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Read A Book: Rule 34 – If it exists, there is porn of it. No exceptions!

Posted: August 22nd, 2011 | Author: | Filed under: Art News, Blip, Favorite New Thought . . ., Read A Book!, Socially Engineered | Tags: , , , , , | Comments Off

Charles Stross’s latest techno thriller, Rule 34, is a clear view at the dark side of nerd culture, Stross has produced a grotesque and gripping page-turner. Rule 34 is a near-future science fiction novel by Charles StrossRule 34 is a loose sequel to Halting State

The title is a reference to the meme Rule 34 of the Internet, a meme which states that “If it exists, there is porn of it. No exceptions.”

Rule 34 is told in second-person singular but from three points of view:  Edinburgh Police Inspector Kavanaugh who investigates spammers murdered in a gruesome and inventive ways, and learns about similar cases in other parts of Europe.

Anwar, a former identity thief who becomes Scottish honorary consul for a fictional Central Asian state; and “The Toymaker”, an enforcer and organizer for the criminal “Operation”. Their interactions and conflicts drive the story.

It’s a slow Tuesday afternoon, and you’re coming to the end of your shift on the West End control desk when Sergeant McDougall IMs you: INSPECTOR WANTED ON FATACC SCENE ::::

“Jesus fucking Christ,” you subvocalize, careful not to let it out aloud—the transcription software responds erratically to scatology, never mind eschatology—and wave two fingers at Mac’s icon. You can’t think of a reasonable excuse to dump it on D. I. Chu’s shoulders when he comes on shift, so that’s you on the spot: you with your shift-end paper-work looming, an evening’s appointment with the hair salon, and your dodgy gastric reflux. 

You push back your chair, stretch, and wait while Mac’s icon pulses, then expands. “Jase. Talk to me.”

“Aye, mam. I’m on Dean Park Mews, attendin’ an accidental death, no witnesses. Constable Berman was first responder, an’ she called me in.” Jase pauses for a moment. There’s something odd about his voice, and there’s no video. “Victim’s cleaner was first on the scene, she had a wee panic, then called 112. Berman’s got her sittin’ doon with a cuppa in the living room while I log the scene.”

As with Stross’s previous novel – Halting State – Rule 34 shines as a super-smart futuristic exercise in public policing. Stross’s future cops are both victims and employers of a surveillance panopticon, one tempered by thick eurocrat regulation and adaptive criminals. These cops aren’t just legal enforcers, they’re part of a high-tech, evidence-led, scientifically grounded security strategy that has been refactored to render policing as bloodless and procedural as possible, to deploy genuine science against the cop’s vaunted street instincts, and to nudge bad guys into going good before they do something arrest-worthy.

What he isn’t saying is probably more important than what he is, but in these goldfish-bowl days, no cop in their right mind is going to say anything prejudicial over an evidence channel. “No ambulance?” You prod. “Have you opened an HSE ticket already?”

“Ye ken a goner when ye see wan.” McDougall’s Loanhead accent comes out to play when he’s a tad stressed. “I didna want to spread this’un around, skipper, but it’s a two-wetsuit job. I don’ like to bug you, but I need a second opinion . . .”

Wow, that’s something out of the ordinary. A two-wetsuit job means kinky beyond the call of duty. You look at the map and see his push-pin. It’s easy walking distance, but you might as well bag a ride if there’s one in the shed. “I was about to go off shift. If you can you hold it together for ten minutes, I’ll be along.”

“Aye, ma’am.”

You glance sideways across the desk. Sergeant Elvis—not his name, but the duck’s arse fits his hair-style—is either grooving to his iPod or he’s reallycustomized his haptic interface. You wave at him, and he looks up. “I’ve got to head out, got a call,” you say, poking the red-glowing hover-fly case number across the desktop in his direction. He nods, catches it, and drags it down to his dock. “I’m off duty in ten, so you’re holding the fort. Ping me if anything comes up.”

