P.J. Manney Explores Humanity 2.0 in (ID)entity

Artificial intelligence has long been a favorite feature of science fiction. Every robot or talking computer or starship operating system has contributed to our idealized image of the bits-and-bytes brain.

In (ID)entity (47North, 2017), PJ Manney further expands our vision of A.I. by uploading her human protagonist to a server; from there, he is replicated and downloaded, re-emerging in everything from a sex-bot to a vegetative man.

Manney joins me to discuss her new novel and the science behind it in the latest episode of New Books in Science Fiction. She joined me last year to discuss the first book in her Phoenix Horizon series, the Philip K. Dick Award-nominated (R)evolution.

Published this month by 47North, (ID)entity is the second book in Manney’s fast-paced, plot-twisting Phoenix Horizon series. As the follow-up to (R)evolution, the new novel is both an exploration of transformative technology and a thriller, set in a world where nations (including the U.S.) have collapsed, swathes of humanity face enslavement, and the future of civilization hangs in the balance.

One of Manney’s ambitions as a writer (in addition to entertaining readers) is to prepare the public for the possible impacts of new technology. “If we know that these things are coming, we can start forming opinions about what to do,” she says. “Because here’s the thing: nothing gets banned. [If] it gets banned in one country, it doesn’t get banned in another country. There’s no way that technology stops from happening.”

Manney likens the idea of transforming a human incrementally–gradually swapping cells for bits–to the thought experiment known as Theseus’s paradox, which asks: if you restore every piece of Theseus’s ship with an entirely new piece, is the final result still Theseus’s ship?

“I’m positing, yes it is,” she says, with regard to her protagonist’s transformation from man to super-sophisticated CPU.

While (ID)entity is set in the near future, Manney doesn’t expect that people will be able to save themselves to their hard drives soon. “Uploading is farther off than we think.”

The third and final book in the series, (CON)science, is scheduled for release in November 2018.

Claudia Casper Flips Cain and Abel in ‘The Mercy Journals,’ This Year’s Winner of the Philip K. Dick Award

My new interview on New Books in Science Fiction is with Claudia Casper, author of The Mercy Journals (Arsenal Pulp Press, 2016), which won this year’s Philip K. Dick Award.

Set in 2047, it tells the story of Allen Quincy through his journals. Quincy–nicknamed Mercy–is a former soldier struggling with memories of his long-lost family and the traumas he suffered during a third world war.

The story touches on complex issues such as genocide, climate change, and post-traumatic stress disorder. But it’s largely a book about one man’s struggle for survival and his attempt to find meaning in a world turned upside down.

I had a lot of fun talking with Claudia, and we covered a lot of ground in our conversation, everything from Cain and Abel (“I wanted to flip it, so the Abel and Cain story would be reversed”) to food shortages (“We’re three meals away from chaos”) to the problem with building walls between countries (“No, Donald Trump had not come on the scene when I wrote that, so that has felt somewhat prescient”). We also talked about her delightful essay, “Attending a Literary Award Ceremony in an Alternate Universe,” about receiving the Philip K. Dick Award at Norwescon.

 

The Eternal Optimist: An Interview with Philip K. Dick Award Winner Ramez Naam

My new podcast for New Books in Science Fiction is an interview with Ramez Naam. Here’s my write-up that goes with the interview:

In the fictional battles between humans and machines, the divide between good and bad is usually clear. Humans, despite their foibles (greed, impulsiveness, and lust for revenge, to name just a few), tend to find redemption, proving mankind’s basic goodness through love, friendship and loyalty.

Machines, on the other hand, despite their superior physical and mental capacities, usually prove themselves to be (largely through the absence of the aforesaid capacity for love) to be dangerous and unworthy of the empires they seek to rule. But what if the humans and machines were combined – not merely cyborg-like in a jigsaw mix of man and robot but more elegantly, through a perfect blending of mind and matter? Ramez Naam does just that in his Nexus trilogy by wedding a human being’s soul – her memories, feelings and intellect – to the most powerful computer ever built.

In Apex (Angry Robot, 2015), the trilogy’s third installment and winner of this year’s Philip K. Dick Award, things go awry. Su-Yong Shu, the brilliant Chinese scientist whose consciousness has been folded into a massive quantum computer deep under Shanghai, isn’t feeling so hot. In fact, she’s gone insane. It may seem, at first, as if Naam’s message is the same – that any artificial intelligence, when it gets smart enough (and even when it’s the result of a machine-human blend) craves power and will lead to mankind’s destruction. But Naam’s message is more complex: while the original computerized version of Su-Yong Shu goes on a destructive rampage, a copy of her consciousness in India finds its way back to sanity.

