Market Forces

by Richard K. Morgan

Book Overview

From the award-winning author of Altered Carbon and Broken Angels -a turbocharged new thriller set in a world where killers are stars, media is mass entertainment, and freedom is a dangerous... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0345457749
• ISBN13: 9780345457745
• Release Date: March 2005
• Publisher: Random House Publishing Group
• Length: 464 Pages
• Weight: 3.35 lbs.
• Dimensions: 1.0" x 6.1" x 9.3"

Customer Reviews

Not Free SF Reader

A dark satire. Where the protagonist is, most people live a poor, squalid existence. A few have occupations, like his girlfriend, the mechanic. Some are executives, such as himself. His company and field of expertise is investing in small conflicts and wars around the world. The catch is, for the ambitious, or even non-ambitious, is to get ahead, you have to survive Car Wars. These duels become somewhat of a spectator sport for the media, as well. A quite brutal tale.

just loved it

This novel is a departure from Morgan's Takeshi Kovacs universe that I've so enjoyed in the past, but it was a great read. Took me a bit to 'get into it' as I tried to figure out what this new world's rules are, but once I'd settled in, I found the ride interesting and compelling. Morgan finds a nice balance of trend-extrapolation and mayhem. I found the novel's anti-hero to be complicated and layered. Sometimes I identified with him, sometimes I hated him, most times both simultaneously. The end was a bit ragged - there were some plot lines I would've liked to see resolved, but I accept this novel's faults. Morgan's ideas and vivid prose are great.

Richard Morgan's Best Cyberpunk Novel

Richard Morgan offers some of his best prose in this near future cyberpunk novel which may yet be regarded by some as a classic in the genre. However, I still think that Morgan isn't nearly as accomplished a literary stylist as China Mieville, Neal Stephenson, Bruce Sterling, or especially, William Gibson. But frankly, to his credit, Morgan has written yet another cinematic cyberpunk thriller with a captivating protagonist, Chris Faulkner, whom I find more compelling a character than his cyberpunk space opera creation Takeshi Kovacs. Set some fifty years in the future, "Market Forces" is a thoughtful, exciting exploration of capitalism run amok, with a strong "Road Warrior" sensibility towards blood and gore. It is a virulent form of free market capitalism where successful businessmen like Chris Faulkner have become the media icons of the age, surpassing in popularity, those in entertainment. In Morgan's richly imagined future, Western corporations, not governments, hold sway over most of the world's impoverished billions, dictating the survival of brutal, corrupt regimes in places as far flung as Southeast Asia and South America. The United Nations has become a largely discredited shell of itself, hoping to find some balance between the moral excesses of these corporations and the desperate needs of the impoverished peoples of the Third World. We are also treated to extremes between wealth and poverty within a London divided into rich and impoverished zones; the latter are literally living versions of Hell where survival depends on drug dealing and committing other crimes up to and including murder. I find Chris Faulkner so compelling a literary creation since he is quite literally torn between following the immoral dictates of his corporation, and deciding on whether he should adhere to his natural instincts for common sense decency and justice. Surrounded almost entirely by workers who have no moral compass at all, except to play by "market forces", Faulkner manages somehow to hold onto his instincts, but at a great personal cost to himself, his wife and beloved colleagues. So here, in Chris Faulkner, Richard Morgan has offered his most compelling literary creation to date. Simply for this very reason, I can't hesitate giving "Market Forces" a strong endorsement, hoping that Morgan may yet offer a compelling sequel (I might add too that I strongly disagree with Morgan's political leanings, but at least he still manages to tell such a compelling saga.).

Persevere! It's worth it.

