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Counting Heads (Counting Heads, 1) Kindle Edition
Counting Heads is David Marusek's extraordinary launch as an SF novelist: The year is 2134, and the Information Age has given rise to the Boutique Economy in which mass production and mass consumption are rendered obsolete. Life extension therapies have increased the human lifespan by centuries. Loyal mentars (artificial intelligences) and robots do most of society's work. The Boutique Economy has made redundant ninety-nine percent of the world's fifteen billion human inhabitants. The world would be a much better place if they all simply went away.
Eleanor K. Starke, one of the world's leading citizens is assassinated, and her daughter, Ellen, is mortally wounded. Only Ellen, the heir to her mother's financial empire, is capable of saving Earth from complete domination plotted by the cynical, selfish, immortal rich, that is if she survives. Her cryonically frozen head is in the hands of her family's enemies. A ragtag ensemble of unlikely heroes join forces to rescue Ellen's head, all for their own purposes.
Counting Heads arrives as a science fiction novel like a bolt of electricity, galvanizing readers with an entirely new vision of the future.
- LanguageEnglish
- PublisherTor Books
- Publication dateOctober 16, 2007
- File size2.7 MB
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Editorial Reviews
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Copyright © 2004 Phillips & Nelson Media, Inc.
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Review
Praise for David Marusek:
"David Marusek is an extraordinarily gifted new writer, with unique ears and eyes . . . .Brims over with imaginative extrapolations.” –Seattle-Post Intelligencer
“David Marusek’s Counting Heads is the most exciting debut sf novel I’ve read since Neuromancer. Counting Heads isn’t just one of the best first sf novels to come down the pike in some time; it’s one of the best novels, period. I hope David Marusek will be writing more of them for centuries to come.” –Elizabeth Hand, F & SF
“Counting Heads was one of my favorite books of last year in any category, and an exemplary entry in the sci-fi genre.” –The New York Times Book Review
“Marusek keeps a deep and textured tale spinning along, filled with stresses, shocks and sidelong looks at extrapolations of present-day trends. I took extra care to keep my copy pristine, so it’ll be presentable when I hand it off to another reader who’ll enjoy it as much as I did.” –The San Diego Union-Tribune
“Counting Heads is a compelling and powerful read. Marusek isn’t afraid of asking hard questions—nor is he afraid to try and find answers. . . .One of the best sf novels of this (and perhaps any year) Counting Heads gives us a rich mix of social commentary, speculation, and adventure, all garnished with a tiny pinch of hope.”--Vector
“There are more ideas to the page in this auspicious debut novel than many sci-fi novels have in their entirety. . . .Marusek evokes an impelling sense of wonder with an awesomely imaginative and all-too-believable future chock full of nifty details while allowing his characters to compel the novel. Counting Heads is a marvelous must-read from an author who must be noted as an important new voice in ...
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Counting Heads
By Marusek, DavidTor Books
Copyright ©2007 Marusek, DavidAll right reserved.
ISBN: 9780765317544
1.1
On March 30, 2092, the Department of Health and Human Services issued Eleanor and me a permit. The undersecretary of the Population Division called with the news and official congratulations. We were stunned by our good fortune. The undersecretary instructed us to contact the National Orphanage. There was a baby in a drawer in Jersey with our names on it. We were out of our minds with joy.
Eleanor and I had been together a year by then. We’d met at a reception in Higher Soho, which I attended in realbody. A friend of a friend, who was holoing in from Seattle, said, “Sammy Harger, is that really you? What luck! There’s a woman here who wants to meet you.”
I told him thanks but no thanks. I wasn’t in the mood. Not even sure why I’d come. I was recovering from a week-long stint of design work in my Chicago studio. In those days I was in the habit of bolting my studio door and immersing myself in the heady universe of packaging design. It was my true creative calling, and I could lose all sense of time, even forgetting to eat or sleep. Henry knew to hold my calls. Henry was my belt valet system and technical assistant, and he alone attended me. I could go three or four days at a time like that, or until my Muse surrendered up another award-winning design.
My latest bout had lasted a week but yielded nothing, not even a third-rate inspiration, and I was a little depressed as I leaned over the buffet table to fill my plate.
“There you are,” my persistent friend said. “Eleanor Starke, this is the famous Samson Harger. Sam, El.”
An attractive woman stood on a patch of berber carpet from some other room and sipped coffee from a delicate china cup. She said hello and raised her hand in a holo greeting. I raised my own hand and noticed how filthy my fingernails were. Unshaven and disheveled, I had come straight from my cave. But the woman chose to ignore this.
“I’ve wanted to meet you for a long time,” she said brightly. “I was just telling Lindsey about admiring a canvas of yours yesterday in the museum here.”
A canvas? She’d had to go back over a century to find something of mine to admire? “Is that right?” I said. “And where is here?”
A hint of amusement flickered across the woman’s remarkable face. “I’m in Budapest,” she said.
Budapest, Henry said inside my head. Sorry, Sam, but her valet system won’t talk to me. I have gone to public sources. Eleanor K. Starke is a noted corporate prosecutor. I’m digesting bios now.
“You have me at a disadvantage,” I told the woman standing halfway around the globe. “My valet is an artist’s assistant, not an investigator.” If her holo persona was anything like her real self, this Eleanor K. Starke was a pretty woman, mid-twenties, slight build. She had reddish blond hair, a disarmingly freckled face, and very heavy eyebrows. Too sunny a face for a prosecutor, I thought, except for the eyes. Her eyes peered out at you like eels in coral. “I understand you’re a corporate prosecutor,” I said.
Her bushy eyebrows rose in mock surprise. “Why, yes, I am!”
Sam, Henry whispered, no two published bios agree on even the most basic data. She’s between 180 and 204 years old. She earns over a million a year, no living offspring, degrees in History, Biochemistry, and Law. Hobbies include fencing, chess, and recreational matrimony. She’s been dating a procession of noted artists, composers, and dancers in the last dozen months. And her celebrity futures are trading at 9.7 cents.