And through the journeys of these identical twins, we realize that Su-Yong Shu is neither human nor machine. She is something new, a powerful and mysterious being who has all the best and worst qualities of both man and machine – seemingly infinite capacities of intellect, strength, fear, paranoia and love. In his New Books in Science Fiction interview, Naam discusses the pluses and minuses of human enhancement, why he’s remained steadfastly optimistic about transformative technology since the 2005 publication of his non-fiction book More Than Human: Embracing the Promise of Biological Enhancement, and the extensive outlines he develops before sitting down to write. This is the second time Naam has appeared on the podcast. Dan Nexon interviewed him in 2013 about the first book in the trilogy, Nexus.

From the Interview:
“I have contact lenses in. I have a smart phone. I have a Fitbit. My fiance is on birth control. We have already upgraded ourselves quite a lot. My view in reality is that generally when you give someone the option of technology that improves their life in some way, and it’s safe enough and it’s cheap enough and enough people have done it already … people are just going to do it because people want these things. But everything is a little bit of a double-edged sword. No technology ever comes with zero downsides. So my phone means – the digital world means – that hackers can steal my identity or steal from my accounts, or it lets child porn go wild, or the NSA can spy on all of us far more easily.” –Ramez Naam

PJ Manney on her book (R)evolution: ‘It Doesn’t Fit Neatly into Any Boxes’

PJ Manney’s fast-action novel (R)evolution (47North, 2015) has all the ingredients of a Hollywood thriller: a terrorist attack using nanotechnology, a military-industrial conspiracy, a scientist who augments his brain—plus, of course, romance, betrayal, and rapid-fire plot twists.

The movie-style storytelling comes naturally for Manney, who spent most of her career in Hollywood, developing films and writing for television. “I don’t see myself as a literary stylist or as a great wordsmith. I see myself as a … Hollywood-influenced storyteller,” she told me when we spoke on New Books in Science Fiction.

A first-time novelist, Manney says she was “flabbergasted” when she was nominated for this year’s Philip K. Dick Award. “I ended up melding genres and ignoring people’s advice,” she explains. “It doesn’t really fit neatly into any boxes and people who like boxes have a hard time with it… I thought it was just me and my editor who liked it.”

(R)evolution explores transformative technology—a brain-computer interface that relies on nano-materials to create a prosthetic hippocampus and cortex. Manney’s protagonist, Peter Bernhardt, seeks to use the technology for good—to aid brains destroyed by Alzheimer’s disease—but business and political forces try to grab the science for their own nefarious ends. Eventually, Bernhardt experiments on himself, pursuing super-human capacities to literally outsmart his enemies.

Manney had envisioned (R)evolution as a next-generation e-book: one with active Web links to provide context and background information and a soundtrack that allowed readers to hear the music that helps Bernhardt make connections and solve problems. “I wanted you to be able to play the music so you could actually experience his mental process… I wanted people to really have that sense of having a hacked and jacked brain. If you did have a quirkily wired brain to begin with and this ability to pull from endless amounts of data, what would that feel like?”

Yet while Manney’s imagination rushes headlong into the future, e-book technology moves at a slower pace. The e-book version of (R)evolution has no links or music. But Manney hasn’t given up. She is working furiously on the next installment, (ID)entity. That gives e-book designers a chance to up their game and, I hope, design an e-book format worthy of Peter Bernhardt.

(It’s not too late to sign up for a giveaway of the six books nominated for the 2016 Philip K. Dick Award. Entries will be accepted until midnight Pacific Daylight Time on March 22, 2016.)

Podcast with Brenda Cooper

My interview with author and futurist Brenda Cooper is the second of my conversations with nominees for the 2016 Philip K. Dick Award.

Cooper’s novel Edge of Dark (Pyr, 2015) is set in a solar system where human are forced to confront a civilization they’d long ago banished: a race of super-beings who evolved from humans into cyborgs.

The idea of implanting human intelligence into an artificial body is not new. But Cooper gives it a fresh twist by making the ethics of human-robot blending the central theme of her book. The super-beings (called variously ice pirates and the Next) are returning uninvited from their banishment and, in addition to seeking access to natural resources, are offering immortality to anyone who wants it.

