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Sewer, Gas and Electric: The Public Works Trilogy

Sewer, Gas and Electric: The Public Works Trilogy

4.0 11
by Matt Ruff

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High above Manhattan android and human steelworkers are constructing a new Tower of Babel for billionaire Harry Gant, as a monument to humanity’s power to dream. In the festering sewers below a darker game is afoot: a Wall Street takeover artist has been murdered, and Gant’s crusading ex-wife, Joan Fine, has been hired to find out why. The year is


High above Manhattan android and human steelworkers are constructing a new Tower of Babel for billionaire Harry Gant, as a monument to humanity’s power to dream. In the festering sewers below a darker game is afoot: a Wall Street takeover artist has been murdered, and Gant’s crusading ex-wife, Joan Fine, has been hired to find out why. The year is 2023, and Ayn Rand has been resurrected and bottled in a hurricane lamp to serve as Joan's assistant; an eco-terrorist named Philo Dufrense travels in a pink-and-green submarine designed by Howard Hughes; a Volkswagen Beetle is possessed by the spirit of Abbey Hoffman; Meisterbrau, a mutant great white shark, is running loose in the sewers beneath Times Square; and a one-armed 181-year-old Civil War veteran joins Joan and Ayn in their quest for the truth. All of whom, and many more besides, are caught up in a vast conspiracy involving Walt Disney, J. Edgar Hoover, and a mob of homicidal robots.

Editorial Reviews

Etelka Lehoczky

If there were any doubt that the movement generally known as "cyberpunk" is maturing, then Matt Ruff's second book dispels it. The authors in this genre have tended to reshape the obsessions of conventional science fiction, dramatizing our fears about out-of-control technology, corporate power and the vicissitudes of late capitalism. Ruff seems unaffected by such anxieties. He dwells comfortably in the world that his renegade contemporaries have sketched.

Most of his story, which concerns a band of misfits' attempt to stop a massive, quasi-corporate conspiracy, takes place in a balkanized New York City of the near future. Its outlines may owe something to the middle-class horror stories of Jack Womack, but its substance is pure Neal Stephenson: technological thrills, environmental devastation, pop culture and corporate power. Stephenson even contributed an enthusiastic back-cover blurb, and it's easy to see why. This is a solid choice for anyone who thinks the world needs more books like Snow Crash.

True to the form, Ruff assembles a wild plethora of characters, including a scatterbrained technology mogul, a female ex-pornographer turned investigative journalist and a band of environmentalist pirates in a green-and-pink submarine. His high-tech gizmos may not be quite as titillating as those dreamed up by other authors -- weird though they are, these runaway robots just can't compare to brain implants and neural modification in sheer, shuddering yuckiness -- but his people and situations are refreshingly far-out. He's sacrificed probability for amusement's sake, and in most cases it's proven a delightful choice. The fauna-hunting tugboats he describes as prospecting in New York's sewers may be far-fetched, but they sure make for fun reading.

Ruff throws around a lot of brainy references, but they don't bog down the plot. Clearly he intends them to amuse, not to challenge. Take his fabulously comic reincarnation of Ayn Rand as a holographic genie trapped in a hurricane lamp. The lamp just happens to fall into the hands of Joan, a radical activist, to the dismay of its inhabitant, who promptly labels her a "whim-worshipping, muscle-mystic altruist."

As might be guessed from Rand's presence, a fair portion of the book is taken up with Joan's -- and Ruff's -- wrangling with objectivism. Ruff doesn't have anything particularly new to say about it, though, so his assaults, while enjoyable, aren't particularly enlightening. In this they match the overall character of the book, which inhabits the landscape of current speculative fiction without testing its boundaries. Within those boundaries, though, Ruff's achievement is considerable. It's no mean feat to dance lightly across ground that's as yet so poorly trodden. -- Salon