Elvis bobs his head, then does something complex with his hands. “Yessir, ma’am. I’ll take care of things, you watch me.” Then he drops back into his cocoon of augmented reality. You can see him muttering under his breath, crooning lyrics to a musically themed interface. You sigh, then reach up, tear down the control room, wad it up into a ball of imaginary paper, and shove it across to sit in his dock. There’s a whole lot more to shift-end handover than that, but something tells you that McDougall’s case is going to take priority. And it’s down to the front desk to cadge a ride.


Stross’s slight of hand in Rule 34 is gorgeous, moving us from a barely imaginable future to something much more substantive and finally sinking us right at the center of his tale. What starts off as a novel about dirty murders quickly turns into a spectacular rumination on the future of economic regulation and corporate ethics, the nature of AI research, and the special problems of desktop 3D fabrication – as applied to religious faith, domestic chores, and forbidden sexual practices – sometimes all at once.

This is by far my favorite kind of science fiction: paced, playful, and challenging.

Rule 34 2011, ISBN 978-0-441-02034-8

 

Rule 34 Preview

By Charlie Stross

By kind consent of the publishers, I’m able to give you a sneak preview of the first few chapters. So I’m going to roll them out on consecutive Fridays. Here’s the opening.

Note that this is carved out of the final manuscript; there will be some minor differences from the published text — typos fixed in the proof stage, mainly.

________________________________________________

 

1. LIZ: Red Pill, Blue Pill

It’s a slow Tuesday afternoon, and you’re coming to the end of your shift on the West End control desk when Sergeant McDougall IMs you: INSPECTOR WANTED ON FATACC SCENE.

“Jesus fucking Christ,” you subvocalize, careful not to let it out aloud—the transcription software responds erratically to scatology, never mind eschatology—and wave two fingers at Mac’s icon. You can’t think of a reasonable excuse to dump it on D. I. Chu’s shoulders when he comes on shift, so that’s you on the spot: you with your shift-end paper-work looming, an evening’s appointment with the hair salon, and your dodgy gastric reflux.

You push back your chair, stretch, and wait while Mac’s icon pulses, then expands. “Jase. Talk to me.”

“Aye, mam. I’m on Dean Park Mews, attendin’ an accidental death, no witnesses. Constable Berman was first responder, an’ she called me in.” Jase pauses for a moment. There’s something odd about his voice, and there’s no video. “Victim’s cleaner was first on the scene, she had a wee panic, then called 112. Berman’s got her sittin’ doon with a cuppa in the living room while I log the scene.”

What he isn’t saying is probably more important than what he is, but in these goldfish-bowl days, no cop in their right mind is going to say anything prejudicial over an evidence channel. “No ambulance?” You prod. “Have you opened an HSE ticket already?”

“Ye ken a goner when ye see wan.” McDougall’s Loanhead accent comes out to play when he’s a tad stressed. “I didna want to spread this’un around, skipper, but it’s a two-wetsuit job. I don’ like to bug you, but I need a second opinion . . .”

Wow, that’s something out of the ordinary. A two-wetsuit job means kinky beyond the call of duty. You look at the map and see his push-pin. It’s easy walking distance, but you might as well bag a ride if there’s one in the shed. “I was about to go off shift. If you can you hold it together for ten minutes, I’ll be along.”

“Aye, ma’am.”

You glance sideways across the desk. Sergeant Elvis—not his name, but the duck’s arse fits his hair-style—is either grooving to his iPod or he’s reallycustomized his haptic interface. You wave at him, and he looks up. “I’ve got to head out, got a call,” you say, poking the red-glowing hover-fly case number across the desktop in his direction. He nods, catches it, and drags it down to his dock. “I’m off duty in ten, so you’re holding the fort. Ping me if anything comes up.”

Elvis bobs his head, then does something complex with his hands. “Yessir, ma’am. I’ll take care of things, you watch me.” Then he drops back into his cocoon of augmented reality. You can see him muttering under his breath, crooning lyrics to a musically themed interface. You sigh, then reach up, tear down the control room, wad it up into a ball of imaginary paper, and shove it across to sit in his dock. There’s a whole lot more to shift-end handover than that, but something tells you that McDougall’s case is going to take priority. And it’s down to the front desk to cadge a ride.

