FALLEN HOST

In the sequel to Archangel Protocol, three unlikely participants--an A.I. who dreams of Mecca, a warrior of God confronting temptation, and a fallen angel searching for his true destiny--embark on a race to discover their own personal truths in the light of the impending Second Coming. Original.

Within the network known as the LINK, the A.I. (artificial intelligence) that calls itself Page dreams of Mecca and struggles to discover the purpose of his existence. As Catholic priest and Vatican Inquisitor Emmaline McNaughten receives the dubious assignment of determining whether an A.I. possesses a soul, Morningstar, a fallen angel, searches the world for evidence of the antichrist. Set in a near-future of political chaos and technological tyranny, this tale of self-discovery and redemption by the author of Archangel Protocol intermingles metaphysical speculation, hard science, and sf intrigue with complex characters and a fast-paced plot. A good choice for most sf collections.
Copyright 2002 Cahners Business Information, Inc.

Morehouse follows the well-regarded Archangel Protocol (2001) with another cheeky send-up of apocalyptic Christianity (and Islam). As it opens, the fallen angel known as Morningstar comes to terms with Gabriel over what may be an impending battle. Certainly, the signs are right: human consciousness has merged electronically through the "Link," and religious affiliation--except in a newly resurgent, proudly atheist Russia--is mandatory. In Muslim countries the Koran is the law. Morningstar goes in search of an Antichrist even as the pope's emissary, American monsignor Emmaline McNaughten, tries to determine whether the world's two prime artificial intelligences, a male entity named Page and his female counterpart, the Dragon, have souls. Armageddon, sort of, looms, with Page holding the key to humanity's salvation. Page may be an Antichrist, for he is in rebellion against Mouse, his "Father." On the other hand, Mouse, inventor of the Link, is hardly divine. Many readers will cheer on this fast-paced, often abrasive satire as an alternative to the interminable Left Behind series. John Mort
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