Dead but dreaming of Electric Sheep

Philip K. Dick meets the Coen Brothers in this genre-bending near-future tech nightmare that is as bitingly funny as it is horrifically believable from the New York Times bestselling author of Horror Movie. A genre-bending sci-fi horror novel exploring consciousness, human agency and AI. This near-future tech nightmare is as bitingly funny as it is horrifically believable, from the New York Times bestselling author of The Cabin at the End of the World.------------------------- ‘The best anti-Generative AI story horror has produced so far’ NPR------------------------- Meet Julia Flang, a twenty-something former professional gamer, living with her retired uncle, and working two jobs she doesn’t like. Out of the blue, her estranged mother, a CFO for one of the world’s largest tech companies, offers her a temp job with a payday Julia can’t refuse. One sham interview later, she’s offered the job: to chaperone a man in a vegetative state from California to the East Coast. But he’s not dead dead: he has an AI mind implanted in his head . . . Meet a middle-aged man who wakes within a disorienting hellscape filled with monstrous grotesqueries. Worse than the fluid, morphing reality in which he’s trapped, he has no memory of who he is. He certainly doesn’t remember getting the rabbit tattoo on his arm. He only knows that he must find a certain person. Who? He can’t remember. Dead but Dreaming of Electric Sheep is a heady, terrifying genre-bender from one of themost groundbreaking voices in fiction today, exploring the ‘I’ in AI.-------------------------Paul Tremblay is a New York Times bestselling author of The Cabin at the End of the World, Horror Movie and A Head full of Ghosts. He has won the Bram Stoker, British Fantasy, Sheridan Le Fanu, and Massachusetts Book awards------------------------- ‘Paul Tremblay is one of the most terrifying horror writers of his generation.’ Joe Hill, No.1 New York Times bestselling author‘In an age of shredded attention spans and never-ending attempts to turn art into 'content,' there's power in seeing an artist make a stand in defense of his principles . . . Readers will find themselves entertained, enraged and satisfied.’ The New York Times