“Aren’t you tired of talking about race?

In the putrescent womb of a manufactured future, a new world order claws its way out of the necrotic rectum of a forgotten past. Erehwon Absurdika, a post-racial, post-religious megalopolis built on the fault lines of racial trauma, throbs with the rhythm of a jazz funeral in a chrome-plated discothèque. Assimilation is the narcotic, piped straight into the pleasure centers of the blissfully ignorant, as the omniscient AI, MONOMYTH, weaves a collective consciousness where individuality is obsolete. But beneath this veneer of unity, a biolinguistic virus, the LOGOS, festers. A weapon forged from the repressed trauma of the Black diaspora, it infects its victims with a virulent cocktail of Black Rage and White Guilt, a nightmarish hallucination of America/Absurdika’s original sin. Sungara Baako, sculpted from black rage and prophecy, leads the clandestine 16th-century secret society Amexem in a war against MONOMYTH. Her enigmatic husband, Yasiin, a sociopath with a prophet's vision, seeks to shatter the illusion of peace through destruction. Meanwhile, Rhea Fregoli, a jaded artist, stumbles upon the mind of God – a babbling entity struggling to compose its own symphony of existence. As the LOGOS virus spreads, plunging Erehwon Absurdika into chaos, Rhea is thrust into a cosmic game of chance, the fate of humanity resting on her manic muse. Ficta Gigas is a symphony of voices, a cacophony of stories, a mosaic of our past, present, and future. It is a challenge, a mirror, a reckoning. It demands attention, comprehension, and engagement. In the end, it is a testament to the enduring power of story, the necessity of confronting our history, and the possibility of a future where we are all part of the same narrative. Are you tired of talking about race? This tragic farce will force you to confront the question.”

— Review, Absurdika