Crache

by Mark Budz

Book Overview

It's a post-everything world, so how could everything possibly go wrong? When the ecotecture starts to degrade on the asteroid of Mymercia-killing a workgroup on the surface-Fola Hanani miraculously... This description may be from another edition of this product.

• Format: Mass Market Paperback
• Language: English
• ISBN: 0553586599
• ISBN13: 9780553586596
• Release Date: November 2004
• Publisher: Random House Worlds
• Length: 384 Pages
• Weight: 0.40 lbs.
• Dimensions: 1.0" x 4.2" x 6.9"

Customer Reviews

BioPunk and New Wave

Crache continues the fresh vision of the BioPunk future pioneered in its predecessor Clade, but beyond inspiring the naming of a new sub-genre in SF, both novels are also full blown revivals of the New Wave of the 60s and 70s. Comparisons to other authors within or outside of SF from Gibson and Orwell to Steinbeck show that Budz not only innovates within the genre of SF, but also signal that Budz seeks to emancipate SF from its self-imposed ghettoization and engage the larger world. This approach was the hallmark of New Wave writers like Delany, LeGuin or Zelazny and has been largely absent from the field for almost a quarter century. In fact, Budz work is most similar to that of Samuel Delany, in that he carefully adheres to the essential traits of the form (in this case hard SF) whlle reforming or innovating over a broad range of story elements. Since this is a feature of Budz's work that I haven't seen adequately covered in other reviews, I'll look at Crache as a New Wave novel. One of the key features of both Crache and Clade is that the reader is immersed in the future like a castaway rather than the more touristy experience of most contemporary SF. This immediacy of experience starts with the BioPunk trope, a technology that flows from our intimate experience and knowledge of our own bodies and immune systems (like allergies for example). Probably the first thing a reader notices is the profusion of jargon and jingle-like punning, a lot of the puns are obvious, like `tattunes' for programmable tattoos which can play music, while the technical language is rarely defined and has to be picked up largely from context. The standard SF "Tour Guide/Guidebook" provided for the benefit of early 21st century readers is almost totally absent. This is one way that Budz immerses his reader in the experience of living in the future he envisions. The language is intended to be evocative not definitive, experts in Crache use their language like experts, people use the commonplace words about their everyday life casually. Futuristic terms of our time are twisted around like `IA' for what we would call an `AI' to show that we're not in a comfortable, familiar future. Another aspect of this immediacy of experience shows up in several scenes when a character's emotionally intense or disturbing experiences and memories are described in unblinking detail, they aren't just glossed over or alluded to. There's a great example of this, where the scientist Rexx remembers a horrifying trip to a bordello with his father, the scene would be disconcerting even without the bizarre futuristic elements. Characters are also defined in social/psychological/historical dimensions, this makes them more sympatheitic or relatable and potentially closer to the reader. By building the characters in these dimensions there is an additonal benefit, Budz brings his world to life in a way that is almost impossible for much current SF which is largely populated with Ahabs,

fascinating look at Orwellian society

The structure on the asteroid Mymercia starts to collapse while a rogue pherion causes a virus that is making people ill. Of the workforce only Fola Hanani survives, but she is quarantined so that she can be tested to make sure she is not a carrier. The people who run the government use pherions to control what the masses feel and think so this unauthorized use worries them especially when another one is released into the atmosphere. Fola contacts L. Mariachi of earth, a migrant worker who can stop the virus from spreading. She communicates with him through his guitar, trying to get him to sing a particular song that will render the virus harmless. Before L. Mariachi can sing, Bean agents arrest him as they believe he is part of a conspiracy to release the pherion. He must escape if he is to stop the virus and restore the AIs, who are vulnerable to the disease, to their former state. In this future earth, people live under the rule of a repressed regime run by big business and government who keep the masses docile through drugs in a closed atmosphere. The populace is confined to specific geophysical regions and not able to leave their specific Clade zone due to varying pherions. Off planet Fola and on planet L. Mariachi are the exceptions as they illegally are able to move about more freely as the pherions do not seem to harm them. CRACHE, the sequel to the equally intriguing CLADE, is a fascinating look at Orwellian society. Harriet Klausner