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This is high action, ideas driven noir SF of the highest order. Morgan has already established himself as an SF author of global significance. Takeshi Kovacs has come home. Home to Harlan's World. An ocean planet with only 5% of its landmass poking above the dangerous and unpredictable seas. Try and get above the weather in anything more sophisticated than a helicopter and the Martian orbital platforms will burn you out of the sky. And death doesn't just wait for you in the seas and the skies. On land, from the tropical beaches and swamps of Kossuth to the icy, machine-infested wastes of New Hokkaido the hard won gains of the Quellist revolution have been lost. The First Families, the corporations and the Yakuza have a stranglehold on everything. Embarked on a journey of implacable retribution for a lost love, Kovacs is blown off course and into a maelstrom of political intrigue and technological mystery as the ghosts of Harlan's World and his own violent past rise to claim their due. Quellcrist Falconer is back from the dead, they say, and hunting her down for the First Families is a savage young Envoy called Kovacs who's been in storage ...
Welcome back to the brash, brutal new world of the twenty-fifth century: where global politics isn’t just for planet Earth anymore; and where death is just a break in the action, thanks to the techno-miracle that can preserve human consciousness and download it into one new body after another. Cynical, quick-on-the-trigger Takeshi Kovacs, the ex-U.N. envoy turned private eye, has changed careers, and bodies, once more . . . trading sleuthing for soldiering as a warrior-for-hire, and helping a far-flung planet’s government put down a bloody revolution. But when it comes to taking sides, the only one Kovacs is ever really on is his own. So when a rogue pilot and a sleazy corporate fat cat offer him a lucrative role in a treacherous treasure hunt, he’s only too happy to go AWOL with a band of resurrected soldiers of fortune. All that stands between them and the ancient alien spacecraft they mean to salvage are a massacred city bathed in deadly radiation, unleashed nanotechnolgy with a million ways to kill, and whatever surprises the highly advanced Martian race may have in store. But armed with his genetically engineered instincts, and his trusty twin Kalashnikovs, Takeshi is ready to take on anything—and let the devil take whoever’s left behind. From the Trade Paperback edition.
Richard Morgan blazed onto the SF scene in 2002 with ALTERED CARBON, which won the Philip K. Dick award and was optioned by Hollywood. He followed this up with two further novels continuing the adventures of Takeshi Kovacs - BROKEN ANGELS and WOKEN FURIES. He also wrote two further standalone SF novels, MARKET FORCES and BLACK MAN (which won the Arthur C. Clarke award). All five of these novels are collected here as the perfect introduction to Richard's work, or a welcome reminder of his power as a writer. Richard has also written two computer games (CRYSIS 2 and SYNDICATE), comics for MARVEL and is currently working on a fantasy trilogy comprising OF THE STEEL REMAINS, THE COLD COMMANDS, THE DARK DEFILES.
Chris Faulkner has just landed the job of his dreams. But Shorn Associates are market leaders in Conflict Investment. They expect results, they expect the best. Chris has one very high-profile kill to his name already but he will have to drive hard and go for kill after kill if he's to keep his bosses happy. All he has to do in the meantime is stay alive ... Morgan's new futuristic thriller is perfect for any fan of the modern thriller. It combines the big ideas of Michael Crichton with a pounding narrative drive.
NEW YORK TIMES BESTSELLER • NOW AN EXCITING NEW SERIES FROM NETFLIX • The shell that blew a hole in his chest was only the beginning in this “tour de force of genre-bending, a brilliantly realized exercise in science fiction.”—The New York Times Book Review In the twenty-fifth century, humankind has spread throughout the galaxy, monitored by the watchful eye of the U.N. While divisions in race, religion, and class still exist, advances in technology have redefined life itself. Now, assuming one can afford the expensive procedure, a person’s consciousness can be stored in a cortical stack at the base of the brain and easily downloaded into a new body (or “sleeve”) making death nothing more than a minor blip on a screen. Ex-U.N. envoy Takeshi Kovacs has been killed before, but his last death was particularly painful. Dispatched one hundred eighty light-years from home, re-sleeved into a body in Bay City (formerly San Francisco, now with a rusted, dilapidated Golden Gate Bridge), Kovacs is thrown into the dark heart of a shady, far-reaching conspiracy that is vicious even by the standards of a society that treats “existence” as something that can be bought and sold. Praise for Altered Carbon “Compelling . . . immensely entertaining . . . [Richard] Morgan’s writing is vivid and his plotting inventive.”—The Philadelphia Inquirer “A fascinating trip . . . Pure high-octane science fiction mixes with the classic noir private-eye tale.”—Orlando Sentinel “Gritty and vivid . . . looks as if we have another interstellar hero on our hands.”—USA Today
This book is a collection of essays that considers the continuing cultural relevance of the cyberpunk genre into the new millennium. Cyberpunk is no longer an emergent phenomenon, but in our digital age of CGI-driven entertainment, the information economy, and globalized capital, we have never more been in need of a fiction capable of engaging with a world shaped by information technology. The essays in explore our cyberpunk realities to soberly reconsider Eighties-era cyberpunk while also mapping contemporary cyberpunk. The contributors seek to move beyond the narrow strictures of cyberpunk as defined in the Eighties and contribute to an ongoing discussion of how to negotiate exchanges among information technologies, global capitalism, and human social existence. The essays offer a variety of perspectives on cyberpunk’s diversity and how this sub-genre remains relevant amidst its transformation from a print fiction genre into a more generalized set of cultural practices, tackling the question of what it is that cyberpunk narratives continue to offer us in those intersections of literary, cultural, theoretical, academic, and technocultural environments.

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