I snorted. Nine point seven cents. Anything below ten cents on the celebrity market was nothing to crow about. Of course, my own shares had sunk over the years to below a penny, somewhere down in the has-been to wannabe range.
Eleanor nibbled at the corner of a pastry. “This is breakfast for me. I wish I could share it with you. It’s marvelous.” She brushed crumbs from the corner of her mouth. “By the way, your assistant---Henry, is it?---sounds rather priggish.” She set her cup down on something outside her holo frame before continuing. “Oh, don’t be offended, Sam. I’m not snooping. Your Henry’s encryption stinks---it’s practically broadcasting your every thought.”
“Then you already know how charmed I am,” I said.
She laughed. “I’m really botching this, aren’t I? I’m trying to pick you up, Samson Harger. Do you want me to pick you up, or should I wait until you’ve had a chance to shower and take a nap?”
I considered this brash young/old woman and her awkward advances. Warning bells were going off inside my head, but that was probably just Henry, who does tend to be a bit of a prig, and though Eleanor Starke seemed too cocky for my tastes and too full of herself to be much fun, I was intrigued. Not by anything she said, but by her eyebrows. They were vast and disturbingly expressive. As she spoke, they arched and plunged to accentuate her words, and I couldn’t imagine why she didn’t have them tamed. They fascinated me, and like Henry’s parade of artist types before me, I took the bait.
Over the next few weeks, Eleanor and I became acquainted with each other’s bedrooms and gardens up and down the Eastern Seaboard. We stole moments between her incessant business trips and obligations. Eventually, the novelty wore off. She stopped calling me, and I stopped calling her. We had moved on, or so I thought. A month passed when I received a call from Hong Kong. Her Calendar asked if I would care to hololunch the next day. Her late lunch in China would coincide with my midnight brandy in Buffalo.
I holoed at the appointed time. She had already begun her meal and was expertly freighting a morsel of water chestnut to her mouth by chopstick. “Hi,” she said when she noticed me. “Welcome. I’m so glad you could make it.” She sat at a richly lacquered table next to a scarlet wall with golden filigree trim. “Unfortunately, I can’t stay,” she said, placing the chopsticks on her plate. “Last-minute program change. So sorry. How’ve you been?”
“Fine,” I said.
She wore a loose green silk suit, and her hair was neatly stacked on top of her head. “Can we reschedule for tomorrow?” she asked.
I was surprised by how disappointed I felt at the cancellation. I hadn’t realized that I’d missed her. “Sure, tomorrow.”
That night and the whole next day was colored with anticipation. At midnight I said, “Henry, take me to the Hong Kong Excelsior.”
“She’s not there,” he replied. “She’s at the Takamatsu Tokyo tonight.”
Sure enough, the scarlet walls were replaced by paper screens. “There you are,” she said. “God, I’m famished.” She uncovered a bowl and scooped steamy sticky rice onto her plate while telling me in broad terms about a case she was brokering. “They asked me to stay on, you know. Join the firm.”
I sipped my drink. “Are you going to?”
She glanced at me, curious. “I get offers like that all the time.”
We began to meet for a half hour or so each day and talked about whatever came to mind. El’s interests were deep and broad; everything seemed to fascinate her. She told me, while choking back laughter, ribald anecdotes of famous people caught in embarrassing situations. She revealed curious truths behind the day’s news stories and pointed out related investment opportunities. She teased out of me all sorts of opinions, gossip, and jokes. Her half of the room changed daily and reflected her hectic itinerary: jade, bamboo, and teak. My half of the room never varied. It was the atrium of my hillside house in Santa Barbara where I had gone in order to be three hours closer to her. As we talked I looked down the yucca- and chaparral-choked canyon to the university campus and beach below, to the channel islands, and beyond them, to the blue-green Pacific that separated us.
Weeks later, when again we met in realbody, I was shy. I didn’t know quite what to do with my hands when we talked. We sat close together in my living room and tried to pick any number of conversational threads. With no success. Her body, so close, befuddled me. I thought I knew her body---hadn’t I undressed it a dozen times before? But it was different now, occupied, as it was, by El. I wanted to make love to El, if ever I could get started.
“Nervous, are we?” she teased.
Fortunately, before we went completely off the deep end, the self-involved parts of our personalities bobbed to the surface. The promise of happiness can be daunting. El snapped first. We were at her Maine town house when her security chief holoed into the room. Until then the only member of her valet system---what she called her Cabinet---that I had met was her chief of staff.
“I have something to show you,” the security chief said, glowering at me from under his bushy eyebrows. I glanced at Eleanor, who made no attempt to explain or excuse the intrusion. “This was a live feed earlier,” the chief continued and turned to watch as Eleanor’s living room was overlaid with the studio lounge of the SEE Show. It was from their “Trolling” feature, and cohosts Chirp and Ditz were serving up breathless speculation on hapless couples caught by holoeye in public places.
The scene changed to the Baltimore restaurant where Eleanor and I had dined that evening. A couple emerged from a taxi. He had a black mustache and silver hair and looked like the champion of boredom. She had a vampish hatchet of a face, limp black hair, and vacant eyes.
“Whoodeeze tinguished gentry?” said Ditz to Chirp.
“Carefuh watwesay, lipsome. Dizde ruthless Eleanor K. Starke and’er lately dildude, Samsamson Harger.”
I did a double take. The couple on the curb had our bodies and wore our evening clothes, but our facial features had been morphed beyond recognition.
Eleanor stepped into the holoscape and examined them closely. “Good. Good job.”
“Thank you,” said her security chief. “If that’s everything---”
“Wait a minute,” I said. “It’s not everything.”
Eleanor arched an eyebrow in my direction.
Those eyebrows were beginning to annoy me. “Let me see if I’ve got this straight,” I said. “You altered a pointcast feed while it was being transmitted?”
She looked at me as though I were simple. “Why, yes, Sam, I did,” she said.
“Is that even possible? I never heard of that. Is it legal?”
She only looked blankly at me.