Cooper sees Edge of Dark as part of a conversation about the evolution of the human race. “I’m fascinated by transhumanism what we’re going to become,” Cooper says. “I do think that we’re becoming something different… I’m exploring what the human soul might be about.”

All six PDK-nominated authors participated in a joint podcast where they interview each other. It’s available here.

Meg Elison explores power and gender in Book of the Unnamed Midwife

I spoke with this year’s winner of the Philip K. Dick Award, Meg Elison, for my 18th podcast on New Books in Science Fiction and Fantasy. She was easy breezy to talk to, with smart quick answers that, in my humble opinion, made for a great interview. Of course, it helps that her book tackles all kinds of rich subjects: gender inequality (exacerbated by an epidemic that kills far more women than men), reproductive rights, and a need for meaningful emotional and intellectual stimulation in a world sorely lacking both. Below is what I wrote to introduce the podcast.


Despite the odds, Meg Elison did it.

First, she finished the book she wanted to write. Second, she found a publisher–without an agent. Third, she won the Philip K. Dick Award for Distinguished Science Fiction, a stunning achievement for a first-time author with a small, independent press.

The Book of the Unnamed Midwife is set in the American West after an epidemic has killed all but a fraction of humanity. Among the survivors, men vastly outnumber women, setting in motion a desperate journey of survival for the eponymous midwife. To avoid the serial rape and enslavement that threatens all females in this male-dominated landscape, the midwife sheds her name and even her sexuality, presenting herself as a man and continuously changing her moniker to suit the circumstance.

Communication falls apart too quickly for anyone to even know the name or nature of the illness that’s destroyed civilization and made childbirth a fatal event for female survivors. The midwife’s focus is on giving the few women she meets the hard-won power to prevent pregnancy. “I think the thing I wanted to come across most strongly was to explode notions of gender… And to really think about what your options would be like if you, like your grandmother, had no control over when you had children or how or by whom,” Elison says in her New Books interview.

Elison was raised on stories about the apocalypse–the fire and brimstone kind. “I grew up in some pretty crazy evangelical churches, and they hammered on us about the end of days and the Book of Revelation, and it gave me nightmares, and it made always think about the fact that the end was nigh and that it was going to be bad, and I think that stuck with me my whole life even though I shed the ideological parts of it.”

For the midwife, the apocalypse poses threats both dramatic and mundane. When not searching for food and a safe place to spend the night, she must negotiate the frustrating reality of spending time with people she doesn’t like. “I started thinking about what it would be like if the only people you could find were people you couldn’t stand, if they just irritated in you every way,” Elison says. “There’s nothing wrong with them and they’re not unsafe, you just don’t like being there. So I wanted to make a character who had to make choices between feeling safe in a group of people and feeling pissed off all the time.”

Elison is grateful for the editors at Sybaritic Press, who published her unagented manuscript. “They’re very good editors and publishers,” she says. But inevitably, she’s had to do a lot of marketing herself. “It’s good because I’ve learned a lot about the business doing that and it’s not good because no one listens to a writer on her own.”

Fortunately, the Philip K. Dick Award has made finding readers a whole lot easier. The award “has opened a lot of doors,” she says.

Related links:

  • An article in the Los Angeles Review of Books explores the book’s treatment of “Gender and the Apocalypse.” [Note: the article has spoilers].
  • Meg Elison shares her thoughts on her blog.
  • You can follow New Books in Science Fiction and Fantasy on Twitter and Facebook
  • and host Rob Wolf on Twitter

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Podcast No. 15: ‘Where Are All the Black People?’ A Conversation with Jennifer Marie Brissett

Jennifer Marie Brissett’s first novel, Elysium, or the World After, portrays a fractured world, one whose seemingly irreversible destruction does nothing to dampen the survivors’ collective will to live.

Brissett showed similar determination in writing the book, whose non-traditional structure places it outside the mainstream. Fortunately, her approach has been validated, first by her teachers at Stonecoast Creative Writing Program at the University of Southern Maine, where she wrote Elysium as her final thesis, and later by the committee that selected Elysium as one of six nominees for the Philip K. Dick Award.

“I wasn’t sure there was a space for me in this writing world. And to a certain degree I still sort of wonder. But the idea that I could write and that my stories are worthy of being told was something [Stonecoast] really helped to foster in me,” she says in her New Books interview.

