3.8 47
by Alan Glynn

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A burnout at thirty-five, months behind on his book, low on cash, and something of a loser, Eddie Spinola could use a shot in the arm. One day he randomly runs into Vernon, his ex-wife's brother, and his ex-dealer. Now employed by a shadowy pharmaceutical company, Vernon has something that might help: a new

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A burnout at thirty-five, months behind on his book, low on cash, and something of a loser, Eddie Spinola could use a shot in the arm. One day he randomly runs into Vernon, his ex-wife's brother, and his ex-dealer. Now employed by a shadowy pharmaceutical company, Vernon has something that might help: a new designer drug that stimulates brain function. One pill and Eddie is hooked. His book is finished within days; he learns and synthesizes information at a frightening rate; and he can go a long time without sleep or food. Naturally, he begins to play the stock market. But when Vernon turns up dead, Eddie makes off with the only stash of the drug in existence. Then come the side effects: black-outs, blinding headaches, and violent outbursts he can't seem to remember.

Alan Glynn's Limitless is a high-concept thriller for this Adderall age, and a haunting meditation on the allure and the curse of human potential.

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Editorial Reviews

Publishers Weekly
Bordering on techno-thriller territory, this slick, suspenseful debut imagines a new breed of "smart drug" that produces some deadly side effects. After complaining about life in desperate times to his drug dealer/ex-brother-in-law Vernon, divorced Manhattan copywriter Eddie Spinola is tempted by the glittering promise of MDT-48, an illegal, nearly unknown designer medication guaranteed to spike intelligence and personality in mere minutes. It really works, but Eddie's initial rush is so mind-blowing that even discovering Vernon's murdered body (and a hidden stash of cash and pills) barely interrupts his growing addiction. He chooses to ignore the mounting side effects of MDT-48: piercing headaches, intense bouts of rage and "trip-switching," a phenomenon in which time moves with a stop-motion quality. Day trading on the stock market like a seasoned professional, Eddie soon becomes an immensely wealthy junkie armed with awe-inspiring artistic and financial brainpower. But when he's implicated in the brutal murder of a high-profile artist's wife and also linked to pharmaceutical espionage, his perfect new world unravels and the shocking truth about MDT-48's origin and purpose is revealed. Glynn's sustained, rapid-fire pace hurls readers headfirst toward a gripping, if bleak, conclusion that makes for some breathless page-turning. Dublin-based Glynn, who lived in New York for four years, gets the frenzied pace of the city just right. And though Eddie's demise is foreshadowed from the opening paragraph, his likability as a protagonist serves the swift and thrilling narrative well. Fine secondary characters like shady Russian loan shark Gennady and Eddie's ex-wife Melissa appear in manyscenes, but the reader remains riveted to Eddie's fate in this impeccably imagined and executed debut. (Jan.) Forecast: Young, hip readers who are open to experimentation will be the first audience for this credible and timely thriller. Word of mouth will do the rest. Copyright 2001 Cahners Business Information.
Kirkus Reviews
A high-finance thriller about a wonder street-drug that turns people into supercomputers, this debut from Dublin-based Glynn glitters with a carnival of effects but lacks thrust enough to stay in orbit.

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PART ONE[ 1 ]IT'S GETTING LATE.I don't have too sharp a sense of time any more, but I know it must be after eleven, and maybe even getting on for midnight. I'm reluctant to look at my watch, though - because that will only remind me of how little time I have left.In any case, it's getting late.And it's quiet. Apart from the ice-machine humming outside my door and the occasional car passing by on the highway, I can't actually hear a thing -- no traffic, or sirens, or music, or local people talking, or animals making weird nightcalls to each other, if that's what animals do. Nothing. No sounds at all. It's eerie, and I don't really like it. So maybe I shouldn't have come all the way up here. Maybe I should have just stayed in the city, and let the time-lapse flicker of the lights short-circuit my now preternatural attention span, let the relentless bustle and noise wear me down and burn up all this energy I've got pumping through my system. But if I hadn't come up here to Vermont, to this motel - to the Northview Motor Lodge - where would I have stayed? I couldn't very well have inflicted my little mushroom-cloud of woes on any of my friends, so I guess I had no option but to do what I did - get in a car and leave the city, drive hundreds of miles up here to this quiet, empty part of the country ...And to this quiet, empty motel room, with its three different but equally busy décor patterns - carpet, wallpaper, blankets - vying, screaming, for my attention - to say nothing of the shopping-mall artwork everywhere, the snowy mountain scene over the bed, the Sunflowers reproduction by the door.I am sitting in a wicker armchair in a Vermont motel room, everything unfamiliar to me. I've got a laptop computer balanced on my knees and a bottle of Jack Daniel's on the floor beside me. I'm facing the TV set, which is bolted to the wall in the corner, and is switched on, tuned to CNN, but with the sound turned right down. There is a panel of commentators on the screen - national security advisers, Washington correspondents, foreign policy experts - and although I can't hear them, I know what they're talking about ... they're talking about the situation, the crisis, they're talking about Mexico.Finally - giving in - I look at my watch.I can't believe that it's been nearly twelve hours already. In a while, of course, it will be fifteen hours, and then twenty hours, and then a whole day. What happened in Manhattan this morning is receding, slipping back along all those countless, small-town Main Streets, and along all those miles of highway, hurtling backwards through time, and at what feels like an unnaturally rapid pace. But it is also beginning to break up under the immense pressure, beginning to crack and fragment into separate shards of memory - while simultaneously remaining, of course, in some kind of a suspended, inescapable present tense, set hard, unbreakable ... more real and alive than anything I can see around me here in this motel room.I look at my watch again.The thought of what happened sets my heart pounding, and audibly, as if it's panicking in there and will shortly be forcing its way, thrashing and flailing, out of my chest. But at least my head hasn't started pounding. That will come, I know, sooner or later - the intense pin-prick behind the eyeballs spreading out into an excruciating, skull-wide agony. But at least it hasn't started yet.Clearly, though, time is running out. 
So how do I begin this?I suppose I brought the laptop with me intending to get everything down on a disk, intending to write a straightforward account of what happened, and yet here I am hesitating, circling over the material, dithering around as if I had a couple of months at my disposal and some sort of a reputation to protect. The thing is, I don't have acouple of months - I probably only have a couple of hours - and I don't have any reputation to protect, but I still feel as if I should be going for a bold opening here, something grand and declamatory, the kind of thing a bearded omniscient narrator from the nineteenth century might put in to kick-start his latest 900-pager.The broad stroke.Which, I feel, would go with the general territory.But the plain truth is, there was nothing broad-stroke-ish about it, nothing grand and declamatory in how all of this got started, nothing particularly auspicious in my running into Vernon Gant on the street one afternoon a few months ago.And that, I suppose, really is where I should start.LIMITLESS. Copyright © 2001 by Alan Glynn. All rights reserved. For information, address Picador, 175 Fifth Avenue, New York, N.Y. 10010.

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