“All right then. Forget I said that, but you altered my image along with yours. Did you ever stop to wonder if I want my image fooled with?”
She turned to her security chief. “Thank you.” The security chief dissolved. Eleanor put her arms around my neck and looked me in the eye. “I value our privacy, Sam.”
A week later, Eleanor and I were in my Buffalo apartment. Out of the blue she asked me to order a copy of the newly released memoir installment of a certain best-selling author. She said he was a predecessor of mine, a recent lover, who against her wishes had included several paragraphs about their affair in his latest reading. I told Henry to fetch the reading, but Eleanor said no, that it would be better to order it through the houseputer. When I did so, the houseputer froze up. It just stopped working and wouldn’t respond. That had never happened before. My apartment’s comfort support failed. Lights went out, the kitchen quit, and the doors all sprang open. Eleanor giggled. “How many copies of that do you think he’ll be able to sell?” she said.
I was getting the point, and I wasn’t sure I liked it. The last straw came when I discovered that her Cabinet was messing with Henry. I had asked Henry for his bimonthly report on my finances, and he said, Please stand by.
“Is there a problem?”
My processing capabilities are currently overloaded. Please stand by.
Overloaded? My finances were convoluted, but they’d never been that bad. “Henry, what’s going on?”
There was no response for a while, then he said in a tiny voice, Take me to Chicago.
Chicago. My studio. That was where his container was. I left immediately, worried sick. Between outages, Henry was able to assure me that he was essentially sound, but that he was preoccupied in warding off a series of security breaches.
“From where? Henry, tell me who’s doing this to you.”
It’s trying again. No, it’s in. It’s gone. Here it comes again. Please stand by.
Suddenly my mouth began to water, and my saliva tasted like machine oil: Henry---or someone---had initiated a terminus purge. I was excreting my interface with Henry. Over the next dozen hours I spat, sweat, pissed, and shit the millions of slave nanoprocessors that resided in the vacuoles of my fat cells and linked me to Henry’s box in Chicago. Until I reached my studio, we were out of contact and I was on my own. Without a belt valet to navigate the labyrinthine Slipstream tube, I undershot Illinois altogether and had to backtrack from Toronto. Chicago cabs still respond to voice command, but as I had no way to transfer credit, I was forced to walk the ten blocks to the Drexler Building.
Once inside my studio, I rushed to the little ceramic container tucked between a cabinet and the wall. “Are you there?” Henry existed as a pleasant voice in my head. He existed as data streams through space and fiber. He existed as an uroboros signal in a Swiss loopvault. But if Henry existed as a physical being at all, it was as the gelatinous paste inside this box. “Henry?”
The box’s ready light blinked on.
“The bitch! How dare she?”
“Actually, it makes perfect sense.”
“Shut up, Henry.”
Henry was safe as long as he remained a netless stand-alone. He couldn’t even answer the phone for me. He was a prisoner; we were both prisoners in my Chicago studio. Eleanor’s security chief had breached Henry’s shell millions of times, near continuously since the moment I met her at my friend’s reception. Henry’s shell was an off-the-shelf module I had purchased years ago for protection against garden-variety espionage. I had rarely updated it, and it was long obsolete.
“Her Cabinet is a diplomat-class unit,” Henry argued. “What did you expect?”
“I don’t want to hear it, Henry.”
At first the invasion was so subtle and Henry so unskilled that he was unaware of the foreign presence inside his shell. When he became aware, he mounted the standard defense, but Eleanor’s system flowed through its gates like water. So he set about studying each breach, learning and building ever more effective countermeasures. As the attacks escalated to epic proportions, Henry’s self-defense consumed his full attention.
“Why didn’t you tell me?”
“I did, Sam, several times.”
“That’s not true. I don’t remember you telling me once.”
“You have been somewhat distracted lately.”
The question was, how much damage had been done, not to me, but to Henry. I doubted that Eleanor was after my personal records, and there was little in my past anyone could use to harm me. I was an artist, after all, not a judge. But if Eleanor had damaged Henry, that would be the end. I had owned Henry since the days of keyboards and pointing devices. He was the repository of my life’s work and memory. I could not replace him. He did my bookkeeping, sure, and my taxes, appointments, and legal tasks. He monitored my health, my domiciles, my investments, etc., etc. These functions I could replace. It was his personality bud that was irreplaceable. I had been growing it for eighty years. It was a unique design tool that amplified my mind perfectly. I depended on it, on Henry, to read my mind, to engineer the materials I used, and to test my ideas against the tastes of world culture. We worked as a team. I had taught him to play the devil’s advocate. He provided me feedback and insight.
“Eleanor’s Cabinet was interested neither in your records nor in my personality bud. It simply needed to ascertain, on a continuing basis, that I was still Henry and that no one else had corrupted me.”
“Couldn’t it just ask?”
“If I were corrupted, do you think I would tell?”
“Are you corrupted?”
“Of course not.”
I cringed at the thought of installing Henry back into my body not knowing if he were someone’s dirty little spy.
“Henry, you have a complete backup here, right?”
“Yes.”
“One that predates my first encounter with Eleanor?”
“Yes.”
“And its seal is intact?”
“Yes.”
Of course, if Henry was corrupted and told me the seal was intact, how would I know otherwise? I didn’t know seals from sea lions.
“You can use any houseputer,” he said, reading me as he always had, “to verify the seal, and to delete and reset me. It would take a couple of hours, but I suggest you don’t.”
“Oh yeah? Why not?”
“Because we would lose all I’ve learned since we met Eleanor. I was getting good, Sam. Their breaches were taking exponentially longer to achieve.”
“And meanwhile you couldn’t function.”
“So buy me more paste. A lot more paste. We have the money. Think about it. Eleanor’s system is aggressive and dominant. It’s always in crisis mode. But it’s the good guys. If I can learn how to lock it out, I’ll be better prepared to meet the bad guys who’ll soon be trying to get to Eleanor through you.”
“Good, Henry, except for one essential fact. There is no Eleanor and me. I’ve dropped her.”
