Disclaimer: I received a free review copy of this title from the publisher through the Harper Voyager Super Reader Program.
“If there’s one rule in planning for world domination, it’s to make sure you look good doing so.”
South Africa, 2064. Sydney, a debased demi-goddess with dwindling powers, schemes to find enough fear, blood, and belief to feed on to return to her heyday. A new designer drug is hitting the market, and unleashing the divine potential of seemingly ordinary humans, and in it Sydney sees the possibility of chaos such as the world has not experienced for a long time. Meanwhile, her old mentor Mr. Tau is preparing to release a new demi-goddess into the world, one who may help her or undermine her, depending on how Sydney plays her cards. Can a pop star, two gay teens, a little girl, a politician, and a robot foil her plans?
To be honest, it is hard to give a concise, non-spoilery plot summary of The Prey of the Gods. There are at least eight point of view characters, and a lot of seemingly disparate elements that have to come together in this unusual novel. The book has elements of both fantasy and science fiction, as well as a distinct sense of humour. Sydney is a demigoddess, and mythology forms the underpinning of the story, but it is science that unleashes the action. The new drug hitting the market seems like a hallucinogen, but is really tapping into the divine potential of humans, including powers such as mind reading and manipulation that will create unprecedented chaos as they spread through the population. Meanwhile, the ubiquitous personal robots belonging to the human cast are gaining sentience, and questioning their role in society.
Perhaps the book’s strongest feature is its diverse and interesting cast of characters. I was particularly drawn to Nomvula, the young Zulu girl, and Councilman Stoker, the cross-dressing politician with a secret life as a drag performer who is starting to realize that he just might be trans. Drayden has also created an interesting character in Riya Natrajan, a fairly unlikeable pop diva who has been faking a drug problem to hide a more serious chronic medical condition from the public. Additional points of view come from Muzi, who is struggling with a crush on his best friend, Elkin, and This Instance, later named Clever 4-1, Muzi’s newly sentient personal robot. The mix of characters is exactly as odd and intriguing as you would expect, but works well once the reader gets everyone straight, and especially after the narratives begin to overlap.
Part of what gives nuance to the large cast is the theme of family, which is important for each character in different ways. When the book opens, Muzi is about to be circumcised not because he wants to, but because he knows that going through this traditional rite of passage will please his grandfather, whose approval he craves. Much of Riya’s backstory is defined by her mother’s death, and the complications that ensued in her relationship with her father, who she has not spoken to in years. Nomvula has grown up before her time caring for her sickly mother, with no father or siblings. When Mr. Tau and Sydney come along, her desire for family connections will change everything. Councilman Wallace Stoker is less interested in politics than music, but pressure to continue the familial political legacy keeps him from pursuing his dreams, or realizing his true identity. His domineering mother has her eye on the premier’s office, and will let nothing get in the way of her son achieving that landmark.
The Prey of the Gods is a humourous, genre bending romp through the near future, fearlessly mixing and matching demi-goddesses and robots, pop stars and politicians. Although it takes a while to settle in and get a handle on all the moving pieces of this narrative, the result is fresh and unexpected.
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