 


It’s an accident of fate that put you on the spot when Mac’s call came in; fate and personnel allocation policy, actually: all that, and politics beside.

You don’t usually sit in on the West End control centre, directing constables to shoplifting scenes and chasing hit-and-run cyclists. Nominally you’re in charge of the Rule 34 Squad: the booby-prize they gave you for backing the wrong side in a political bun-fight five years ago.

But policing is just as prone to management fads as any other profession, and it’s Policy this decade that all officers below the rank of chief inspector must put in a certain number of Core Community Policing hours on an annual basis, just to keep them in touch with Social Standards (whatever they are) and Mission-Oriented Focus Retention (whatever that is). Detective inspector is, as far as Policy is concerned, still a line rank rather than management.

And so you have to drag yourself away from your office for eight hours a month to supervise the kicking of litter-lout ass from the air-conditioned comfort of a control room on the third floor of Fettes Avenue Police HQ. It could be worse: At least they don’t expect you to pound the pavement in person. Except Jason McDougall has called you out to do some rare on-site supervision on—

A two-wetsuit job.

Back in the naughty noughties a fifty-one-year-old Baptist minister was found dead in his Alabama home wearing not one but two wet suits and sundry bits of exotic rubber underwear, with a dildo up his arse. (The cover-up of the doubly-covered-up deceased finally fell before a Freedom of Information Act request.)

It’s not as if it’s like isnae well-known in Edinburgh, city of grey stone propriety and ministers stern and saturnine (with the most surprising personal habits). But propriety—and the exigencies of service under the mob of puritanical arseholes currently in the ascendant in Holyrood—dictates discretion. If Jase is calling it openly, it’s got to be pretty blatant. Excessively blatant. Tabloid grade, even.

Which means

Enough of that. Let’s see if we can blag a ride, shall we?

 


“Afternoon, Inspector. What can I do for ye?”

You smile stiffly at the auxiliary behind the transport desk: “I’m looking for a ride. What have you got?”

He thinks for a moment. “Two wheels, or four?”

“Two will do. Not a bike, though.” You’re wearing a charcoal grey skirt suit and the police bikes are all standard hybrids, no step-through frames. It’s not dignified, and in these straitened times, your career needs all the dignity it can get. “Any segways?”

“Oh aye, mam, I can certainly do one of those for ye!” His face clears, and he beckons you round the counter and into the shed.

A couple of minutes later you’re standing on top of a Lothian and Borders Police segway, the breeze blowing your hair back as you dodge the decaying speed pillows on the driveway leading past the stables to the main road. You’d prefer a car, but your team’s carbon quota is low, and you’d rather save it for real emergencies. Meanwhile, you take the path at a walk, trying not to lean forward too far.

Police segways come with blues and twos, Taser racks and overdrive: But if you go above walking pace, they invariably lean forward until you resemble a character in an old Roadrunner cartoon. Looking like Wile E. Coyote is undignified, which is not a good way to impress the senior management whether or not you’re angling for promotion, especially in the current political climate. (Not that you are angling for promotion, but . . . politics.) So you ride sedately towards Comely Bank Road, and the twitching curtains and discreet perversions of Stockbridge.

Crime and architecture are intimately related. In the case of the red stone tenements and Victorian villas of Morningside, it’s mostly theft from cars and burglary from the aforementioned posh digs. You’re still logged in as you ride past the permanent log-jam of residents’ Chelsea Tractors—those such as live here can afford to fill up their hybrid SUVs, despite the ongoing fuel crunch—and the eccentric and colourful boutique shops. You roll round a tight corner and up an avenue of big stone houses with tiny wee gardens fronting the road until you reach the address Sergeant McDougall gave you.