“I see. Tell me, Sam, how many women have you been with since I’ve known you?”
“How the hell should I know?”
“Well, I do. In the 82.6 years I’ve associated with you, you’ve been with 343 women. Your archives reveal at least a hundred more before I was installed.”
“If you say so, Henry.”
“You doubt my numbers? Do you want me to list them by name?”
“No. What good are names I’ve forgotten, Henry?” More and more, my own life seemed like a Russian novel---too many characters, not enough car chases.
“My point exactly, no one has so affected you as Eleanor Starke. Your bio-response has gone off the scale.”
“This is more than a case of biology,” I said, but I knew he was right, or nearly so. The only other woman who had had such an effect on me was my first love, Jean Scholero, who was a century and a quarter gone. All the rest were gentle waves in a warm feminine sea. But how to explain this to Henry?
Until I could figure out how to verify Henry, I decided to isolate him in his container. I told the houseputer to display “Do Not Disturb---Artist at Work” and take messages. I did, in fact, attempt to work, but was too busy obsessing. I mostly watched the nets or paced the studio arguing with Henry. In the evenings I had Henry load a belt---I kept a few old Henry interfaces in a drawer---with enough functionality so that I could go out and drink. I avoided my usual haunts and all familiar faces.
In the first message she recorded on my houseputer, El said, “Good for you. Call when you’re done.” In the second she said, “It’s been over a week---must be a masterpiece.” In the third, “Tell me what’s wrong. You’re entirely too sensitive. This is ridiculous. Grow up!”
I tried to tell her what was wrong. I recorded a message for her, a long seething litany of accusations, but was too angry to post it.
In her fourth message, El said, “It’s about Henry, isn’t it? My security chief told me all about it. Don’t worry; they frisk everyone I meet, nothing personal, and they don’t rewrite anything. It’s their standing orders, and it’s meant to protect me. You have no idea, Sam, how many times I’d be dead if it weren’t for my protocol.
“Anyway, I’ve told them to lay off Henry. They said they could install a dead-man trigger in Henry’s personality bud, something I do for my own systems, but I said no. Complete hands off. All right? Is that enough?
“Call me, Sam. Let me know you’re all right at least. I---miss you.”
In the meantime I could find no trace of a foreign personality in Henry. I knew my Henry just as well as he knew me. His thought process was like a familiar tune to me, and at no time during our weeks of incessant conversation did he strike a false note.
El sent her fifth message from bed where she lay between iridescent sheets (of my design). She said nothing. She looked directly at the holocam, propped herself up, letting the sheet fall to her waist, and brushed her hair. Her chest above her breasts, as I had discovered, was spangled with freckles.
Bouquets of real flowers began to arrive at my door with notes that said simply, “Call.”
The best-selling memoirs that had stymied my Buffalo houseputer arrived on datapin with the section about Eleanor extant. The author’s simulacrum, seated in a cane-backed chair and reading from a leather-bound book, described Eleanor in his soft southern drawl as a “perfumed vulvoid whose bush has somehow migrated to her forehead, a lithe misander with the emotional range of a homcom slug.” I asked the sim to stop and elaborate. He flashed me his trademark smirk and said, “In her relations with men, Eleanor Starke is not interested in emotional communion. She prefers entertainment of a more childish variety, like poking frogs with a stick. She is a woman of brittle patience with no time for fluffy feelings or fuzzy thoughts. Except in bed. In bed Eleanor Starke likes her men half-baked. The gooier the better. That’s why she likes to toy with artists. The higher an opinion a man has of himself, the more painfully sensitive he is, the more polished his hubris, the more fun it is to poke him open and see all the runny mess inside.”
What he said enraged me, regardless of how well it hit the mark. “You don’t know what you’re talking about,” I yelled at the sim. “El’s not like that at all. You obviously never knew her. She’s no saint, but she has a heart, and affection and---to hell with you!”
“Thank you for your comments,” the author said. “May we quote you? Be on the lookout for our companion volume to this memoir installment, The Skewered Lash Back, due out in September from Pageturner Productions.”
I had been around for 147 years and was happy with my life. I had successfully navigated several careers and amassed a fortune that even Henry had trouble charting. Still, I jumped out of bed each day with a renewed sense of interest and adventure. I would have been pleased to live the next 147 years in exactly the same manner. And yet, when El sent her final message---a glum El sitting in the Museum of Art and Science, a wall-sized early canvas of mine behind her---I knew my life to be ashes and dirt.
Seventy-two thick candles in man-sized golden stands flanked me like sentries as I waited and fretted in my tuxedo at the altar rail. The guttering beeswax flames filled the cathedral with the fragrance of clover. Look proclaimed our wedding to be the “Wedding of the Hour” and it was streamed live on the Wedding Channel. A castrati choir, hidden in the gloom beneath the giant bronze pipes of the organ, challenged all to submit to the mercy of Goodness. Their sweet soprano threaded through miles of stone vaults, collecting odd echoes and unexpected harmony. More than a million subscribers fidgeted in wooden pews that stretched, it seemed, to the horizon. And each subscriber occupied an aisle seat at the front.
In the network’s New York studio, El and I, wearing keyblue body suits, stood at opposite ends of a bare sound stage. On cue, El began the slow march toward me. In Wawel Castle overlooking ancient Cracow, however, she marched through giant cathedral doors, her ivory linen gown awash in morning light. The organ boomed Mendelssohn’s march, amplified by acres of marble. Two girls strewed rose petals at Eleanor’s feet, while another tended her long train. A gauzy veil hid El’s face from all eyes except mine. No man walked at her side; a two-hundred-year-old bride, Eleanor usually preferred to give herself away.
By the time of the wedding, El and I had been living together for six months. We had moved in together partly out of curiosity, partly out of desperation. Whatever was going on between us was mounting. It was spreading and sinking roots. We talked about it, always “it,” not sure what else to call it. It complicated our lives, especially El’s. We agreed we’d be better off without it and tried to remember, from experiences in our youth, how to fix the feelings we were feeling. The one sure cure, guaranteed to make a man and a woman wish they’d never met, was for them to cohabitate. If there was one thing humankind had learned in four million years of evolution, it was that man and woman were not meant to live in the same hut.
