It has taken ruthless dedication for Rachel Develin to achieve her in the status as a Fidelis Officer in ASO, a society born from the remains of old Britain. Here in 2050, the role of the family has been redefined and, under the leadership of Magnamater Beatrice, people live in age-related regions. In Abovo, trained professionals named Maters rear all children before they graduate to Suris, where they stay and contribute until they reach 55 and are obliged to resort to Olim. It is a time of limited resources when all energy and water supplies are strictly controlled, each garment is recycled and every child is an eagerly awaited prize.
Rachel's highly developed physical and intellectual abilities have always commanded respect, but privately the strain is now telling. While her fragile union with Ben has survived his infidelities, she struggles to suppress the need to be with her daughter, Bera, and to ignore the growing social unrest.
Her latest assignment begins with a routine interrogation, but her investigations are forced in a more unpredictable direction by the unaccountable Death of her superior officer, Josie Kitchener, with whom she has had a long and volatile relationship.
Her discoveries, and the punishments she must administer and endure, force stark choices that irreversibly change her loyalties and threaten the stability of ASO itself.
Accompanied by a CD featuring original music tracks written and performed by the author.
Aso is a perfect example of why editors are needed. The author has a tendency to slightly wooden and over-formal dialogue, and her writing is occasionally rather muddled, an effect which is exacerbated by her habit of head-hopping. Despite these faults she does have a mostly smooth and fluent style—which she then scuppers with numerous errors in punctuation, which range from minor errors to problems which completely cloud her intended meaning.
This tendency to confusion—both in the writing style and the misuse of punctuation—leads to a rather unsatisfactory read of a book which might well have shone had it been edited more effectively.
Mackie shows promise: she seems proficient at world-building, and there is an undercurrent of a lovely, lyrical tone: but she needs to pay more attention to detail, and to have more awareness of some of the pitfalls of the craft of writing, if she is going to fully realise that promise. I read eleven pages out of three hundred and three.
This review should have been published a long time ago: my apologies for its delay.