One of the distressing elements of being a fiction fan is the over-emphasis on genre. Some novels are fantasy, some sci-fi, some horror, and then there are the mysteries and crime stories, not to mention romances and westerns. I’m sure I’ve left out a few.

Some novels transcend genre by being “literary.” They can use horror and SF elements, for example, but not be lumped in with Dean Koontz and Stephen Baxter. Then there’s my favorite category: slipstream. This is “mainstream” fiction (that is, no elves or space ships) that bends the rules. It’s OK to have ghosts. Or ESP. Or immortality. Something that a “realistic” novel would not include. I remember when they called Gabriel Garcia Marquez’ work “magical realism.” Were literary types just being cute with that silly oxymoron?

That’s why it is nice to have a book that is genuinely terrifying but would not be classified as a horror novel. A book loaded with futuristic tropes and a huge helping of sword-and-sorcery but would not be found on either shelf. The Franchise is a bit of a thriller, with a some scary, leftover Defense Department tech serving as the MacGuffin. Our protagonists ultimately wind up in a deadly struggle over its possession.

Cleverly constructed and with a thoughtful and challenging ending, The Franchise is one of the best books of the year. Thomas Elrod’s debut is a dark look at our entertainment industry and its grotesque commercialization of the creative impulse. It gets you thinking about the nature of work and art in a high-tech world and the role they may play in an all-to-near future. You should put it on your reading list.