The Cull

By Enn Kae

Welcome to the future of humanity. In 2033, the world is divided into a genetically-enhanced elite group of humans called Pro-gens and the other 99% - the Re-gens. Meet Abe, a Re-gen, who is working his last week cleaning Battersea Power Station before he plans to escape his life of economic slavery and social exclusion in London to be with the love of this life, Ophelia, in Devon - and live a life of subsistence and relative freedom. Whilst at work, Abe uncovers a diabolical plan which threatens the very existence of humanity. Caught in the ensuing war between a gang of anti-establishment Re-gens (led by J, a young kingpin of one of East London's forgotten housing estates) and his employers (led by Dawood, the powerful head of the elite Pro-gen population) will Abe make it out alive and escape his life of economic enslavement to be with Ophelia?

• Language: English
• Publisher: Enn Kae
• Release date: Aug 20, 2013
• ISBN: 9781301081837

Enn Kae

Enn Kae was born in a small town in the north-west of England to immigrant parents. He has worked in many guises: office worker; car insurance salesman and as an educator. His stories evoke the sense of isolation and alienation that he encountered whilst growing up in the UK, and they are also inspired by the kids he has taught. He currently resides in The Netherlands with his partner and family of fur babies. He cites his main influences as being: Frantz Fanon; Noam Chomsky; Edward Said; Jean Baudrillard; Ayn Rand; William Blake and Prince, the musician.

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THE CULL

Enn Kae

Smashwords Edition

Copyright 2013 Enn Kae

Published by Enn Kae/Mispel Books

License Notes

The right of Enn Kae to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced,stored in retrieval system, copied in any form or by any means, electronic, mechanical, photocopying, recording or otherwise transmitted without written permission from the publisher. You must not circulate this book in any format.

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Table of Contents

FOREWORD

PART ONE

PART TWO

PART THREE

Discover Enn Kae at https://www.smashwords.com/profile/view/mispelbooks

Discover other titles by Enn Kae at Smashwords.com: https://www.smashwords.com/books/view/240610

Find out more about upcoming books online at www.zeekworld.net

ABOUT THE AUTHOR

Enn Kae was born in a small town in the north-west of England to immigrant parents. When he was 11, his family moved to live in Scotland. At the age of 21, after graduating with a Masters in English from Dundee University (he also studied at the University of Illinois at Urbana-Champaign for a year), he left Scotland to live in England. He lived and worked there until 2012 when he left the damp isle for political and spiritual reasons. He has worked in many guises: office worker; car insurance salesman and, for the past 6 years, as an English teacher. He has taught one of the most vulnerable groups in Britain: socially disadvantaged young people at risk of exclusion. His stories evoke the sense of isolation and alienation that he encountered whilst growing up in the UK and they are also inspired by the kids he taught. He currently resides in The Netherlands with his partner and family of animals and he teaches English at a couple of universities in Rotterdam. He cites his main influences as African-American history and literature; Frantz Fanon; Noam Chomsky; Edward Said; Jean Baudrillard; Ayn Rand; William Blake and Prince, the musician.

OTHER WORKS

The Zeek series of graphic novels: "Zeek and the Hoodies'' available from Smashwords.com and Amazon Kindle.

For more information, please visit www.zeekworld.net

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''Prince, Madonna and Post-Modernism: signifiers of post-modernism in popular culture" - a critical view of popular music culture with a post-modern lens.

Available by e-mail from [e-mail]

FOREWORD

It's very difficult not to get agitated and annoyed when someone, usually white though not always, asks me - where are you from? It's something that used to irk me a lot when I lived in the UK. It was the land in which I was born yet I could never escape the question. My agitation was not borne out of personal issues over my own rich cultural heritage. It was the intention behind the question that aggravated me. In my experience in the UK, I felt that the person asking the question was really asking "who are you, what are you doing here and why don't you go back to where you come from?''

In America, where I once lived for 18 months in the 90s, I felt that the question was really formed from of a genuine curiosity out of the rich tapestry of its own culture. Where I live now, in The Netherlands, I feel it's a question that is often asked in order to assess whether or not I speak enough Dutch in order to then converse. Again, I feel it's borne out of a curiosity rather than a condemnation; a practicality rather than a projection of the questioner's sense of superiority, or suspicion, or a masked hatred or - as is often the case - to then ascribe a whole set of labels and preconceived ideas about what someone of my skin colour and cultural heritage should say, think, look, act or feel.

The fact is that I do not know where I come from. As Paul Mooney once said: "I come from my mother's womb'' and, indeed, that is the closest response I can give.

If, in the not-too-distant future, there came a time when we (as humanity with a single consciousness) would have to grapple with that same question in the face of a new breed of super-humans, how would we answer it and how would we react? What would happen if the same systems of control and oppression that we apply to certain groups in society are then used against us as human beings?

These sorts of questions seeded the premise of this novella. I can remember exactly when it happened. It was in June 2007, during the height of the 'war on terror.' I was sitting on the stairs in my house in England after feeling particularly upset over an argument I had over the phone with a now former friend. The argument was over the persecution of Muslims by the media amidst the 'war on terror.' On a street-level the 'war on terror' meant that it gave racists a green-light to act and behave appallingly towards brown-skinned people in general.

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It was a time when the government began raiding many Muslim households; holding then releasing their 'suspects' without