September 14, 2014

Book 23: Tomorrow and Tomorrow

Tomorrow and Tomorrow
Thomas Sweterlitsch

I'm a sucker for a good apocalypse story, and when I picked up Tomorrow and Tomorrow, knowing that that it hinged on a post-nuclear Pittsburgh, I expected that that's what I was going to get. Instead, I ended up reading a very well conceived blend of cyberpunk and mystery, with a bit of dystopia thrown in for good measure. Though the novel is ultimately driven by a suitably winding plot and effective emotional angst, its core lies in its wonderfully lifelike, fully realized setting, where a constantly connected society accesses an invasive, ad-laden Internet directly through brain and corresponding retinal implants. Other aspects of this near-future society include the aforementioned bombed-out Pittsburgh, an overly cynical (and cynically overplayed) extrapolation of reality TV trends, and a characteristically dystopian political structure. Yet despite the familiarity of these near-future tropes, Thomas Sweterlitsch somehow manages to create a meaningful society that reflects and expands upon our own while enhancing the story at hand and allowing for natural character development. Hero Dominic's fascination with archived images of pre-bomb Pittsburgh, available to refugees, researchers, and curious outsiders alike, is more than an info dump about the types of technology available in this imagined future (and, likewise, more than a not-so-subtle statement about our own increasing use of surveillance in purely civilian contexts); it exposes a crucial element of his character and allows him to be sympathetic, frustrating, and all-too-familiarly human. One cannot rightfully accuse Sweterlitsch of being a master of subtlety, but Tomorrow and Tomorrow contains enough nuance and fresh ideas to balance its bludgeoned stereotypes.

Even the plot carefully- and successfully- straddles this line. It is at times unclear whether characters (and readers alike) have plunged into a murder mystery, political conspiracy, or techno-thriller, and some seemingly played-out tropes are happily undermined (or at least counteracted) throughout the book. Whether this is intentional or not is up to debate, but what remains is a novel that is enjoyable despite its reliance on a number of well-worn ideas and twists. That said, however, the book does fail to thoroughly engage and/or expand upon many of the ideas within. This isn't a problem of over-saturation; though the book is packed with ideas, they all jive, with the exception of the weird way that irrelevant brands permeate the narrative. They only rarely provide insights that are nonetheless immediately undermined by the relentless, pointless parade of mentions that precede the few relevant points. Likewise, seasoned readers may shrug at yet another book that attempts to exploit a perceived societal descent into increasingly depraved tastes; while this kind of commentary is welcome and certainly not wholly irrelevant, it can be difficult to accept a society that begins to rate the "fuckability" of murder victims as soon as their mutilated bodies are discovered (though Sweterlitsch must be commended for absolutely nailing the word choice on that one). There are other times, however, where yet another overripe trope leads in an unexpected direction, usually without the author beating it to death either in its appearance or in its ultimate change in direction.

Perhaps most disappointing is the book's failure to provide the kind of emotional resonance than it should. This is partially due to uneven plot pacing, where thinly masked foreshadowing and subplots disappear long enough to distract readers but reappear too quickly to be true surprise sleeper elements, and to too-frequent deployment of world-building. While the world of Tomorrow and Tomorrow is rich, it is unclear where certain plot threads are supposed to lead; why, for example, make damaging insinuations about the government without properly following through? While the last thing the genre needs is yet another dystopian book pitting One Normal Guy (or, of late, One Normal, Insecure Teenage Girl) against the Evil Government, the novel's brief, implied appeal to Greater Stakes is, in the end, a disappointing feint dismissed out of hand at the conclusion, which itself is too quick, relies too heavily on implications, and still strangely drawn out. Even more egregiously, the relationship between survivors and those they lost in the bombing- which unquestionably forms the emotional core of the novel and allows it to resonate- becomes almost an afterthought at the end. The effect is to transform a profound novel about the power of loss into yet another thriller that happens to be set in the future.

Thus, Tomorrow and Tomorrow is defined to a large extent by a number of missed opportunities: I firmly believe that there is a truly great novel, perhaps a classic, hiding in here somewhere, though it seems we must settle (for now) for a satisfying book that shows the great promise of its author (who is, it bears mentioning, a first-time novelist). It is often easier to notice and dissect aspects of books that fail, but I feel like this does a bit of a disservice to Sweterlitsch, who by and large manages the complexities of his near-future quite deftly. He manages to effectively unite several genres without adhering too strictly to the expected and without becoming bogged down in any of them, and his characters are as compelling and complex as his setting. There is so much inherent and unassuming promise in this book, which comes tantalizingly close to providing meaningful, transcendent explorations of the depths of loss, love, and forgiveness for the unforgivable, and I eagerly anticipate the author's next foray into fiction. That said, Tomorrow and Tomorrow still falls slightly short of the mark, providing a compelling future setting, compelling characters, and a compelling plot, but failing to fully capitalize on the emotional power that lies somewhere within its core.

Grade: B+

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