Publishers Weekly - Publisher's Weekly
Arriving eight years after his auspicious debut (Fool on the Hill), Ruff's second novel is a gargantuan but uneven tome: a tripartite, SF roller-coaster satirizing the horrors of our nascent technocracy. Set in New York city in the year 2023, it features a huge cast of characters, including humans, androids and a mutant great white shark, all revolving around Harry Gant, a Donald Trump-style billionaire real estate developer who's building the world's tallest skyscraper, a "new Tower of Babel." Holding the many subplots together is Gant's ex-wife, Joan Fine, who sets out to investigate the murder of a Wall Street financier who had sought to topple Gant Industries and who was ostensibly beaten to death with a signed first edition of Ayn Rand's Atlas Shrugged. As Fine's research leads her through the history of the Walt Disney Co., Gant Industries and J. Edgar Hoover's FBI, not to mention many digressions into Rand's theory of Objectivism, she uncovers a sweeping conspiracy involving a mysterious black plague that wiped out the entire black race at the turn of the 21st century. Ruff uses a cartoonist's palette in his portraits of everyone and everything: Philo Dufresne, the eco-terrorist captain of a Yellow Submarine-style vessel called Yabba-Dabba-Doo; Harvard-educated pornographer Lexa Thatcher; an attack submarine called City of Women (wo)manned by one Wendy Mankiller; a whole caste of "Electric Negroes" who serve the city's white upper class. Told with breezy good humor, this exuberantly silly tale will find an audience among admirers of the day-glo surrealism of Steve Erickson and the tangled conspiracy theories of David Foster Wallace. What is absent here are the carefully honed language and the attention to nuance and character necessary to prevent Ruff's own Tower of Babel from sagging under the weight of his pell-mell special effects.
Library Journal
Ruff conjures up a terrifying future in which evil androids covertly scheme to annihilate humankind while a mutant shark escapes the New York City sewer system and proceeds to destroy everything in its path. AIDS has been cured, but a computer-engineered racist plague has swept the world, killing off nearly every black person on the globe. Although the idea of technology turning against humans is somewhat clichéd, Ruff does add some interesting twists, e.g., a band of underwater eco-terrorists skim the ocean floor in search of polluters and nonviolently sabotage their efforts. Despite these colorful twists, sudden jumps in setting and time make the plot at times hard to follow, and some of the characters lack believability. For larger collections.-Erin Cassin, "Library Journal"
Kirkus Reviews
After an eight-year hiatus (his 1988 novel, Fool on the Hill, became an underground hit), Ruff proves himself still capable of wild-eyed flights of fancy as he pits altruists against antihuman robots in an updated version of "Atlas Shrugged" above and below the streets of Manhattan.

In the year 2023, visionary zillionaire industrialist Harry Gant is building a new Tower of Babel, uptown; his crusading ex- wife Joan is on a search-and-destroy effort in the city sewers, seeking a mutant Jaws-like shark named Meisterbrau; eco-terrorist Philo Dufresne, one of the few blacks remaining after the race-specific pandemic of '04, leads the brilliant, eccentric crew of the submarine Yabba-Dabba-Doo on a nonviolent attack against a Gant-owned ship to save Antarctica; Anderson Teaneck, Wall Street takeover specialist, also with a bead on Gant Industries, is murdered, perhaps by one of his servant robots—who are all carefully programmed, supposedly, to be harmless. Joan has a close encounter with Meisterbrau that leaves them intact but the East River in flames, then is enlisted to solve the Teaneck mystery, a mission that takes her into the heart of a plot hatched by a psychopath and his creation, an artificial brain sheltered in a bunker under Disneyland. Joan also ends up with the querulous companionship of Ayn Rand, reduced to a holograph on a hurricane lamp. Philo and crew, meanwhile, are threatened by the vengeful scheme of a Gant subordinate, as they willingly enter a trap to save what may be the world's last lemurs. Several torpedoes, robot assaults, philosophical debates, and an earthquake later, all is again reasonably right with the world.

A careening riot to read, even with all of its zestful improbabilities: Ruff's second novel can only enhance his reputation as a fantasy writer with imagination to burn.

Product Details

Grove/Atlantic, Inc.
Publication date:
The Public Works Trilogy Series
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8.90(w) x 10.88(h) x 1.19(d)

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Read an Excerpt

Sewer, Gas and Electric

By Matt Ruff

Atlantic Monthly Press

Copyright © 1993 Matt Ruff
All right reserved.

ISBN: 0871134934

Chapter One

Alligators, small boys and at least one horse have accidentally swum in the sewers of New York. The boys and the horse seem not to have enjoyed the experience, but the alligators throve on it.