Here’s your first surprise: It’s not a tenement or a villa—it’s a whole town house, three stories high and not split for multiple occupancy. It’s got to be worth something north of half a million, which in these deflationary times is more than you’ll likely earn in the rest of your working life. And then there’s your next surprise: When you glance at it in CopSpace, there’s a big twirling red flag over it, and you recognize the name of the owner. Shit.

CopSpace—the augmented-reality interface to all the accumulated policing and intelligence databases around which your job revolves—rots the brain, corroding the ability to rote-memorize every villain’s face and back story. But you know this guy of old: He’s one of the rare memorable cases.

You ride up to the front door-step and park. The door is standing ajar—Jase is clearly expecting company. “Police,” you call inside, scanning the scene. High hall ceiling, solid oak doors to either side, traditional whitewashed walls and cornice-work and maroon ceiling. Someone’s restored this town house to its early-nineteenth-century splendour, leaving only a handful of recessed LED spots and covered mains sockets to remind you which century you’re standing in.

A constable sticks her head around the door at the end of the hall. “Ma’am?” CopSpace overlays her with a name and number: berman, margaret, pc1022. Medium build, blond highlights, and hazel-nut eyes behind her specs. “Sergeant McDougall’s in the bathroom upstairs: I’m taking a statement from the witness. Are you here to take over?” She sounds anxious, which is never a good sign in Lothian and Borders’ finest.

You do a three-sixty as Sergeant McDougall comes to the top of the stairs: “Aye, skipper?” He leans over the banister. “You’ll be wanting to see what’s up here . . .”

“Wait one,” you tell Berman. Then you take the stairs as fast as you can.

Little details stick in your mind. The picture rails in the hall (from which hang boringly framed prints depicting the city as it might once have looked), the discreet motion detectors and camera nodes in the corners of the hall ceiling. The house smells clean, sterile, as if it’s been mothballed and bubble-wrapped. Jase takes a step back and gestures across the landing at an open door through which enough afternoon daylight filters that you can see his expression. You whip your specs off, and after a momentary pause, he follows suit. “Give me just the executive summary,” you tell him.

McDougall nods tiredly. Thirtyish, sandy-haired, and built like a rugby prop, he could be your classic recruiter’s model for community policing. “Off the record,” he says—on the record, in the event one of your head cams is still snooping, or the householder’s ambient lifelogging, or a passing newsrag surveillance drone, or God: But at least it serves notice of intent to invoke the Privacy Act—”This’n’s a stoater, boss. But it looks like ‘e did it to ‘isself, to a first approximation.”

You take a deep breath and nod. “Okay, let’s take a look.” You clip your specs back on and follow Jase into the bathroom of the late Michael Blair, esq., also known as Prisoner 972284.

The first thing you clock is that the bathroom’s about the size of an aircraft hangar. Slate tile floor, chrome fittings and fixtures, expensively curved-glass shower with a bar-stool and some kind of funky robot arm to scoosh the water-jet right up your fanny—like an expensive private surgery rather than a temple of hygiene. About the stainless steel manacles bolted to the wall and floor inside the shower cubicle we’ll say no more. It is apparent that for every euro the late Michael Blair, esq. spent on his front hall, he spent ten on the bathroom. But that’s just the beginning, because beyond the shower and the imported Japanese toilet seat with the control panel and heated bumrest, there stands a splendid ceramic pedestal of a sink—one could reasonably accuse the late Mr. Blair of mistaking overblown excess for good taste—and then a steep descent into lunacy.

Mikey, as you knew him before he became (the former) Prisoner 972284, is lying foetal on the floor in front of some kind of antique machine the size of a washer/dryer. It’s clearly a plumbing appliance of some kind, enamelled in pale green trimmed with chrome, sprouting pipes capped with metal gauges and thumb-wheels that are tarnished down to their brass cores, the metal flowers of a modernist ecosystem. The letters CCCP and a red enamel star feature prominently on what passes for a control panel. Mikey is connected to the aforementioned plumbing appliance by a sinuous, braided-metal pipe leading to a chromed tube, which is plugged straight into his—

Jesus. It is a two-wetsuit job.

