www.nettime.org
Nettime mailing list archives

<nettime> William Gibson's "Spooky Country"
Paul D. Miller on Mon, 20 Aug 2007 12:11:18 +0200 (CEST)


[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]

<nettime> William Gibson's "Spooky Country"


I've always been a fan of Gibson, from when I was a kid in the ancient
early 90's up until now. The intriguing thing about his last book and
current are that they are set in contemporary global culture. Which
isn't to say that "Spook Country" isn't an excellent read. Just expect
a more nuanced version of things, like oh, I don't know, privatized
civil wars, graphic design as a weapon, and the overall sense of how
eerily things are messed up in general these days, and how numb the
populace at large is to it all.

After all he gets the fact that the current GPS system is kind of like
mashups - even one of the main characters is a dj like figure.

Is Gibson the Bruce Mau of current fiction?

Check out Steven Shaviro's take on the new novel
Paul aka Dj Spooky


Spook Country

Steven Shaviro
http://www.shaviro.com/Blog/?p=593
Some notes on William Gibson's new novel, Spook Country:

"The door opened like some disturbing hybrid of bank vault and
Armani evening purse, perfectly balanced bombproof solidity meeting
sheer cosmetic slickness." William Gibson's prose is cool and
precise: minimal, low-affect, attuned to surfaces rather than depths.
It's overwrought, filled to bursting with similes and allusions;
yet somehow it still manages to feel as if it had been executed
skeletally, entirely without flourishes. There's a sense of density
built up in layers, but packaged inside a bland and featureless
box; this writing is like a nondescript cargo container (one of the
book's main images) filled with everything from expensive brand
names, hi-tech geekery, and the detritus of popular culture to
micro-perceptions of psychological shifts that take place just beneath
the threshold of conscious attention.

At times, the effect of this prose is one of deadpan absurdity, as
when townhouses in the Georgetown neighborhood of Washington, D.C.
are described as radiating "the sense that Martha Stewart and Ralph
Lauren would have been hard at work on interiors, together at last,
sheathing inherently superior surfaces under hand-rubbed coats of
golden beeswax." At other times, it's surreally dislocating, as when
one of the protagonists is startled by the actions of her companion,
so that "for an instant she imagined him as a character in some
graphically simplified animation." At still other times, it's slyly
mordant, as when one character is described as looking "like someone
who'd be invited quail-shooting with the vice president, though too
careful to get himself shot."

But most of the time, Gibson's prose is just a little bit spooky,
dislocated, and unbalanced. Some details stand out disconcertingly,
like the teeth of one character, "presented with billboard clarity"
when he smiles. Other details are blurred out by distance; or better,
they are muffled like when you're addicted to downers, as one of
the three main protagonists, Milgrim, actually is. Milgrim thinks
of his drug-cushioned perception as being like "one of the more
esoteric effects of eating exceptionally hot Szechuan? that sensation,
strangely delightful, of drinking cold water on top of serious
pepper-burn - how the water filled your mouth entirely, but somehow
without touching it, like a molecule-thick silver membrane of Chinese
antimatter, like a spell, some kind of magic insulation."

Gibson's prose style is his way of perceiving, and presenting,
the world. And the world he presents is the one we live in today:
a postmodern world of globalized flows of money and information,
driven by sophisticated technologies whose effects are nearly
indistinguishable from magic, saturated by advertising and by
conspicuous consumption run amok, undergirded by murky conspiracies
and counter-conspiracies, and regulated by nearly ubiquitous forms
of surveillance. Distant points are closely connected, as if space
had been altogether abolished; so that when Hollis, another major
protagonist, in Los Angeles, talks on her mobile phone with a friend
in Argentina, she is startled by "a true, absolute and digital
silence" on the line, "devoid of that random background sizzle that
she'd once taken as much for granted during an international call as
she took the sky overhead when she was outside."

At the same time that everything is global, specific localities
become ever more important. Spook Country is centrally concerned
with GPS tracking, and how it creates a "grid" so that every point
on the earth's surface can be monitored and distinguished. There is
also a lot about "locative art": which means site-specific multimedia
installations that only exist virtually, and that can only be accessed
by wearing a virtual-reality helmet with a WiFi connection, so
that you see spectral 3D images (bodies, furniture, architecture)
overlaying actual physical locations. Both GPS and locative art
give new meaning to the local; and emphasize the point that, in
our globalized world, every particular site is unique, not to be
confounded with anyplace else.

William Gibson, of course, is best known as a science fiction
writer. His 1984 novel Neuromancer was the seminal work of so-called
"cyberpunk" SF, as well as the book that invented the word
"cyberspace," and influenced a whole generation of software engineers,
who mistook its dystopian visions as the epitome of cool. But Spook
Country is Gibson's second book - after Pattern Recognition (2003) -
to be set in the present moment instead of the future. (The narrative
of Spook Country takes place in February 2006). Evidently Gibson wants
to suggest that the actual world today is science-fictional enough as
not to require fictive extrapolation. The technology that we used to
think of as startling and different is increasingly being woven into
the texture of our everyday lives. One of the characters in Spook
Country even says that "cyberspace" is now an outmoded term. "It was
a way we had of looking where we were headed, a direction." But now,
"we're here. This is the other side of the screen. Right here? We're
all doing VR, every time we look at a screen. We have been for decades
now. We just do it."

I've been writing about Gibson's prose, and how it embodies a view
of the world. But of course, Spook Country is also a genre novel:
a high-tech thriller, or a "caper" story, to be precise. The title
refers both to the spookiness of virtual reality and advertising
simulacra, and to "spooks" meaning spies or secret agents. The story
concerns - not to give away the plot - a cargo container, with
mysterious contents, which is "of interest" to a variety of feuding
CIA (or ex-CIA) factions, as well as to advertising entrepreneurs
and elements of the underworld. The novel is carefully and elegantly
plotted, and all the characters and plot strands come together in an
action climax that provides some unexpected twists, while resolving
questions about the nature of the cargo and of the various parties'
interest in it.

And yet, the slick narrative that I am describing is to a very large
extent beside the point. It almost tends to dissolve, or to have its
outline blurred, amidst the welter of details of which it is made up.
And by the end of the book it somehow loses importance - it all turns
out to be rather mundane, and of limited relevance to anybody. The
illegal caper that the whole narrative has prepared us for is just
a kind of high-tech, super-secret "prank" (as one of the characters
comes to think of it), rather than an exploit that will make anyone
fabulously rich, or that possesses any wide political significance. In
our world of spooks and surveillance, there are conspiracies aplenty -
but none of them seems to come to much of anything.

This odd sense of anticlimax and disillusionment is, I think, the
greatest accomplishment of Spook Country. The novel moves us through
a series of muted excitements and muted anxieties, to an endpoint of
(relative) equilibrium. What are we left with? In the final pages of
the novel, the former singer of a defunct post-punk band with a cult
following is faced with the dilemma of whether or not to "sell out"
(for a suitably high fee, of course) and allow one of her songs to be
used in a car commercial, so that it may become "a theme, an anthem,
of postmodern branding." The erstwhile avant garde returns to business
as usual. And Spook Country gives us an uncomfortably lucid glimpse of
just those aspects of our hypermediated lives that we generally do not
notice, because we take them so much for granted.





#  distributed via <nettime>: no commercial use without permission
#  <nettime> is a moderated mailing list for net criticism,
#  collaborative text filtering and cultural politics of the nets
#  more info: majordomo {AT} kein.org and "info nettime-l" in the msg body
#  archive: http://www.nettime.org contact: nettime {AT} kein.org