When the state comes for the artists, the artists become the record.
On January 6, 2028, every phone in America sounds at once: TRUMP DEAD OF STROKE. In a church basement in San Francisco, a room full of people who have spent years being afraid of him learns something worse. The machine does not die with the man. It sheds him, and perfects itself.
Libertina Wyth Grace is a professor whose seminar asks why evil repeats. Speas is a painter who does not paint shadows. On a foggy afternoon in November, he paints her carrying a flag caught mid-change between two countries — and the painting makes her visible. Visibility makes her a target. When agents come for the basement and she disappears into a system with no category for her, the art that honored her becomes evidence: of her, and against everyone who loved her.
What follows is two years of a democracy choosing its own ending, told not as spectacle but as paperwork. Emergency zones that permit assembly by permit. Detention centers named for renewal. A woman removed from her country by a clerical irregularity that six offices signed. And against all of it, a handful of people — a therapist, an attorney, a comedian, a mother, a donor with a guilty conscience — building an archive the state cannot erase, under one rule: no false promises.
Assembled from the holdings of the Libertina-Speas Archive and counting down second by second toward a night in January 2030, this is a novel about what art can and cannot save, and about the distance between a witness and a monument.
You will find no comfort here. You will find the record.
Book Two of The Libertina Project.
Early readers: “Absolutely riveting... Brion Gysin’s The Process mixed with Orwell’s 1984. Prescient of what may well happen.” — “A powerful, ambitious, and, in places, truly terrifying political novel.” — Rated 9.9 and 10 out of 10 by early readers.
Cover art and author portrait painted by the author.
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