In some respects, Elysium is simple: it tells a story of love and loss between two people. But Elysium is also complicated because those two people morph from scene to scene changing from two brothers to father/daughter to husband/wife to boyfriend/boyfriend to girlfriend/girlfriend.

When imagining the future, conventional science fiction often focuses too much on gadgets and not enough on people, Brissett says. “We think [science fiction] is about … the new machines we’ll have, the little gadgets that will make our lives easier … but I think the civil rights movement is one of the most science-fictional things that could have probably happened, because all of a sudden this entire group of people that was totally ignored showed up at the table and said ‘We want in.’”

As a child, Brissett found the Wonder Bread future depicted in The Jetsons frightening. “I remember watching as a kid the Jetsons and thinking ‘That is an absolutely terrifying vision of the future. Where are all the black people?’” she says. “The future belongs to everybody. It doesn’t really belong to any one group. And yet when you see visions of the future, it’s usually mostly white heterosexual people wandering around.”

In the early 2000s, Brissett owned an independent bookstore in Brooklyn, N.Y., where she experienced the publishing industry’s struggles firsthand. Rather that discourage her from becoming a writer herself, the experience seems to have solidified her desire to tell stories in the way she wants to tell them. “You have to love this field to be here. If you’re here for money, you are certifiably crazy,” she says.

Spoiler Alert

From 6:45 to 10:24 we talk about a major part of the plot, which is revealed on the book jacket but doesn’t actually emerge towards the end of the book so people might want to skip this part (and not read the jacket copy) if they want to approach the story as a mystery whose answer lies in the book’s structure.

Related Links

Podcast No. 13: Surrendering to the Apocalypse but not to Crime

It’s no surprise that when scientists in Ben H. Winter’s The Last Policeman series declare that a 6.5-mile asteroid is going to destroy life as we know it on October 3, civilization starts to unravel.

Governments collapse. People quit their jobs and abandon their families. Survivalists stock up on guns and food, imagining there’s a way to outsmart the impending holocaust. Fatalists sink into hedonism, depression or suicide.

And then there’s Hank Palace, a detective on the Concord, N.H., police force and the eponymous star of Winter’s trilogy. Faced with the end of the world, Palace does the almost unthinkable: he keeps doing his job.

“He’s taken an oath to uphold the law … and to him an oath is an oath, a promise is a promise, and it doesn’t matter what the context is,” Winters says in his New Books in Science Fiction and Fantasy interview.

Palace remains dedicated to his job as he tries to: determine whether an apparent suicide is actually a murder (Book 1); track down a missing person (Book 2); and find his sister, who’s joined a group determined to save the planet (Book 3).

Throughout the trilogy, Winters demonstrates a mastery of two genres, a fact reflected in the awards the series has collected. The first book, The Last Policeman, earned an Edgar Award from the Mystery Writers of America, while the second book, Countdown City, was recognized for excellence in science fiction with the receipt of the Philip K. Dick Award, and the third book, World of Trouble, which was published in July 2014, is a finalist for (another!) Edgar Award (the winner will be announced in April).

Ben H. Winters

Like his main character, Winters likes to be prepared while remaining flexible. “I always start with a pretty good outline and then by the time I’m really deep into the book that outline is more or less thrown away and replaced by a different one,” Winters says. “I have to allow the outline to be there but for it to always be provisional, to always be a work in progress.”

Among other topics tackled in the interview are Winters’ optimism about human nature, the art of telling a compelling mystery, and some hints about his next book (a mystery in an alternate or “counter-factual” America). 

Related links:

Philip K. Dick Award Nominees for 2014

Congratulations to the six authors nominated for the Philip K. Dick Award:

ELYSIUM by Jennifer Marie Brissett 
THE BULLET-CATCHER’S DAUGHTER by Rod Duncan
THE BOOK OF THE UNNAMED MIDWIFE by Meg Eliso
MEMORY OF WATER by Emmi Itäranta
MAPLECROFT: THE BORDEN DISPATCHES by Cherie Priest
REACH FOR INFINITY edited by Jonathan Strahan

Emmi Itäranta was one of my first interviews as host of New Books in Science Fiction and Fantasy, and I have a special fondness for her book, which offers a tender, wise vision (with a strong female protagonist) of a world irrevocably injured by climate change.

And after my next interview airs (with Ben H. Winters, another award winner, of The Last Policeman fame), I’ll be chatting with Rod Duncan. His interview probably won’t air until March, but I’ll be sure to ask him how it feels to be nominated.

First prize will be announced on Friday, April 3, 2015.