So, we co-purchased a town house in Connecticut. Something small but comfortable. It wasn’t difficult at all for us to stake out our separate bedrooms and work spaces, but decorating the common areas required diplomacy and compromise. Once in and settled, we agreed to open our house on Wednesday evenings to begin the arduous task of melding our friends and colleagues.
We came to prefer her bedroom for watching the nets and mine for making love. When it came to sleeping, I was a snuggler, but she preferred to sleep alone. Good, we thought, here was a crack we could wedge open. We surveyed each other for more incompatibilities. She was a late-night person, while I rose early. She liked to travel and go out a lot, while I was a stay-at-homer. She loved classical music; I could stand only neu-noise. She worked nonstop; I worked in fits and starts. She was never generous to strangers; I simply could not be practical in personal matters. She could get snippy; I could be silent for a long, long time. She had a maniacal need for total organization in all things, while for me a cluttered mind was a fruitful mind. Alas, our differences, far from estranging us, seemed only to endear us to each other.
Despite El’s penchant for privacy, our affair and wedding had caused our celebrity futures to spike. The network logged 1.325 million billable hours of wedding viewership, and the guest book collected some pretty important sigs. Confetti rained down for weeks. We planned a five-day honeymoon on the Moon.
Eleanor booked three seats on the Moon shuttle, not the best portent for a successful honeymoon. She assigned me the window seat, took the aisle seat for herself, and into the seat between us she projected her Cabinet members one after another. All during the flight, she took their reports, issued orders, and strategized, not even pausing for liftoff or docking. Her Cabinet consisted of about a dozen officials, and except for her security chief, they were all women. They all appeared older than El’s apparent age, and they all bore a distinct Starke family resemblance: reddish blond hair, slender build, the eyebrows. If they were real people, rather than the personas of El’s valet system, they could have been her sisters and brother, and she the spoiled baby of the brood.
Two Cabinet officers especially impressed me, the attorney general, a smartly dressed woman in her forties with a pinched expression, and the chief of staff, who was the eldest of the lot. This chief of staff coordinated the activities of the rest and was second in command after El. She looked and spoke remarkably like El. She was not El’s eldest sister, but El, herself, at seventy. She intrigued me. She was my Eleanor stripped of meat, a stick figure of angles and knobs, her eyebrows gone colorless and thin. But her eyes had the same predatory glint as El’s. All in all, it was no wonder that Henry, a mere voice in my head, admired El’s Cabinet.
The Pan Am flight attendants aboard the shuttle were all penelopes, one of the newly introduced iterant types who were gengineered for work in microgravity. That is, they had stubby legs with grasping feet. They floated gracefully about the cabin in smartly tailored flight suits, attending to passenger needs. The one assigned to our row---Ginnie, according to her name patch---treated Eleanor’s Cabinet members as though they were real flesh and blood. I wondered if I shouldn’t follow her example.
“Those penelopes are Applied People, right?” El asked her chief of staff. “Or are they McPeople?”
“Right the first time,” her chief of staff replied.
“Do we own any shares in Applied People?”
“No, AP isn’t publicly traded.”
“Who owns it?”
“Sole proprietor---Zoranna Albleitor.”
“Hmm,” El said. “Add it to the watch list.”
So the flight, so the honeymoon. Within hours of checking into the Sweetheart Suite of the Lunar Princess, Eleanor was conducting business meetings of a dozen or more holofied attendees. She apologized, but claimed there was nothing she could do to lighten her workload. I was left to take bounding strolls through the warren of interconnected habs by myself. I didn’t mind. I treasured my solitude.
On the third day of our so-called honeymoon, I happened to be in our suite when Eleanor received “the call.” Her Calendar informed her of an incoming message from the Tri-Discipline Council.
Copyright © 2005 by David Marusek
Continues...
Excerpted from Counting Heads by Marusek, David Copyright ©2007 by Marusek, David. Excerpted by permission.
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Product details
- ASIN : B004YEN9UG
- Publisher : Tor Books; First edition (October 16, 2007)
- Publication date : October 16, 2007
- Language : English
- File size : 2.7 MB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Print length : 338 pages
- Best Sellers Rank: #836,253 in Kindle Store (See Top 100 in Kindle Store)
- #2,823 in Genetic Engineering Science Fiction eBooks
- #2,900 in Genetic Engineering Science Fiction (Books)
- #6,728 in Dystopian Science Fiction (Kindle Store)
- Customer Reviews:
About the author

I'm a science fiction writer who lives in a cabin in Fairbanks, Alaska. I don't spend much time promoting myself online, and the time I do spend usually goes to my web site www.marusek.com or my blog countingheads.blogspot.com. Please visit me there for all the latest news about my work.
Customer reviews
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Customers find the book well written and enjoyable to read. They appreciate its visual style, with one customer noting its vividly imaged world. The story quality receives mixed feedback, with some customers finding it interesting while others note that the plot loses cohesion towards the end.
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Customers find the book well written.
"'Counting Heads' by David Marusek (2005) is a well written and enjoyable novel, vibrant with tomorrow's possibilities. '..." Read more
"...money and time in this work and have to say that although it was a good read, and solid entertainment for a few days, it will not stay with me the..." Read more
"Decent writing, but a slow and boring beginning...." Read more
"...It was the best piece of writing I had seen in a long time. I ran out (to Amazon actually) and bought everything I could find from Marusek...." Read more
Customers find the book enjoyable, with one describing it as a delightful science fiction novel.
"'Counting Heads' by David Marusek (2005) is a well written and enjoyable novel, vibrant with tomorrow's possibilities. '..." Read more
"...and have to say that although it was a good read, and solid entertainment for a few days, it will not stay with me the way other books in it's genre..." Read more
"This is one of the most delightful science fiction books that I have read in a while. Simply put it is something different...." Read more
"...The choice to break up the timeline the way it was in the book felt interesting to me...." Read more
Customers appreciate the visual style of the book, with one noting its vividly imaged world and another highlighting its ability to paint nuanced scenes.
