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RECKONING

Mark Bertrand’s Reckoning is a bold and intense addition to the Nirvanaing Series, blending speculative fiction with biting social commentary. The novel follows Lydia Daniels, a literary agent on the brink of professional and personal collapse, as she navigates her crumbling marriage, a failing business, and an unexpected pregnancy. Meanwhile, the story also delves into a high-stakes ideological battle between radical feminists, transhumanists, and those caught in the middle, culminating in a confrontation over the future of human evolution. Bertrand takes readers on a winding journey through power struggles, identity crises, and moral ambiguity, creating a world that is both unsettling and fascinating.

From the very first chapter, the book sets an electrifying tone with Lydia’s explosive argument with her husband. The dialogue is raw, the emotions unchecked, and the intensity palpable. Lydia’s fierce independence clashes with her own self-destructive tendencies, making her a compelling yet frustrating protagonist. While her internal struggles feel painfully real, her aggressive outbursts sometimes push the boundaries of believability. The scene where she berates the hotel clerk for merely doing his job is particularly grating. Her flaws are part of what makes her an interesting character, but there are moments when her anger feels less like righteous frustration and more like unchecked cruelty. Bertrand paints a complex picture of a woman on the edge, but at times, it’s difficult to sympathize with her.

One of the book’s most engaging aspects is its deep dive into the ideological war over gender, power, and technology. Laura Benton, a former politician turned musician, serves as a counterpoint to Lydia’s struggles. Laura’s goal is clear: to dismantle the oppressive structures of the past and forge a new future where women hold the reins of society. But she is not without flaws. Her vision is extreme, her tactics ruthless. The moments where she reminisces about her lost love, a man who chose to become a transhuman hybrid, add depth to her character, revealing the personal cost of her crusade. Bertrand creates a world where the line between hero and villain is constantly shifting, forcing readers to question where they stand in the ideological battle.

The novel’s most chilling figure is Dr. Victor Lang, the architect of AnthroGenesis, a future where humanity is stripped of gender and biological limitations. His appearance on the World Show interview is one of the book’s most riveting moments. The contrast between his calm, calculated rhetoric and Adam Cole’s desperate attempts to expose the truth makes for a gripping scene. The idea of humans being “optimized” into a soulless collective is terrifying, and Bertrand taps into the deep fears surrounding transhumanism and loss of individuality. However, Lang is not a caricatured villain; his motivations are layered, and his beliefs are unsettlingly logical. This is where the book truly shines. It doesn’t offer easy answers. Every side has its strengths, its pitfalls, and its moral compromises.

Reckoning is a thought-provoking and unsettling read, perfect for those who enjoy speculative fiction with a strong philosophical edge. Readers who appreciate books like The Handmaid’s Tale or Brave New World will find much to dissect here. If you enjoy stories that challenge your worldview and aren’t afraid to wade into uncomfortable territory, Reckoning is a must-read.

Turned Them Into Monsters

Kevin Matthew Hayes Author Interview

Reckonings follows a college student seeking a carefree night at a Halloween party who must confront a rising tide of the undead and the haunting shadows of her past. Were there any particular books or films that influenced the tone and style of Reckonings?

There were a few films that influenced “Reckonings.” The western references come from the film “Near Dark.” I think this film has a great story line and its well done. I had a little fun with the truck explosion scene. That was a quick reference to several 80’s films. I’ve had several readers take guesses at the films being referenced. They are having fun with it. So far, all of their guesses have been correct.

When I write the All Hallows’ Eve Tales, I try to base them loosely on legends I heard growing up. In “Reckonings,” I used the Casket Girls from New Orleans. In reality, these were women, often young girls, who were brought to New Orleans from France to be married off to men in the French colony. They often came in different groups. According to the legend, several vampires managed to penetrate the city in one of these groups.

How did you approach developing Jessica’s emotional arc alongside the supernatural horror elements?

We’re always tempted between doing the right and wrong things. It’s a conflict everyone faces every day even if it seems unfair. Each of the vampires had a grudge, or reckoning, which Antonia used against them and turned them into monsters. Each of these vampires obviously gave in and made the wrong choice. Jessica at one point could have easily given in and went to their side. But she didn’t, even with all the wrongs that had been done to her. She made the right choice therefore she is the bigger person.

How did you balance the fast-paced action with the deeper, introspective moments to keep readers both thrilled and emotionally engaged?

When I started the “All Hallows’ Eve Tales” series, I wanted to make a series of short stories. I knew I would need to cover a lot of ground in a limited amount of time. In “Reckonigs,” I try to give each character their moment so the reader can learn about their pasts and struggles. In between all of this, Jessica and her friends are facing their own struggle (fighting to survive) throughout the course of the story.

The theme of unresolved trauma is central to Jessica’s journey. What message were you hoping to convey through her confrontation with both inner and outer demons?

I think we all face demons every day. Some more than others. It’s a constant struggle, but you can’t give up. If you give in, it could make you a monster.

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