No one returns from the Nameless Gone.
It is 2106, seven decades after economic catastrophe brought down our affluent times of the Public Era. Nations, airliners, governments, traffic jams, bank notes and tourists all vanished long ago. The world is idyllic for those privileged to savour its beauty.
But few are.
Donald Aldingford is lucky. A barrister, he is trusted by the ruling elite of sovereign landowners. He neither knows nor cares what goes on outside the Central Enclave of London.
Then he starts to care. A young woman from the slums enters his life. For the first time, he travels outside the Central Enclave. He sees surplus discharged to the public drains. He sees glory trusts bombard the slums. These sights force him towards the dangerous world of the radicology.
But he has to move carefully. Should his sovereign masters even suspect him of disloyalty, they would despatch him to the Nameless Gone.
Then revolution breaks out. Which side should he take?
Which side will win?
Targeted Age Group:: 17 and over
What Inspired You to Write Your Book?
I am fascinated by the impossibilities facing humanity. Too many “can’t happens” lurk in the future for our outcome to be pleasant. Our planet is already being ruined, yet “middle class affluence” has reached hardly more than one tenth of the global population. Does anyone believe the planet can support ten times more affluence? I detect no hesitation in the assertion of consensus economics that we are on the one true path. Presumably there are those who think the planet can support ten times more affluence, unless they just don’t think.
As the old adage goes, if something cannot go on, then it will eventually stop.
In my fiction, I explore “stops”, and what comes after.
How Did You Come up With Your Characters?
Good question. Donald and Lawrence Aldingford are based mainly on people I knew at school (and did not like). Tom Krossington is an amalgam of senior officers interviewed on old war documentaries. Sarah-Kelly Newman is based on several past women colleagues. Nightminster is drawn from Nazi war criminals. However, these are just starting points. Once the action gets going, the characters are learning and changing, especially Donald and Lawrence (the latter's experiences are the subject of Book 2 of the series, also available).
A man-hauled wagon piled high crawled past the other way. It was driven by three large and savage-looking men hunched under black capes. The wagon disappeared into an archway just as Donald realised the load was a heap of dead bodies. Then it was gone.
“That’s a gleaner’s wagon. They crop the public drains for rendering,” Farkas said. He was obviously troubled, frowning, his eyes unfocused. “That was a big load. It’s going to be rough out there today. You better be worth the trouble, Court Puppet.”
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