Nebula Award-winning author Paolo Bacigalupi has made a name for himself writing stories set in a bleak near-future following an environmental collapse. A more timely novel could not exist than his latest, Ship Breaker, his first Young Adult offering and possibly his strongest work to date. Narrator Joshua Swanson brings precisely the young, street-wise performance needed to carry this story.
Nailer Lopez is fighting to survive in a devastated world, doing the only work a boy on the verge of manhood can do — “light crew” duty as a ship breaker, salvaging copper wire from the rusting hulks of tankers left wrecked on America’s Gulf Coast. Every day is a struggle to make quota and find the best salvage to stay in the good graces of his crew. There is always the hope of the big score: a pocket of petroleum, precious fuel in an age of exhausted wells, drowned cities, and risen seas, where any energy source is precious.
When Nailer and his best friend Pima come across the find of a lifetime, a salvage that could buy him freedom not just from the brutality of light crew but from his abusive father as well, there’s only one problem — it comes with a swank, a rich girl named Nita. Nita has value just like everything else, and Nailer is faced with a choice: keep her ship and buy his independence, or he can go the far more dangerous — but possibly more profitable — route and help her. Nailer, Pima, and the identity of newly nick-named “Lucky Girl” are always on the edge of discovery by Nailer’s drug-addicted father, his crew, and the genetically augmented “half-man”, Tool.
Joshua Swanson was well cast. His style is wholly appropriate to a dystopia, and he is completely convincing as he takes us through Nailer’s dilemmas and perils. This is a fast-paced story of adventure and suspense, and Swanson’s narration — while careful and precise — carries the tension well. He skillfully handles the voicing of the story’s main female characters, Pima and Nita, without slipping into the narrative pitfalls of falsettos or needless breathiness. Bacigalupi’s cast is vast and varied, but Swanson manages to keep the listener oriented through adept pitch and passable island dialects here and there.
This is a performance that draws the listener into the dark recesses of a rusted and starving world. Though marketed as Young Adult, there is plenty here for any lover of near-future dystopian literature to enjoy. —Christie Yant
