Evoking the satirical acuity of David Foster Wallace, Nicholson Baker, and Helen DeWitt, the bureaucratic dread of Franz Kafka, the entropic sprawl of Thomas Pynchon, and the polyphonic experimentation of Valeria Luiselli, Renata Adler, and Lance Olsen, John Schertzer's Merger deftly depicts the modern office as a horror-scape of techno-capitalist absurdity. In a flickering mosaic of monologues and fractured perspectives, the novel captures the shimmer of thought under surveillance, where cubicles, clouds-both meteorological and computational-and endless data flows shape a world of relentless scrutiny and optimization.