The Accord – Keith Brooke (2009)
“The Accord, a virtual utopia where the soul lives on after death and your perceptions are bound only by your imagination. This is the setting for a tale of love, murder and revenge that crosses the boundaries between the real world and this virtual reality”—
Blurb from the 2009 Solaris edition
One of the blurbs for this novel is a line from a review that says ‘one of the best novels of virtual reality ever written’ which actually pays this a disservice since it is far far more than that.
Noah Barakh is the architect of a worldwide project called The Accord. The Accord is a virtual representation of the Earth into which the consciousnesses of those who have been scanned are uploaded when the individuals die.
Noah is heading toward the point at which the Accord, guided by the consensus of those who have already begun living within it, will coalesce conflating various realities into one.
Barakh lives in a future UK where MPs have evolved into Electees. Electee Jack Burnham is fully behind the Accord project unaware that Noah (a rather too apt name for the builder of an ark of human souls) is in love with Electee Priscilla Burnham, Jack’s wife. Noah has been experimenting with his own Accord mini-realities where he and Priscilla are lovers.
In the real world Priscilla, it appears, does feel an attraction to Noah and invites him to her home while Jack is away. Jack is not away, however, and wrongly suspects that Noah and his wife have been having an affair for some time. He shoots Priscilla and later Noah, who – now dead – are reborn in The Accord.
This is only the prelude to where things start to get very interesting.
Brooke cleverly leaves the morality of some aspects to the reader. Noah’s initial creations of his and Priscilla’s relationship, for instance, would no doubt be considered to be a violation of her ‘digital self’ for want of a better phrase. Added to that, the versions of Priscilla that were in love with Noah were no doubt uploaded into the Accord to become part of the consensus.
This leads us further into Brooke’s exploration of the concept of editing personalities. It appears that the scanning technology allows one to not merely edit a personality but combine aspects of various personalities to create a new one.
It is this aspect of the novel that ultimately becomes the most fascinating since in such a reality (if one can term it so) one is not restricted to simply altering one’s surroundings.
Jack Burnham, for instance, who on the original Earth was prepared to kill anyway, embarks on a process whereby he becomes an amalgam of several people in order to turn himself into a remorseless destroyer.
In the Accord itself, if one is killed, one is reborn again shortly after, although it appears that the Accord itself changes one slightly in the process.
Thus, the characters that are pursuing their earthly passions and revenge are ultimately far from the original consciousnesses that existed on the dying earth that they left.
Brooke makes a marvellous job of creating an Earth on the brink of apocalypse where Britain is having to make choices about turning away armadas of boat people, as well as the world of the Accord where Noah’s uploaded scientists managed to export the Accord itself into quantum space.
As I have said however, the most fascinating and thought-provoking aspect of all this is the Post-Dickian examination of consciousness, questioning its very nature and the idea that it can be easily modified by oneself or others.
Despite the deceptively upbeat ending, one is left long after the book has ended, pondering the ethical and moral issues.
It’s a tour-de-force by Brooke, one of our best contemporary SF writers.