You glance at Jase. “Tell me you haven’t touched anything?”

He nods, then adds, “I canna speak for the cleaner, ma’am.”

“Okay, logged.”

You walk around the corpse carefully, scanning with your specs and muttering a continuous commentary of voice tags for the scene stream. Michael Blair, esq.—age 49, weight 98 kilos, height 182 centimetres, brown hair (thinning on top, number two cut rather than comb-over)—has clearly been dead for a few hours, going by his body temperature. Middle-aged man, dead on bathroom floor: face bluish, eyes bulging like he’s had an aortic aneurysm. That stuff’s modal for Morningside. It’s the other circumstances that are the issue.

Mikey is mostly naked. You suppose “mostly” is the most appropriate term, because he is wearing certain items that could pass for “clothed” in an SM club with a really strict dress code: black bondage tape around wrists and ankles, suspender belt and fishnets, and a ball gag. His veined cock is purple and engorged, as hard as a truncheon. That, and the hose up his arse and the puddle of ming he’s leaking, tell you all you need to know. Which is this: You’re going to miss your after-work hairdresser’s appointment.

“Call SOC, I want a full scene work-up. I want that thing—”you gesture at the Cold-War-era bathroom nightmare—”taken in as evidence. The fluid, whatever, get it to forensics for a full report: Ten to one there’s something dodgy in it.” You look him in the eye. “Sorry, Jase, but we’re gannae be working late on this.”

“Aw shite, Liz.”

Aw shite indeed: With a sinking feeling, you realize what’s up. Jase was hoping you’d take it off his plate, eager-beaver ready to grab an opportunity to prove your chops in front of head office so he can go home to his end-of-shift paper-work and wind down. Well, it’s not going to happen quite like that. You are going to take it off his plate—as duty DI, it’s your job. But that’s not the end of the game.

“You’ve got to ask where all this”—your gesture takes in the town house around you—”came from? And I find the circumstances of his death highly suggestive. Until we can rule out foul play, I’m tagging this as probable culpable homicide, and until CID move in and take over, you’re on the team. At least one other person was involved—unless you think he trussed himself up then slipped and fell on that thing—and I want to ask them some questions.”

“Reet, reet.” He takes your point. Sighing lugubriously, he pulls out his phone and prepares to take notes. “You said he’s got form?”

You nod. “The conviction’s spent: You won’t see it in CopSpace without criminal intelligence permissions. He did five years in Bar-L and forfeiture of proceeds of crime to the tune of 2 million euros, if I remember the facts correctly. Illegal online advertising and sale of unlicensed pharmaceuticals. That was about six years ago, and he went down for non-violent, and I don’t think he’s currently a person of interest.” You pause. “The housekeeper found him, right? And the security contractors—”

“‘E’s with Group Four. I served ‘em a disclosure notice, and they coughed to one visitor in the past two hours—the cleaner.”

“Two hours?”

“Aye, they was swithering on aboot privacy and confidentiality an’ swore blind they couldna give me oot more’n that.” He looks at you hopefully. “Unless you want to escalate . . . ?”

“You bet I will.” Getting data out of sources like home-monitoring services gets easier with seniority: The quid pro quo is that you need to show reasonable cause. Luckily cause doesn’t get much more reasonable than a culpable homicide investigation. You glance at Mikey again. Poor bastard. Well, maybe not. He went down as a non-violent offender but did his time under Rule 45, like he was a kiddie-fiddler or a snitch or something similar. For good reason: Something similar is exactly what he was.

You walk towards the door, talking. “Let’s seal the room. Jase, I want you to call Sergeant”—Elvis, your memory prompts—”Sorensen, and tell him we’ve got a probable culpable homicide I want to hand off to the X Division duty officer. Next, call SOC, and tell them we’ve got a job. I’m going downstairs to talk to Mags and the witness. If you get any serious pushback or queries from up the greasy pole, point them at me, but for the next fifteen minutes, I want you to run interference.”