Robert Daley, The World Beneath the City

A Man in a High Place Alone

No one could say he hadn't been warned.

The observation eyrie pricked the dome of the sky some twenty-six hundred and seventy feet above the city's streets' half a mile up, with yardage to spare. The eyrie was not open to the public. Most visitors to the Gant Phoenix were restricted to the Prometheus Deck on the 205th floor, itself a loftier vantage point than that offered to tourists anywhere else in the world, even at the twenty-three-hundred-foot Gant Minaret in Atlanta. A chosen few friends, business associates, and politicians were allowed to climb still higher' on days when the weather was deemed agreeable and not likely to carry anyone away with a sudden hurricane gust-out onto the 208th-floor terrace, there to breathe for free the hazy, rarefied air that sold at $7.50 a liter bottle in the Phoenix Souvenir Shop. But only Harry Gant himself had ever been permitted to make the final ascent, another three hundred feet up a utility ladder enclosed within the Phoenix's mooring-mast pinnacle, through the trapdoor at the top, and so at last into the great glass globe that was Gant's Eyrie, the highest point on the tallest structure ever erected by human beings in the history of the world.

"Questionable," his comptroller of public opinion had said years ago, when he'd first told her his idea for the eyrie. "Definitely questionable from a media standpoint, you keeping it to yourself that way."

"Why questionable?" They'd both been a little drunk at the time, and her tone was more one of bemusement than of true caution, but wine and lightheartedness actually made Gant more attentive.

"Think biblical allusion, Harry. You're practically begging some columnist or TV commentator to take a cheap shot at you."

"How so?"

"Just think about it: a powerful figure standing in a high place, with all the world laid out below him ..."

"Oh," he said, "that. But now wait a minute, I seem to recall there were two powerful fellows up in the high place in that story, so maybe."

"No one's going to compare you to Jesus, Harry."

"And why not?"

"Because Jesus didn't want any of the things he could see from up there, and you'll want plenty of them. Five minutes after you first get up in your little perch you'll have thought of three new product lines to invest in-all wildly impractical, all somehow threatening to the environment or the public welfare, and all ultimately profitable, at least until the lawsuits are settled. Another five minutes and you'll be scouting around for a site for your next building, which you'll probably want to make twice as tall as this one. And five minutes after that you'll probably throw up, because you know as well as I do that you don't like heights."

It was true: he didn't like heights. Strange admission from a man who owned two and a half superskyscrapers and a picket fence of lesser towers, but there you had it. His aversion to air travel was legendary: preferring to go by train if it were necessary to go at all, he'd built a web of Lightning Transit lines linking a hundred cities, almost single-

handedly bringing about the twenty-first-century American renaissance in rail. At the same time, Gant Industries had brought virtual-reality teleconferencing to a level where he could now attend simultaneous board meetings in Singapore, Prague, Tokyo, and Caracas without ever leaving the terra firma of Manhattan.

Not even the human-made canyons and peaks of his home city, symbols as they were of everything he held most dear, could counter his basic acrophobia. Gazing northwest across the skyscape at the gaudy spires of Trump's Riverside Arcadia, or closer in at the Chrysler Building (whose piddling seventy-seven stories he held title to), or south at the twin giants overlooking the Battery, whatever emotions Harry Gant might have felt did not include a desire to rush over and catch the first elevator to the top.

But the Phoenix was different. The Phoenix was his not just his property but his creation, his building, the tallest building in the history of the world. Standing at its zenith (or atop the Minaret in Atlanta, the former tallest building in the history of the world, though he didn't visit there very often anymore), his whole perception seemed transformed somehow, as if what held him up was not the crude geometry of concrete and steel but the force of his own will, a force that could not be shaken.


To be completely honest, his comptroller's jest about throwing up had almost come true, but only almost. The Gant Phoenix had officially opened in June of 2015, a month marked by some of the fiercest thunderstorms to strike the Eastern Seaboard in over a century. While doomcriers spoke ominously of degenerating world weather patterns, Gant invited the city's leading lights to come on up to the Prometheus Deck one afternoon and "watch the free fireworks." A battery of motion-dampers incorporated into the building's superstructure helped neutralize its sway in the wind; the victory punch still sloshed around in its bowl a little, but after a trip past the buffet table, where all the hors d'oeuvres had been spiked with Dramamine, the party guests found this entertaining rather than nauseating.