"...dramatizing a time of social revolution and accomplishes it in a very striking and efficient fashion...." Read more
"...Marusek is best at painting a nuanced & convincing future-scape...." Read more
"A great story set in a rich and vividly imaged world. Story gets a little frayed at the end but is all around a fine read." Read more
Customers have mixed opinions about the story quality of the book, with some appreciating its interesting concepts and great setting, while others note that it derails to a sudden ending.
"...the finest kind of science fiction - original and distinctive, breaking new grounds while depicting a simultaneously utopian and dystopian future...." Read more
"...describing in rich detail the coming wonders of a possible and plausible near future as an exploration of the many faces of characters built over..." Read more
"...one byproduct of this story telling technique is that the plot loses some cohesion, each subplot moves at its own tempo and its progress may not..." Read more
"...The book develops well with interesting concepts, good action and great flow, then derails to a sudden ending with some major issues left open..." Read more
Top reviews from the United States
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- Reviewed in the United States on July 7, 2023'Counting Heads' by David Marusek (2005) is a well written and enjoyable novel, vibrant with tomorrow's possibilities. 'Counting Heads' is the finest kind of science fiction - original and distinctive, breaking new grounds while depicting a simultaneously utopian and dystopian future. This book is sly, subversive and a great read.
- Reviewed in the United States on May 13, 2006Looking over some the reviews of "Counting Heads", a potential reader couldn't be blamed for thinking that the novel was written by an author who had infused his project with flashes of genius and generous dashes of enthusiastic Ed Woodsian ineptitude. However, although a lot of the comments about `defects' in the plotting are accurate, they are irrelevant to the kind of book we're looking at. It's like critiquing a dirt bike for not being able to haul home a dozen bags of groceries or drive the kid's soccer team to a game. Of course, a dirt bike's meant to take us places a minivan (which can do all those things) could never go. In a similar way, Marusek's narrative structure shows his audience things that would be impossible to convey by following contemporary SF's terribly limited schema. At the same time, he's not doing anything revolutionary, just borrowing good ideas from outside the genre in order to expand his capacity to explore a new world. In this, Marusek shares a lot of affinities with Mark Budz (check out my review of `Crache' for a similar example of the benefits of departing from the dominant SF conventions).
Marusek is dramatizing a time of social revolution and accomplishes it in a very striking and efficient fashion. So he tells the story from the perspective of members of the affected classes, the powerful and wealthy `affs', the clones who do much of the routine work, and the `Chartists' who represent the balance of humanity clinging to familiar old political values and economics. In addition, he optimizes his overall strategy to show a lot of what's going on in this society by expanding the roles his characters play in the story. The pursuit of a cryogenically preserved head forms a "Maltese Falcon" core to the plot of this novel, but rather than following the typical convention of that storyline, the pursuit of the head doesn't become the central preoccupation of most of the characters. The actors in this drama are involved in the adventure in much the same way that we really experience one--as part of their job, or as witnesses, or victims or witting/unwitting accomplices etc., and they become involved while pursuing their own private business. So by following the twists and turns of each character's ultimate involvement in the recovery of the head, we get not only a resolution of the story, but we also intimately feel the ugly new world order eating away the vestiges of the old. Although the notion of adapting the narrative strategy to explore different aspects of a world is neither terribly exotic or new (Zola and Dickens come to mind), it's certainly ironic that the idea hasn't been fashionable in SF for decades.
Of course, one byproduct of this story telling technique is that the plot loses some cohesion, each subplot moves at its own tempo and its progress may not relate to the others or obviously advance the `global' plot. Marusek addresses this by directly applying some of the oldest and most general dramatic principles. For instance, you can see that the story ends in a perfectly acceptable way if you observe that the end mirrors the opening status quo. There are a couple tricky bits though, the novel proper begins with the end of the introductory short story, and some of the characters are in motion when they first appear, just waiting for something to knock them in a new direction. The clearest example of this mirroring is the boy Bogdan, who first shows up looking for a missing computer, and his last action is to go off looking for a lost artificial intelligence. It's also worth noting that Bogdan's motives and values have changed in the course of the story, and Marusek's plotting includes substantial elements of character growth and development to fill in the chinks in "Counting Heads' looser structure. The plotting is simplicity itself, any purpose or action is met with progressively higher obstacles and greater frustrations. This happens regardless of whether the action has any direct bearing on the big picture, but the overall effect is to continuously build the tension. Overcoming, enduring or trying to get around the sort of reversals the characters face is the basis of drama and the foundation of a good plot.
It seems fairly clear to me that when evaluated by the appropriate criteria, "Counting Heads" is a remarkable achievement. I've tried to argue that most of the 'defects' attributed to the novel are simply results of Marusek choosing to tell his story in the best possible way. Naturally, there are flaws in "Counting Heads", some fairly serious, thus it only gets 4.5 stars. The worst is perhaps the bizarre decision to use a first person short story as a prologue and then later changing that character's viewpoint to third person-that is a grievous fault, and the story suffers right up to the end from it. Also, the clones subplot is very important, but still takes up way too much space, there's a lot of other material that deserved more attention.
- Reviewed in the United States on April 1, 2012David Marusek takes you from the edge of the singularity to the heart of it through the navel gazing eyes of the main characters.
Marusek presents the near future as a personal and political battle between anonymous converging interests and individual power.
Marusek presents dissertation worthy discourse on agents and actors as ideas manifested as the random convergence of the interests of individuals. While simultaneously describing in rich detail the coming wonders of a possible and plausible near future as an exploration of the many faces of characters built over centuries of time.
David Marusek does not do this dissection of the singularity as a scientific postmortem.
This vivesection of the near future is wonderfully presented as a story of love found and lost over centuries of time.
My takeaway from this and Marusek's later works in this series are that the importance of events is all in the perspective and evolution is a harsh mistress.