The next fifteen minutes is likely to be your entire quota of face time with the witness before a blizzard of virtual paper-work descends on your head—that’s why you’re leaning on Jase. And you really want a chance to get your head around what’s going on here, before the regulars from X Division—the Criminal Investigation Department, as opposed to your own toytown fiefdom (which is laughably a subsidiary of theirs, hence the “D” in front of your “I”)—take the stiff with the stiffy off your plate.

It’s a dead certainty that when the shit hits the fan, this case is going to go political. You’re going to have Press Relations and Health and Safety crawling all over you simply because it happened on your watch, and you were the up-and-coming officer who put Mikey in pokey back when you had a career ladder to climb. Not to mention the fact that something has twitched your non-legally-admissible sixth sense about this whole scene: You’ve got a nasty feeling that this might go beyond a mere manslaughter charge.

Mikey was a spammer with a specialty in off-licence medication. And right now you’d bet your cold overdue dinner that, when Forensics return that work-up on the enema fluid from the colonic irrigation machine, it’ll turn out to be laced with something like Viagra.

 


Shock, disgust, and depression.

You are indeed late home for your tea, as it happens—and never mind the other appointment. Michael Blair, esq., has shafted you from beyond the—well, not the grave, at least not yet: But you don’t need to mix the metaphor to drink the cocktail, however bitter. So you’re having a bad hair day at the office tomorrow, and never mind the overtime.

Doubtless Jase is going home to his wife and the bairns, muttering under his breath about yet another overtime claim thanks to the ball-breaking politically oriented inspector who disnae ken her career’s over yet; or maybe not. (He’s still young: born to a couple of ravers after the summer of love, come of age just in time to meet Depression 2.0 head-on. They’re a very different breed from the old-timers.) And on second thoughts, maybe he’s a wee bit smug as well—being first on scene at a job like this will probably keep him in free drinks for years to come.

But in the final analysis your hair-do and his dinner don’t signify. They’re unimportant compared to the business at hand, a suspicious death that’s going to make newsfeeds all over the blogosphere. Your job right now is to nail down the scene ready for CID to take over. There’s a lot to do, starting with initializing the various databases and expert systems that will track and guide the investigation—HOLMES for evidence and case management, BOOTS for personnel assignment, VICTOR for intelligence oversight—calling in the support units, preventing further contamination of the evidence, and acting as first-response supervisor. And so you do that.

You go down to the kitchen—sterile, ultra-modern, overflowing with gizmos from the very expensive bread-maker (beeping forlornly for attention) to the cultured meat extruder (currently manufacturing chicken sans egg)—where you listen to the housekeeper; Mrs. Sameena Begum, middle-aged and plump and very upset, wringing her hands in the well-appointed kitchen: In all my years I have never seenanything like it. You nod sympathetically and try to draw out useful observations, but alas, she isn’t exactly CID material.

After ten minutes and fifty seconds, Jase can no longer draw off the incoming flak and begins forwarding incoming calls. You make your excuses, send PC Berman to sit with her, then go outside and start processing a seemingly endless series of sitrep requests from up and down the food-chain.

An eternity later, Chief Inspector MacLeish from CID turns up. Dickie’s followed by a vanload of blue-overalled SOCOs and a couple of freelance video bloggers. After another half-hour of debriefing, you finally get to dump your lifelog to the evidence servers, hand over the first-responder baton, finish your end-of-shift wiki updates and hand-offs, and head for home. (The segway, released from duty, will trundle back to the station on its own.)

The pavement smells of feral honeysuckle, grass, and illegal dog shit. You notice cracked concrete slabs underfoot, stone walls to either side. Traffic is light this evening, but you have to step aside a couple of times to dodge kamikaze Edinburgh cyclists on the pavement—no lights, helmets, or heed for pedestrians. It’s almost enough to make you pull your specs on and tag them for Traffic—almost. But you’re off duty, and there’s a rule for that: a sanity clause they added to Best Practice guidelines some years ago that says you’re encouraged to stop being a cop the moment you log out.