"But I wouldn't go up in the eyrie just yet, Harry," Gant's architect advised. "Not today."

"Why? Worried about the lightning?"

"Not the lightning. The wind. It won't be near as steady as the rest of the building."

"No problem there," Gant said. "So long as it doesn't snap off ..."

"It won't snap. You hold up a fishing rod and whip it back and forth, it won't snap either, but that doesn't mean you want to be sitting on the tip of the damn thing."

"Hmm," said Harry Gant. "Thanks for the warning. Maybe I'll have a few more hors d'oeuvres."

An hour later Gant was up in the glass globe, being pitched around the eyrie's interior like a hot-air balloonist who'd drifted into a cyclone. Clinging for dear life to a slender handrail that was the eyrie's only fixture, he felt his gorge rising and came within an ace of spraying

Dramamine-soaked canap's all over his high perch. Only a chance vision saved him, for suddenly the gods of the storm granted him a clear view down three hundred feet to the open-air terrace on the 208th floor, where a blond photographer, lashed in place with a lifeline made mostly of duct tape, was struggling to focus a zoom-lens on him. Gant made the best of the bare seconds he had to compose himself: he beat back his rebellious stomach, he steadied himself and stood firm, he fixed his features with a look of casual determination. The heavens exploded around him; below, a high-speed shutter clicked.

The photo appeared on the cover of the next month's Rolling Stone, with the caption, harry dennis gant: a rider on the storm of modern times, and if Gant's lightning-wreathed figure did in some ways resemble a certain fallen angel last seen cavorting on Bald Mountain, that

didn't change the fact that it was one hell of an impressive portrait. From that day forward Harry Gant ceased to worry about biblical allusions, though he was not above making use of them himself.

A good example of this' and a further proof of his former Comptroller's prescience could be glimpsed in the middle distance at Manhattan's north end, where a modern-day ziggurat made its own bid for grandeur. From a circular foundation covering several blocks of the defunct neighborhood on which it was being erected, the ziggurat curved upward in a series of exaggerated steps, a steel-boned purgatory mount sheathed in translucent black glass. As of this October day in 2023 it had drawn almost even with the Phoenix at its crown; by Thanksgiving it would be taller, and Gant's Eyrie that much diminished. By the end of the decade, if Harry Gant had anything to say about it, it would have broken the mile marker.

Babel, he called it. Gant's New Babel, the fabled Tower completed at last after a five-millennium hiatus in construction. Lower floors available for early occupancy at special rates; call for details.

"Aren't you tempting fate by naming it that?" the media interviewers asked him time and again, giving him millions of dollars of free publicity in the process. "Aren't you afraid of history repeating itself?"

"Not a bit," Gant responded. "This is a new age, ladies and gentlemen. If you want my opinion on the matter of history, I think the real reason God canceled the Babylonian project is He was waiting for a group of folks who could do the job right."

A new age: English was the mother tongue now, a mother tongue that had already been fractured into a thousand dialects, only to thrive and grow stronger. Humankind had stormed heaven in homegrown chariots of fire and returned to tell the tale. And as far as God was concerned, if He weren't already an American at heart, ready and willing to root for American achievement well, by the time Harry Gant and the Department of Public Opinion were finished with Him, He would be.

Down in the Canyons with Eddie Wilder (and Teddy May)

OK, granted that things might seem a little less overwhelmingly cheery down in the canyons of the city, where certain sections of sidewalk had not known the direct light of the sun in decades, and where pedestrians, who could not be individually fitted with the sort of motion-damping equipment that steadied the Phoenix, had to manage as best they could against the microgales that roared in the open spaces between skyscrapers. But that was no reason not to have a wonderful day.

Consider Eddie Wilder, late of Moose Hollow, Maine, who set off for his new job that morning with the traditional spring in his step that marks a would-be world beater. Looking spiffy in his green and white Department of Sewers uniform, he came up out of the subway at 34th and Broadway and stopped to rubberneck at the sights. Moose Hollow being one of the ten most technologically disadvantaged places in the continental U.S. (as noted on the front page of USA Today's Life section), and Eddie being the first member of his family in three generations to visit a city larger than Bangor, it all seemed fresh and exciting: the Electric Negroes hawking newspapers from sidewalk stands, the anti-collision-equipped taxis performing a ballet of impact avoidance on the crowded streets, the monolithic architecture obliterating the horizon in every direction.