100 pages into this 464 page bug killer I was ready to slam it. This book doesn't even deserve one star, I thought. How did I get from there to matching the highest rating I've given a book thus far? I finished it. The premise is an eye catcher: corporations rule the world, funding, starting and stopping wars based on economic prospects only, and the way you work your way up in the corporation is by performance and road raging. Yup. It's Mad Max meets Wall Street. When I read the back cover, I laughed out loud, and I knew I had to read it. The book starts out.... feh. It's crude. Too crude, especially in the graphic soft core sex descriptions, foul language and violence. And if you're too offended by the first few pages, it only gets worse. It's simplistic. The characters are typical and predictable, the movement of the book, in spite of the crudeness, is rather dull. The world the book paints is typical of so many bleak future books. Class disparity, no ethics, ultra violent. But then, much earlier than the Joseph Heller book, something happened. Morgan has used the first part of the book to build up the characters, (unfortunately through long drawn out dialogue, though one wonders if the effect would have been as strong without it) to make a basis for the development he's about to write. The protagonist, Chris Faulkner, is a gem of character development. Young and up and coming in the beginning. An idealist thrown in among sharks, yet determined to succeed on his own terms. His wife, his new best friend, his father in law....all very real. The book suddenly becomes very very good. The interpersonal conflicts become idealistic battles and I found myself choosing sides rather quickly as the story moves on. Faulkner goes from sly kid to someone I found myself cheering for rather loudly at 1 AM beside my sleeping wife (sorry, honey ) and then CONTINUES to develop in ways that I will not, for spoilers sake, explain how I responded to them. Unfortunately, I have to stop there to not ruin the plot. Every relationship in this book is very real, and very gut twisting. As for the plot, there are sure to be initial guffawing, as there was in my case, at the premise. But the corporate manipulation, some say, is already occuring in foreign governments. Anyone with any sort of experience in business knows the cutthroat nature of the "game." Taking that one step further into the corporate ladder, who's to say all pretenses couldn't be set aside and bloodthirsty kills on the road take the place of backstabbing and gladhanding. The corporate setting and dealings is also very real, until nearing the end of the book, where it becomes almost surreal, but in a very intriguing way. Bottomline is this book starts out crude and boring. I was very put off by it. However, the character development and the way Morgan wrote the part of Faulkner was utterly brilliant, and I have not encountered a character I have enjoyed reading in quite some time. This revie

"Market Forces"--Impossible to Look Away

Last year Richard Morgan won the Philip K. Dick award for his distant future opus on identity-crisis, "Altered Carbon." This year, "Market Forces" already has won a nomination for the prestigious Arthur C. Clarke award--a well deserved accolade. "Market Forces" is a brutal, turbo-charged thriller set in a not-too-distant future London. More than science fiction, it is a horror novel--the fear factor comes from the story's prophetic potential. The novel puts "Mad Max" on the road with J.G. Ballard, with signposts provided by Che Guevara. Chris Faulkner, the protagonist-cum-antagonist of the novel, uses his reputation as a ruthless, corporate assassin to win a position with Shorn Associates, aptly named because they shear through their competition, leaving burning cars and bloody corpses behind as they win contracts for "Conflict Investment" in third world countries. But Faulkner is having a crisis of conscience-he has shown weakness by mercifully sparing the life of a competitor, and now needs to prove he has the brutality for the job. In intense gladiatorial car races, he must prove he's able to kill without remorse. In the words of his boss, there's no economic gain without blood on your hands. We follow Faulkner into an urban Heart of Darkness, where he is forced to chose between leaping from the financial tower or putting a bullet through a crippled competitor's head. And that is only the beginning of his plunge into the abyss. Morgan has crafted a high-octane, politically challenging novel--a polemic on the greed and power of increasingly consolidated corporate entities, and the de-socialization of the individual within these structures. Forget the Constitution of the European Union, say goodbye to privacy and civil rights, offer a eulogy for the Rule of Law in this world where the only law is "Kill and Consolidate Capital." The corporate oligarchies dominate the political landscape, and the media is only a mouthpiece capitalizing on horror for the ratings war. The evening news is just another Corporate despot that has whored itself out to big money. With the recent political pressure on media over the Iraq conflict-this dynamic is all too familiar. There are clear parallels to the oft-missed message behind Bret Easton Ellis' novel, "American Psycho," where the sociopathic behaviors of corporations in the 1980's, the leverage buyouts and hostile takeovers that ruined tens of thousands of lives, were sandwiched between scenes of depraved, sexual-sadism and murder by a serial killer. The murder scenes in that novel were truth-revealing mirrors of the corporate mentality that dominated financial institutions. "Market Forces" is another house of mirrors, with brutal car races juxtaposed against arms manufacturers and financial institutions. It is a powerful indictment of corporate politics, and a criticism of globalization, which he decries as nothing more than neo-imperialism. Morgan cuts deep, asking us to examine the class