They brought that particular guide-line in to try and do something about the alarming rise in burn-out cases that came with CopSpace and the other reality-augmentation initiatives of the Revolution in Policing Affairs that they declared a decade ago. It doesn’t always work—didn’t save your civil partnership in the end—but you’ve seen what happens to your colleagues who fail to ring-fence their professional lives. That way lies madness.

(Besides, it’s one of the ticky-boxes they grade you on in Learning and Development/Personal Welfare/Information Trauma Avoidance. How well you let go and connect back with what the folks writing the exams laughably call the real world. And if you fail, they’ll downgrade you on Emotional Intelligence or some other bullshit non-performance metric, and make you jump through some more training hoops. The beatings will continue until morale improves.)

It hasn’t always been thus. Back before the 1990s, policing used to be an art, not a science, floundering around in the opaque darkness of the pre-networked world. Police officers were a breed apart—the few, the proud, defenders of law and order fighting vainly to hold back a sea of filth lapping at the feet of a blind society. Or so the consensus ran in the cosy after-hours pub lock-in, as the old guard reinforced their paranoid outlook with a pie and a pint and stories of the good old days. As often as not a career on the beat was the postscript to a career in the army, numbing the old combat nerves . . . them and us with a vengeance, and devil take the hindmost.

It all changed around the time you were in secondary school; a deluge of new legislation, public enquiries, overturned convictions, and ugly miscarriages of justice exposed the inadequacies of the old system. A new government and then a new culture of intelligence-driven policing, health and safety guide-lines, and process quality assurance arrived, promising to turn the police into a shiny new engine of social cohesion. That was the police force you’d studied for and then signed up to join—modern, rational, planned, there to provide benign oversight of an informed and enabled citizenry rather than a pasture for old war-horses.

And then the Internet happened: and the panopticon society, cameras everywhere and augmented-reality tools gobbling up your peripheral vision and greedily indexing your every spoken word on duty. Globalization and EU harmonization and Depression 2.0 and Policing 3.0 and another huge change of government; then semi-independence and another change of government, slogans like Reality-Based Policing gaining traction, and then Standards-Based Autonomous Policing—back to the few, the proud, doing it their own way (with permanent surveillance to log their actions, just in case some jakey on the receiving end of an informal gubbing is also lifelogging on his mobie, and runs screeching about police brutality to the nearest ambulance chaser).

Sometime in the past few years you learned a dirty little secret about yourself: that the too-tight spring that powered your climb through the ranks has broken, and you just don’t care anymore.

Let’s have a look at you, shall we? Detective Inspector Liz Kavanaugh, age 38. Born in Newcastle, went to a decent state grammar school: university for a BSc in Crime and Criminology in Portsmouth, then graduate entry into Lothian and Borders Police on Accelerated Promotion Scheme for Graduates, aged 22. Passed your Diploma in Police Service Leadership and Management, aged 25. Passed sergeant’s exam, aged 27. MSc in Policing, Policy, and Leadership, aged 29. Moved sideways into X Division, Criminal Investigations, as detective sergeant, aged 29. Aged 31: passed inspector’s exam, promotion to Detective Inspector. Clearly a high-flyer! And then . . .

If it had all gone according to your career plan—the Gantt chart you drew by hand and taped to your bedroom wall back when you were nineteen and burning to escape—you’d be a chief inspector by now, raising your game to aim for the heady heights of superintendent and the sunlit uplands of deputy chief constable beyond. But no plan of battle survives contact with the enemy, and time is the ultimate opponent. In the case of your career, two decades have conducted as efficient a demolition of your youthful goals as any artillery barrage.

It turns out you left something rather important off your career plan: for example, there’s no ticky-box on the diagram for HAVING A LIFE—TASK COMPLETED. And so you kept putting it off, and de-prioritized it, and put it off again until the law of conservation of shit-stirring dragged it front and centre and lamped you upside yer heid, as your clients might put it.

