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After On

A Novel of Silicon Valley

Audiobook
2 of 2 copies available
2 of 2 copies available
The definitive novel of today’s Silicon Valley, After On flash-captures our cultural and technological moment with up-to-the-instant savvy. Matters of privacy and government intrusion, post-Tinder romance, nihilistic terrorism, artificial consciousness, synthetic biology, and much more are tackled with authority and brash playfulness by New York Times bestselling author Rob Reid.
Meet Phluttr—a diabolically addictive new social network and a villainess, heroine, enemy, and/or bestie to millions. Phluttr has ingested every fact and message ever sent to, from, and about her innumerable users. Her capabilities astound her makers—and they don’t even know the tenth of it.
     
But what’s the purpose of this stunning creation? Is it a front for something even darker and more powerful than the NSA? A bid to create a trillion-dollar market by becoming “The UberX of Sex”? Or a reckless experiment that could spawn the digital equivalent of a middle-school mean girl with enough charisma, dirt, and cunning to bend the entire planet to her will?
Phluttr has it in her to become the greatest gossip, flirt, or matchmaker in history. Or she could cure cancer, bring back Seinfeld, then start a nuclear war. Whatever she does, it’s not up to us. But a motley band of Silicon Valley entrepreneurs, venture capitalists, and engineers might be able to influence her.
After On achieves the literary singularity—fusing speculative satire and astonishing reality into a sharp-witted, ferociously believable, IMAX-wide view of our digital age.
Narrated by Sean Kenin and January LaVoy, with:
Felicia Day: NETGRRRL.COM
Patrick Rothfuss: Special Field Operative Brock Hogan
John Hodgman: Charles Henry Higgensworth III
Tom Merritt: voice of The New York Times
Jesse Cox:  Whistle Blowings Blog
Leo Laporte: voice of the San Francisco Chronicle
Advance praise for After On
“Enter a near-future Silicon Valley that is hilariously, creepily, mind-bogglingly fantastic, yet at the same time all too believable. It might turn out this way. No, really, it might! Along with After On’s diabolically ingenious plot, there are crazy-plausible web startups, delicious parodies of social media, and a surprisingly convincing theory of human consciousness.”—Chris Anderson, head of TED
“Reading After On is like attending a master class in nearly every major issue haunting not only the tech industry but society itself. Only the professor is also a stand-up comic with a perfect ear for the foibles of Silicon Valley’s most sacred cows. Part AI thriller, part arch social commentary, and part rollicking farce, After On will leave you smarter about just about everything the human species needs to work on if we’re going to outlive our own creations—and our obsessions with them.”—John Battelle, co-founder, NewCo, Federated Media, and Wired
“The future is already here—it’s just for those who read Reid!”—Steve Jurvetson, venture capitalist, Draper Fisher Jurvetson
“Rob Reid doesn’t write science fiction; he writes future history. After On is the best account I’ve read of how superintelligence will arrive and what it will mean for all of us. Hilarious, frightening, believable, and marvelously constructed—After On has it all.”—Hugh Howey, New York Times bestselling...
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    • Publisher's Weekly

      March 27, 2017
      Reid’s (Year Zero) slick, hyperactive, and flawed technothriller postulates an artificial intelligence emerging from the heart of contemporary Silicon Valley. Phluttr is a hot new social networking tool that uses advances in tech security to do things other apps can’t, so everybody uses it. Mitchell, Kuba, and Danna run a start-up; when it’s purchased and absorbed by Phluttr, their software happens to bring in the ideas that make that huge web of social connections become self-aware. It’s then up to them to help the new AI survive, thrive, and not wipe out or take control of the human race. Reid’s pop-culture references are spot-on, and his pacing is fast and funny, but the narrative is saturated with racism and sexism (presumably meant to be edgy and ironic but never actually funny or incisive), and political correctness is a punchline. There are so many layers of metatextuality and patter that the overall effect is of a howling void of self-referential back-patting. The satire occasionally rises to the level of clunky, but never further.

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  • English

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