|Terror, and relief; relief and terror,|
so intermingled that they feel like
the same thought.
Michael Marshall Smith (or Michael Marshall when he writes out-and-out horror/thriller titles) is a British writer who brings to mind the work of his contemporary sci-fi & etc. novelist Jeff Noon. His first book was Only Forward (on my To Re-Read list for sure) which with the talking appliances originally made me think of Rogue Trooper in 2000AD comics, and got me into slick, quick, character and plot-driven sci-fi back in the late 1990s.
Spares is set in a dystopian American future (one assumes) where the rich can grow spare bodies for harvesting in the event of tragedy and trauma to their own, where MegaMalls fly through the sky and where we find Jack Randall, a retired detective and former Bright Eyes soldier, in charge of one of the spares farms, who after an accidental overdose becomes acutely aware of the horror of his existence and vows to not only save the spares but eventually to avenge the death of his wife and child. That's a lot of back story to drip feed throughout a book that also races forward to a violent end via a parallel dimension known as The Gap (no relation to the clothing store I would hope). The Gap itself made me think of William Gibson's Neuromancer and his virtual environment, but in this it's more of an in-between place, somewhere the lost things of this dimension slipped into, and where in the narrative history of Spares Jack Randall had been sent to fight the inhabitants, wraiths, ghosts, trees and leaves, empty villages and deadly miasmata, and where he first becomes addicted to the drugs that nearly kill him later but kept him alive in-country. Anyway, it never intrudes, only adding to the deepening mystery and it remains unresolved throughout until the surprising denouement which ties it all together, skillfully if a little too happily for those of us expecting a tragic ending. And it's a damned fine example of story telling.
I watched for a decade or so for the optioned film version of Spares to hit the cinemas, but Dreamworks' rights lapsed. They then turned out The Island which bears some suspicious similarities and which was wholly underwhelming IMHO. But it never reaches the moral horror and casual brutality of the novel on which they presumably based their watered-down (and not in a good, understated Kazuo-Ishiguro Never Let Me Go way) version. It's a hard read in places, presaging his future horror/thriller work, but eminently worthwhile.