Which is why you’re walking to the main road where you will bid for a microbus to carry you to the wee flat in Clermiston which you and Babs bought on your Key Worker Mortgage . . . where you can hole up for the evening, eat a microwave meal, and stare at the walls until you fall asleep. And tomorrow you’ll do it all over again.

Keep taking the happy pills, Liz. It’s better than the alternative.

________________________________________________

Charles David George “Charlie” Stross (born 18 October 1964) is a British writer of science fictionLovecraftian horror and fantasy. He was born in Leeds.

Stross specialises in hard science fiction and space opera. His contemporaries include Alastair ReynoldsKen MacLeodLiz WilliamsNeal Asher and Richard Morgan.

Between 1994 and 2004, he was also an active writer for the magazine Computer Shopper and was responsible for the monthly Linux column. Due to time constraints, he eventually had to stop writing for Computer Shopper so that he could devote more time to his novel-related works. As a consequence, he published all his articles on the Internet.

In the 1970s and 1980s, Stross published some role-playing game articles about Advanced Dungeons & Dragons in the White Dwarf magazine. Some of his creatures, such as the death knightgithyanki(borrowed from George R. R. Martin‘s book, Dying of the Light), githzerai, and slaad (a chaotic race notable for their rigid caste system) were later published in the Fiend Folio monster compendium.

His first published short story, “The Boys”, appeared in Interzone in 1987. His first novel, Singularity Sky was published by Ace Books in 2003 and was nominated for the Hugo Award. A collection of his short stories,Toast: And Other Rusted Futures appeared in 2002. Subsequent short stories have been nominated for the Hugo AwardNebula Award, and other awards. His novella “The Concrete Jungle” won the Hugo award for its category in 2005. His novel Accelerando won the 2006 Locus Award for best science fiction novel, was a finalist for the John W. Campbell Memorial Award for the year’s best science fiction novel, and was on the final ballot for the Hugo Award in the best novel category. Glasshouse won the 2007 Prometheus Award and was on the final ballot for the Hugo Award in the best novel category. His novella “Missile Gap” won the 2007 Locus Award for best novella and most recently he was awarded the Edward E. Smith Memorial Award or Skylark at Boskone 2008.

In addition to working as a writer of fiction he has worked as a technical author, freelance journalist, programmer, and pharmacist at different times. He holds degrees in Pharmacy and Computer Science.

Rogue Farm, an animated film based on his 2003 short story of the same title, debuted in August 2004.

He was one of the Guests of Honour at Orbital 2008 the British National Science Fiction convention (Eastercon) in March 2008. He was the Author Guest of Honour at the Maryland Regional Science Fiction Convention (Balticon) in May 2009. He was Author Guest of Honour at Fantasticon (Denmark), August 2009. He is scheduled to be the Guest of Honor of Boskone 48 in Feb 2011.

Awards

Accelerando won the 2006 Locus Award Best Novel. “Missile Gap” won the 2007 Locus Award for best novella. “The Concrete Jungle” (contained in The Atrocity Archives) won the Hugo Award for best novella in 2005, and “Palimpsest”, included in Wireless, won the same award in 2010. Stross’s work has also been nominated for a number of other awards, including the John W. Campbell Memorial AwardArthur C. Clarke Award, and the Hugo Award for Best Novel, as well as the Japanese Seiun Award.

Non-fiction

Collections

Short fiction

Stand-alone novels

Saturn’s Children series

Eschaton series

The “Bob Howard — Laundry” series

Stross also authorised, but did not author, an official role-playing gameThe Laundry (2010, ISBN 1-907204-93-8, Gareth Hanrahan, published by Cubicle 7) and a number of supplements based on the “Bob Howard — Laundry” series.[11] The system uses an adaptation of the Call of Cthulhu RPG rules (under licence from Chaosium).

Halting State series

Merchant Princes series

The Merchant Princes is a series in which some humans have an ability to travel between parallel Earths, which have differing levels of technology. This series is science fiction, even though it was originally marketed by the publisher as fantasy.

The first three books were collectively nominated for and won the Sidewise Award for Alternate History in 2007.

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