To sum it up. If a tree falls in a forest does anyone care if it screams?
- Reviewed in the United States on April 6, 2006When reading books like this I wonder sometimes if the publisher told the author: "I don't care how the book ends, just give me no more than 350 pages!!"
The book develops well with interesting concepts, good action and great flow, then derails to a sudden ending with some major issues left open (I won't give away the plot here). I've seen this time and again, and I wonder if maybe there was a page limit on the book, or perhaps the author has had enough and wants to hand in the work?
I'm not a writer, and I know it must be rediculous to have one's work criticized by someone who has not been down the same road, but I have invested money and time in this work and have to say that although it was a good read, and solid entertainment for a few days, it will not stay with me the way other books in it's genre (Diamond Age, for example) have.
- Reviewed in the United States on July 18, 2017This is one of the most delightful science fiction books that I have read in a while. Simply put it is something different. Marusek weaves a fantastic tale set in the near future. Some of the elements of this future seem a bit improbable(I'm looking at you Applied People) but the rest are just coming into focus on the horizon. The human characters are unforgettable. From the retro boy Bogdan to iterant Fred you become very invested in the resolution of their plotlines. My only qualm with the book is that it ends far too abruptly. Yes, it does have a sequel but this individual work could have been closed in a much more refined manner.
- Reviewed in the United States on September 4, 2017I started reading the sample out of an Amazon suggestion. Immediately I recognized that I already read the novella that was used as the first part of the book - even though I read it over 20 years ago! It just was that poignant.
A big part part of what draws me in to SF books is the tech. Usually there are a few new technologies and their consequences. Not here. There are tons of new and common ideas, applied in many ways with their consequences.
The choice to break up the timeline the way it was in the book felt interesting to me.
I didn't enjoy the fact that the searing was effectively left "unsolved".
Overall, strongly recommended. I already started reading the sequel.
Top reviews from other countries
- R. PalmerReviewed in the United Kingdom on June 19, 2010
4.0 out of 5 stars Fantastic debut from David Marusek
I'm bit late to this one - Marusek first came to my notice in a short story anthology with an inventive and thoughtful story. It piqued my interest, so here I am!
Counting Heads, Marusek's debut novel, is a fantastic read. In some ways it's straightforward enough, if follows the fortunes of one man and his family through several decades (though, to be clear, it leaps - overall there is a broad sweep, but it's handled in a couple of denser "chunks.") Where it sets itself apart is how seriously David Marusek takes the job of writing SF. Not to say that the novel is po-faced, or anything like that. He's a good writer, there's a decent level of wit in this.
Instead, what I mean is that it's a proper, serious SF novel. It never shies away from the fact that it's SF; it has a lot of ideas in it and I'd guess that Marusek has read a lot of SF himself. He marries these sfnal themes with an excellent human drama, the characterisation in this is almost uniformly excellent. This can often, I think, be a weakness for a lot of ideas driven SF writers - that is to say that they are often not so good at producing characters who are anything other than mouthpieces for themselves.
The opening of the novel sees a famous artist, Samson Harker meet a woman on her way to great power. By the time that the novel starts, humanity has practical immortality. They can both look forward to a long, long life. This, naturally, means that what we would consider normal is discarded. It's unlikely that immortals would wish to spend the rest of their lives together, on a crowded planet producing children would have to be strictly regulated, so when they find themselves in position to produce offspring, it's not quite in the way that we'd consider normal. However, this would seem to imply - in some ways - almost utopian. Things aren't (of course!) quite so simple. It's set against the background of a terrorist attack which has led to intense paranoia about nano-weapons - which imposes surveillance on the population and leads to Sam Harker's downfall. He is "seared" a process which amongst other things separates him from his peers. He is now incapable of receiving the treatments he requires to stay young. So when the book moves into it's second and third parts, he is an old man.
Incidentally, the book does handle the "show, don't tell" thing quite well. It's clear that there has been some kind of attack in the past which has led, in part, to the kind of society that we see now, but this is only ever explained as well as it needs to be. Also, the society in which the book takes part is clearly complex, but even beyond this, it's obvious that the whole world is complex. There are hints that the future that we see here isn't *quite* so evenly distributed through the world as one would hope.
The "searing" (and there are quite a lot of new terms in the book, though some are obvious and made more so by context, "aff, "homcom" and so on) was part of an attack on the growing power of Eleanor Starke (Samson's wife). As the novel moves on, this is more pronounced. A crash leaves her and her daughter dead and severely disabled (only her head survives intact!) and the plot of the novel centres around a group of characters involved in its retrieval. If I were to criticise, I'd say that the ending does go a bit crash-bang-wallop, but it was fun getting there.
The confidence of Marusek is demonstrated, I think, in that there are many ideas that people would use to create a whole novel on their own (nano-tech, colony ships, AI). He instead chooses to focus on the human aspect of this (and that's including the integration of sentient machines, clones and immortality). Although the next book, (Mind Over Ship) is a sequel, so he may look at some of these in greater detail.
So; a recommended debut! Enjoy!
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FeydRauthaReviewed in France on February 26, 2019
4.0 out of 5 stars Roman très ambitieux et très dense
Singulier roman postcyberpunk, Couting Heads débute en l’an 2092. Le récit à la coloration eganienne (de Greg Egan, l’auteur de hard-SF qui explore sans relâche les implications sociétales des nouvelles technologies) introduit le personnage de Samson Harger, artiste à succès. Celui-ci rencontre Eleanor Starke, une célèbre et puissante femme d’affaires âgée de 200 ans. Après des débuts difficiles, leur relation s’épanouit et les bonnes nouvelles s’accumulent, un peu trop rapidement. Eleanor est d’abord invitée à rejoindre le groupe des gouverneurs, ce qui lui assure un rôle politique de premier plan. Puis le couple est sélectionné par le ministère de la Santé et reçoit un permis qui l’autorise à avoir un enfant. Dans cette société futuriste avec d’un côté des nanotechnologies quiautorisent le rajeunissement des corps dans des bains de jouvence pour ceux qui peuvent se les offrir, et de l’autre une surpopulation de 15 milliards d’habitants, les naissances sont extrêmement contrôlées. Et rares. C’est donc une chance extraordinaire pour le couple. Tellement extraordinaire qu’Eleanor commence à douter que cela en soit vraiment une et envisage une manipulation d’un de ses ennemis politiques.
