“The story transcends duality, in that there are not “good guys” and “bad guys,” but there is still a story. In fact, the book is non-stop action from the first chapter to the end. An action-packed story needs conflict. But in Marlon’s story, the conflict comes from two different paths towards the same goal. This is not the same old plot formula with embellished details, this is a new plot structure. I highly recommend the read.”

“Marlon’s created a radical Afro-futurist-inspired vision of a post-collapse world populated by self-sufficient survivors (gardeners, of course), struggling against a mind-altering fascist elite. Prescient, powerful stuff.”

“Reminds me a lot of China Mieville, in its post-apocalyptic setting and complex characterizations. It starts a bit slowly (like Perdido Street Station, for example), but before long the characters and action pick up and make it hard to put down. And the reward for the slower start is that the characters and plot are more mature and thoughtful than one often gets in this genre. I can’t wait to see more from this new writer, since the world he created has a lot of intriguing possibilities.”

“His performance took a varied emotional and intellectual wander through the many themes and developments in the novel, which are on the vanguard edge of a NWO where synthetic chemicals that induce the placebo of our fondest memories, convincing everyone chemically, quixotically within that it is an okay time to surrender individual agency in favor of cuddle puddles, gaming, and simulated carefree domesticity. Yet outside the Meld are those who resist that dehumanizing advertisement and insist on the ragged, rugged obstacles and challenges of bare and communal survival in the aftermath of total paradigm collapse. They choose agency, individuation, and facing challenges without the aid of soothing hypnotic lullabies that surrendering humanity is okay for the sake of the ecosystems, and choose the uphill struggle to be with inner demons and the driving unconscious desires and resist the reorganization of a global nanny state. The ambiguity is delicious and ingeniously crafted through the voices of so many characters, environments and perceptive modalities.”

“Instead of the usual post-apocalyptic stereotypes, MacAllister’s GardenPunk novel builds on deeply-felt (and deftly-handled) affinities for the survivors and thrivers of urban society today: churches, gangs, cultural enclaves, technologists, gamers, drug users and pushers (legal and illegal), trade unions, artists and musicians, community organizers and power brokers, and, of course, urban gardeners. The plot centers on the expansionist Meld, whose approach to survival for the greatest number depends on freely dispensed (well, mandatory) psychotropics whose effects leave the “Meldies” joyful and loving despite their starvation rations. (Like an endless Rave, but productive too, thanks to an economy based on gaming principles.) Opposed to these are Resistors who prefer to keep their minds, bodies, freedom, and misery intact and who operate in enclaves based on social, spiritual, trade, artistic and gang affiliations more-or-less at peace with each other.

MacAllister’s characters are intelligent, likable, and deeply committed to something; even the Meldies have a moral position worth noting. The author delves confidently and believably into subjects from programming to harvest schedules–his knowledge of such diverse topics as psychotropic drugs, Buddhism, postmodern culture, politics, software engineering, gaming, global climate change and gardening is frankly amazing (he didn’t just do some research: he *understands* this stuff).

The plot is excellent too, complete with battles, betrayals and alliances. Fun fashion details and mature insights into relationships and individuality are given an edge by emotional undertones of trauma, bitterness and exhaustion.

But for me the absolute best thing about this novel was that every single character is a sympathetic, fully-formed human being, regardless of age, gender, race, ethnicity, belief system, capacity for violence or nonviolence, skill level, drug use or nonuse, etc. One gets used to novels in which most of the people are simply sketched in, often rather crudely. MacAllister shows that this doesn’t have to be. Thus, he’s not only created a new (science)fiction sub-genre, but raised the bar on characterization and social justice. Not bad work for a debut novel: those who read it tend to recommend it to others (that’s how I learned of it).

I’m looking forward to the next installment.”