological turn towards transsexualism, on the one hand, and technology-provided social-communism, on the other. The only place this post-gender and post-capitalist progress hasn’t pervaded yet is the reservation area of so-called Isolated Islands, where Bernard Marx and Helmholtz Watson were to be exiled at the end of the original book.
The protagonist of this story is Bernard’s grandson, Adam Marx, who, being disappointed with his life on the world’s margins, longs for the Mainland. But it looks like his dream can never come true, for there is no place for a naturally born man in a society of biotechnological mutants. Fortunately or unfortunately for him, however, his cravings happen to coincide with an ongoing campaign of one of the ten current World State’s Controllers, pursuing Its own political purposes.
The Creation of Even Braver New World State
Guest Post by Rick K. Reut
As I was toying with the theme in my head, it occurred to me that the best way to support some of the speculative ideas concerning the currently forming trans-human society would be by writing a work of fiction similar to the one that Aldous Huxley had published in the first part of the previous century.
At first, I wanted to turn it into an integral part of my thesis, which would follow the footnotes of the analytical section. But being convinced that no novel narrated nowadays can possibly be called “novel”, that is, new in the full sense of the word (for the forerunning tradition, thanks to the scope of continuous experimentation with genres, ideas, plots and styles appears to have exhausted the literary soil, rendering our post-postmodern age unable to offer anything really different and thus condemning any attempt in this area to inevitable – direct or indirect, deliberate or chance, conscious or unconscious – imitation), I decided to play along with the existing tradition by joining it the same way a smaller river joins a bigger one before running into the immense inter-textual ocean.
After considering Huxley’s Brave New World, the choice of the “bigger river” seemed obvious. The same way Tom Stoppard had waded into Shakespeare’s river by writing his “Rosencrantz and Guildenstern are Dead” on the outskirts of Hamlet and Huxley himself had borrowed all he could from the same source, starting with the name he took from the “Tempest” and continuing to develop ideas loaned from Plato, Marx and Freud, to name just a few, I decided to follow in the footsteps of the famous.
As could well be expected, though, the bureaucratic rigidity of the academia barred my novel’s way to publication through this channel, thus forcing me to confine the work to its analytical part alone. But all this may have been for the best, for it gave me a chance to revise the manuscript and bring it a bit closer to perfection than it had been in the beginning, when the waters of my inter-textual river were still way too muddy. But now, having been cleansed of most of the verbal drift weed in the editing duct, they seem fit not only for drinking, but also for filling the science fiction pool of books devoted to this topic, which is swiftly gaining popularity in the present age of extensive experimentation with the concepts of body and mind.
About the Author
Growing up on American Movies and British Rock Music made me Bilingual. Trilingual, if you count the dying Belarusian language we were customarily made to study at school. I could even go as far as calling myself “quad-lingual” every time I recall the revolting bits and pieces of minced German tongue the teachers tried their worst to force down my throat in college. But, to the pseudo-patriotic pride and pleasure of an unnaturally born Brit, they failed miserably. However, as an outcome of the conditioned reflex I acquired at that time, I still run for a plastic bag each time I hear the Reich Kanzler open her mouth on TV.
An avid reader of American and English literature since high school, starting with Jack London’s Martin Eden, I have always been madly in love with the language and its literary legacy. This love may also be responsible for the monstrous mixture of an American Englishman at heart and an Australian of New Zealand’s breed somewhere below the equatorial belt I am today. Yes, and a Belarusian neck up, which I try my best to hide behind a philosopher’s beard in shame for my country’s current political regime.
I began to write lyrics in English around the age of 15, in Russian around 18, in prose around 20, and in letters around the whole wide world in two years of unrequited affection that made me consider the pastime seriously. And so I wrote. Mostly for and to myself, but then more and more frequently to others. Despite the latter’s enduring encouragement, I’d never tried publishing outside the campus community. That is, not till now.
Having studied up to a BA in both literature and philosophy in 2006 and 2010, respectively, I also happen to be the author of two theses: “The Problem of Post-Gender Identity in Contemporary Social Theory” (in Russian; Department of Philosophy, European Humanities University, Vilnius, Lithuania) and “Pulp Fiction 2, from Shakespeare 2 Tarantino and Back, an Inter-Textual Language Analysis of the Evolution of the Dramatic Genre from the 16th Century Play to the 20th Century Screenplay” (in English; Department of Philology, St. Petersburg’s State University, St. Petersburg, Russia, a Pilot Program in Collaboration with Bard College of Liberal Arts, USA).
All this academic abracadabra, however, is hardly of any help when it comes to making the mentioned sleepless dreams come true unless someone gives them a little literary lift.