Nous sommes dans une société de prodige technologique, la maladie et la mort ont essentiellement été vaincus. Ceux qui en ont les moyens sont potentiellement immortels, bénéficiant d’une jeunesse éternelle. Mais nous sommes aussi quelques dizaines d’années après l’Outrage, une pollution nanotechnologique globale de l’atmosphère par des NASTIES, nanovirus militaires devenus sauvages. Les villes sont enfermées sous des dômes, des canopées, filtrant l’atmosphère. En sortir est dangereux et le HomeCom contrôle en permanence la population à la recherche d’éléments de contamination. Des limaces robotisées testent aléatoirement les citoyens, des scans génétiques sont effectués, des insectes militarisés surveillent cette société dans laquelle tout est connecté, des individus aux pots de fleurs. Lors d’un contrôle aléatoire, Sam est faussement déclaré contaminé et il est cautérisé par les autorités. Cela signifie pour lui un nettoyage complet du génome, un effacement des banques de données médicales, et l’impossibilité de subir de futures altérations ou jouvence. Sam redevient un humain normal, condamné à vieillir et mourir, portant avec lui une odeur charnelle devenue repoussante pour autrui. Toute tentative d’altération, ou de simple scan, provoque l’autodestruction de ses cellules sous la forme d’un grand feu de joie. Le rideau tombe, il y a clairement quelque chose de pourri au royaume du Danemark.
Le ton change dramatiquement dans la seconde partie du roman. Nous sommes à Chicago, 40 ans plus tard, et la société est passée de l’autre côté de la singularité technologique qui s’annonçait dans la première partie. Sam et Eleanor ne sont plus que des personnages secondaires. Rapidement dans le récit, Eleanor meurt dans un attentat. Sa fille, Ellen, est gravement blessée (décapitée). L’enquête sur l’attentat et le maintien en vie d’Ellen va constituer le fil conducteur du roman.
Les intelligences artificielles naissantes sont devenus des mentars indépendants, quoi que toujours liés légalement à leur sponsor. La main d’œuvre a été remplacée par des lignées de clones choisis pour leurs compétences : les russ, les jenny, les evangelines, les lulus, etc. Bien qu’humains indépendants, ils ne sont pas socialement considérés comme de vraies personnes. Les vrais humains, eux, se divisent en deux catégories : les ultrariches, affs, qui dirigent les grandes entreprises et donc la politique, et les autres, les Chartistes qui pour subsister doivent se regrouper en Charters, groupements autant économiques que familiaux, et mettre en commun leurs revenus. Counting Heads prend alors la forme d’un roman chorale où on suit une multitude de personnages issus des différentes strates de la société et une multitude d’histoires. En 2092, les humains étaient encore aux commandes. En 2132, ils ont été progressivement remplacés par leurs propres créations. Counting heads est une fresque sociale. Affs, Chartistes, clones et mentars luttent pour avoir une place dans la société du XXIIè siècle. Les mentars déviants sont arrêtés et reformatés par le HomeCom, les Chartistes perdent leurs emplois pour être remplacés par des simulations, et les clones deviennent obsolètes. Les limaces elles-mêmes se font écraser lorsque la canopée couvrant Chicago est abandonnée. La singularité s’est emballée et plus personne ne sait qui contrôle quoi. Ce sera d’ailleurs là une des grandes questions qui restera ouverte à la fin du livre.
En fond, nous suivons le développement du projet Garden Earth d’envoyer une centaine d’arches spatiales emportant des millions d’humains cryogénisés à la conquête d’autres planètes pour soulager la surpopulation terrestre.
Counting heads est un formidable roman qui bénéficie d’un worldbuilding de grande qualité mais qui souffre de sa trop grande richesse. David Marusek possède une imagination débordante et son roman regorge d’idées. Thématiquement, on se situe quelque part entre les écrits de Greg Egan et Accelerando de Charles Stross. Son souci toutefois est que sa densité l’alourdit. Très détaillé dans la peinture qu’il donne à contempler, le worldbuilding prend le pas sur l‘histoire et les personnages. On ne s’y ennuie jamais car David Marusek nous conte de nombreuses micro-histoires qu’il anime généreusement par ses nombreux personnages, mais on se laisse noyer par le trop plein.
Ambitieux, généreux, imaginatif, richement décoré, Counting heads est un vrai roman de science-fiction qui explore en détails les conséquences sociétales d’avancées technologiques elles-mêmes condamnées à l’obsolescence. On lui reprochera toutefois de trop s’éparpiller au risque de finir par ressembler à un magnifique oiseau sans tête qui court dans tous les sens.
De grandes questions restent en suspens à la fin du roman. Rendez-vous dans la suite : Mind Over Ship.
- Mark HigginsonReviewed in the United Kingdom on January 10, 2010
1.0 out of 5 stars An incoherent and rough sketch...
It is a rather dull puzzle trying to comprehend why the glowing recommendations on the dust jacket fail to bear any resemblance to the contents of this novel. I managed to read to around the halfway point before skipping through to the end; something I almost never do and only because I was still struggling to find answers, any answers, as to why the quoted reviewers found this story appealing. The author favours short, flat sentences, a technique he is not a skilled enough writer to pull off. The result is a mere sketch, both of the characters and the world they inhabit and not a very well drawn one at that. The plot, which is summarised in a more exciting fashion on the back of the book than within, is a lukewarm mix of ideas that have been better executed elsewhere. The weak ending, left it seems with the intention of a sequel, is the final insult to the reader who has given over their time to wading through this. I had high hopes for this debut; being charitable perhaps this is his 'The Big U' and we'll see better work from him in the years to come.