Category: Ridley Park

As an author, reviews matter. Not because they inflate the ego (though I won’t pretend a kind one doesn’t help), but because they’re one of the few moments when the work stops being mine and becomes read.

I submitted Propensity for professional review through Reedsy – why not? It’s always interesting to see how a stranger processes what you’ve made. Some of my books have Kindle editions, which makes collecting feedback easier: I can offer them free for a day or two and watch the downloads climb. Whether those books are ever opened is another question. I’ve been that reader too – downloaded an eBook, nodded at the cover, and forgotten it. I’ve bought audiobooks I’ve never started.

So when someone actually read Propensity, a book not yet available as an eBook, and took the time to write a thoughtful review, that meant something. And unlike the memorable one-star “Garbage” review that Sustenance once earned, this one had a little more nuance.

👉 Read more about Propensity 👈

Loved it! 😍

An unnerving story that begins with a bizarre experiment and unfolds into an impressive hyperbole for human hubris.

Synopsis

What if peace could be engineered?

In Propensity, a team of scientists and a military general pioneer a device capable of altering human behaviour itself—tuning aggression, obedience, libido, faith, and risk tolerance like dials on a console. At first, the results seem miraculous: violence quelled, conflict dissolved, impulses muted. But as the technology scales from labs to battlefields to cities, the illusion of control begins to fracture.

Through sharp, unsettling vignettes, the novel traces both the grand sweep of societal collapse and the intimate struggles of those left to navigate it. At its heart, Propensity is a literary exploration of power, morality, and the fragile myth of free will.

Both speculative and philosophical, it poses an unnerving question: if our choices can be rewritten at the neurochemical level, were they ever truly ours?

– Review Begins –

“Reader discretion is advised. Free will has been deprecated.”

This ominous word of caution is what Ridley Park’s speculative novel ‘Propensity’ opens with, and it sets a tone that strikes an impressive balance between clinically descriptive and quietly devastating. Beginning as a bizarre experiment in behavioural modulation by way of neurochemical intereference, it unfolds into an eerie metaphor for the tricky road between control and conscience.

Park’s chapters are short and succinct, some barely a page long, in a staccato rhythm. This creative choice, while initially a little unnerving, works well to reflect the story’s inherent disintegration: scientists losing grip on their own creation, subjects dissolving into numb submission or what they term “the zeroed state”, and a world slowly learning the price of their “engineered peace”. The writing comes off as crisp in an almost detached manner that leaves one wanting for a bit more emotional depth in the first part of the book but not only does that eventually grow on you, it ends up serving its purpose of thematic execution in both its text and subtext. Phrases like “silence playing dress-up as danger” and “peace was never meant to be built, only remembered” linger like faint echoes long after you turn the page.

This dogged curiosity and thought the writing dredges up anchor the novel’s core strength. Its impact is rooted not in prosaic preaching but letting the reader unpack the implications by themselves as they go on. Working in the field of medical physiology myself, the scientific nitty-gritty delved into, including the hormonal cues and neuronal plasticity, particularly intrigued me and while I acknowledge the convenience of fictitious extrapolation of theory, it manages to add a certain sense of realism to the story. It’s equally fascinating and disturbing, especially in the current epidemic of artifical intelligence we live in, to see faith and empathy become mere variables in a lab.

A fitting hyperbole of human’s hunger for order, ‘Propensity‘ does occasionally falter. Its fragmented and experimental structure, with prose interspersed with poems and memos, while successful in tying up its chaos, sometimes undercuts emotional engagement. The chapters are like snapshots that end before they can fully breathe. But when Park makes it work, especially through the poetic montage that follows the post-modulation disaster, it’s hypnotic.

By the end, I found myself returning to that elusive idea of peace conspicuous throughout the book. The text seems to suggest that peace isn’t something we construct but rather, something we remember. It’s almost a fragile illusion fleeting across one’s reality, often better suited to being a word than a sentiment, history than hope. It’s as if the moment you declare peaceful times, they’re already past.

‘Propensity’, thus, doesn’t offer answers; it offers questions and their ramifications. And in more ways than thought possible through the misconception surrounding the scope of speculative genre, that’s perhaps a truly accurate representation of the times we live in.

– Review Ends –

Why I appreciate this review

It would be easy to say I appreciate it because it’s positive. But that’s not the point.

One of my beta readers—someone I trust implicitly—had the opposite reaction. He loved the first half and thought the latter sections fell apart. This reviewer? The reverse. She found the disintegration satisfying. She saw design in the decay.

That tells me Propensity did what I intended: it divided readers by temperament. It rewards those who stay long enough to realise the structure mirrors the subject—the erosion of coherence itself. I never meant to write a tidy narrative. I meant to write an experiment in entropy.

If your literary diet leans on plot-driven fiction, my work might not taste familiar. I don’t spoon-feed answers. I leave questions open, sometimes maddeningly so. That’s deliberate.

An Anecdote

Years ago, my company ran a focus group for a software interface. Two groups saw the same prototype: one in their twenties, one in their fifties.

Both said the same thing—“It’s like a video game.”
The twenty-somethings meant it as praise.
The fifty-somethings meant it as criticism.

Same words. Opposite meanings.

That’s literature too. Same text, different minds, different appetites. Some readers crave clarity and closure; others prefer complexity and dissonance. The trick is knowing which audience you’re writing for—and not apologising for it.

I write literary speculative fiction. It’s a small, peculiar corner of the bookshelf. But when someone wanders in and gets it, it’s enough.