Harry Gant would have been proud, if unsurprised, to learn that the Gant Phoenix was Eddie Wilder's personal favorite building in the whole of Manhattan. Of course if you were to ask Eddie point-blank about this, he would tell you that his favorite was the Empire State Building. He didn't know that there was no more Empire State Building, not since Christmas night in 2006, when a fully loaded 747-400 had been struck by a meteorite just after takeoff from Newark International and come screaming out of control across the Hudson. Celebrated disaster chronicler Tad Winston Peller had described this incident in graphic detail in the runaway bestseller Chicken Little and Flight 52, but there being no bookstore or library in Moose Hollow, Eddie Wilder never read it. Likewise, the Hollow's one newspaper, the Hollow Point, being concerned pretty exclusively with the killing and eating of large animals, he'd never caught any of the press releases in which up-and-coming business mogul Harry Gant had sworn to rebuild the famous landmark in record time, "but more contemporary, with a new name, and twice as big in every dimension." So Eddie's confusion was understandable. If the Phoenix seemed somewhat out of proportion with the building in the black-and-white postcard his great-grandfather had purchased on his way home from the Korean War, well, real stuff was always bigger than pictures, Eddie figured.

Eddie's only gripe about the Phoenix had to do with the Electric Billboards, huge strobing grids of lights suspended about three-quarters of the way to the top, which struck him as a defacement of historic property. There were four of them, each about twenty stories tall, one to a building side. The four featured ads jumped clockwise every fifteen minutes, so when the Coca-Cola trademark beamed westward, for example, you knew it was between a quarter and half past the hour. The ad presently facing west, however, was one Eddie couldn't figure out, which only increased his irritation, like a joke he was too dumb to get. It resembled a page torn from a giant's day-calendar, except there was no date, just a number, 997, picked out in red on a white background.

"Don't look so upset," a voice said. "Nobody knows what the hell it means, not even Harry."

Eddie turned from the tower to face a woman about his height, plain-featured but with the sort of laugh crinkles around her eyes and mouth that betoken a person of general good humor. Her hair (also plain, an unremarkable shade of brown) was tied back in a lank ponytail; agewise she looked to be in her late thirties or early forties. A cigarette burned between the fingers of her right hand; held loosely in her left was one of the latest Marvel-D.C. graphic novellas, Joan of Arc Returns.

Ordinarily Eddie would have asked about the comic book (he was a mail-order Spiderman fan himself), but he was in New York now and wanted to adopt a big-city attitude as soon as possible. So he pointed at the woman's cigarette instead and said with what he hoped was a proper tone of urban rudeness: "You know you shouldn't smoke those."

She responded by taking a puff, not in a nasty way, she didn't breathe it in his face, but as if to say that he hadn't suggested anything she hadn't already considered long and hard on her own. "You're right, I definitely shouldn't," she said, and added with a wink: "Don't gawk too long. You don't want to be late for work."

With that she stepped from the curb, raised a hand; a taxi swerved neatly around a double-parked delivery van and pulled up in front of her. Only after she'd gotten into the cab and taken off down the street did Eddie realize she'd been wearing a uniform like his.

You don't want to be late.... He checked the address on the form letter in his pocket and got walking, west towards the Hudson. The brick building housing the Zoological Bureau of the Department of Sewers was on Eleventh Avenue, across from the Jacob Javits Convention Center. Eddie arrived on time and presented himself at the registration desk, where a supervisor named Fatima Sigorski logged him in. "You'll be in May Team 23," she told him.



Excerpted from Sewer, Gas and Electric by Matt Ruff Copyright © 1993 by Matt Ruff.
Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sewer, Gas and Electric: The Public Works Trilogy 4.1 out of 5 based on 0 ratings. 11 reviews.
Anonymous More than 1 year ago
Have enjoyed many great laughs reading this book a great many times over the last sixteen years. HIGHLY RECOMMEND!
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