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Spook Country, by William Gibson
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The New York Times bestseller from “one of the most astute and entertaining commentators on our astonishing, chaotic present.”( Washington Post Book World)
Hollis Henry is a journalist on investigative assignment for a magazine called Node, which doesn’t exist yet. Bobby Chombo is a producer working on cutting-edge art installations. In his day job, Bobby is a trouble-shooter for military navigation equipment. He refuses to sleep in the same place twice. He meets no one.
Hollis Henry has been told to find him.
- Sales Rank: #131445 in eBooks
- Published on: 2007-08-07
- Released on: 2007-08-07
- Format: Kindle eBook
Amazon.com Review
Now that the present has caught up with William Gibson's vision of the future, which made him the most influential science fiction writer of the past quarter century, he has started writing about a time--our time--in which everyday life feels like science fiction. With his previous novel, Pattern Recognition, the challenge of writing about the present-day world drove him to create perhaps his best novel yet, and in Spook Country he remains at the top of his game. It's a stripped-down thriller that reads like the best DeLillo (or the best Gibson), with the lives of a half-dozen evocative characters connected by a tightly converging plot and by the general senses of unease and wonder in our networked, post-9/11 time.
Across the Border to Spook Country
For the last few decades, William Gibson, who grew up in Virginia and elsewhere in the United States, has lived in Vancouver, British Columbia, just across the border from Amazon.com's Seattle headquarters, which made for a short drive for a lunchtime interview before the release of Spook Country. We met just a few miles from where the storylines of the new novel, in a rare scene set in Gibson's own city, converge. You can read the full transcript of the interview, in which we discussed, among other things, writing in the age of Google, visiting the Second Life virtual world, the possibilities of science fiction in an age of rapid change, and his original proposal for Spook Country, which we have available for viewing on our site. Here are a few excerpts from the interview:
Amazon.com: Could you start by telling us a little bit about the scenario of the new book?
William Gibson: It's a book in which shadowy and mysterious characters are using New York's smallest crime family, a sort of boutique operation of smugglers and so-called illegal facilitators, to get something into North America. And you have to hang around to the end of the book to find out what they're doing. So I guess it's a caper novel in that regard.
Amazon.com: The line on your last book, Pattern Recognition was that the present had caught up with William Gibson's future. So many of the things you imagined have come true that in a way it seems like we're all living in science fiction now. Is that the way you felt when you came to write that book, that the real world had caught up with your ideas?
Gibson: Well, I thought that writing about the world today as I perceive it would probably be more challenging, in the real sense of science fiction, than continuing just to make things up. And I found that to absolutely be the case. If I'm going to write fiction set in an imaginary future now, I'm going to need a yardstick that gives me some accurate sense of how weird things are now. 'Cause I'm going to have to go beyond that. And I think over the course of these last two books--I don't think I'm done yet--I've been getting a yardstick together. But I don't know if I'll be able to do it again. I don't know if I'll be able to make up an imaginary future in the same way. In the '80s and '90s--as strange as it may seem to say this--we had such luxury of stability. Things weren't changing quite so quickly in the '80s and '90s. And when things are changing too quickly, as one of the characters in Pattern Recognition says, you don't have any place to stand from which to imagine a very elaborate future.
Amazon.com: Now that you're writing about the present, do you consider yourself a science fiction writer these days? Because the marketplace still does.
Gibson: I never really believed in the separation. But science fiction is definitely where I'm from. Science fiction is my native literary culture. It's what I started reading, and I think the thing that actually makes me a bit different than some of the science fiction writers I've met who are my own age is that I discovered Edgar Rice Burroughs and William Burroughs in the same week. And I started reading Beat poets a year later, and got that in the mix. That really changed the direction. But it seems like such an old-fashioned way of looking at things. And it's better not to be pinned down. It's a matter of where you're allowed to park. If you can park in the science fiction bookstore, that's good. If you can park in the other bookstore, that's really good. If people come and buy it at Amazon, that's really good.
I'm sure I must have readers from 20 years ago who are just despairing of the absence of cyberstuff, or girls with bionic fingernails. But that just the way it is. All of that stuff reads so differently now. I think nothing dates more quickly than science fiction. Nothing dates more quickly than an imaginary future. It's acquiring a patina of quaintness even before you've got it in the envelope to send to the publisher.
Amazon.com: So do you think that's your own career path, that you're less interested in imagining a future, or do you think that the world is changing?
Gibson: I think it's actually both. Until fairly recently, I had assumed that it was me, me being drawn to use this toolkit I'd acquired when I was a teenager, and using my old SF toolkit in some kind of attempt at naturalism, 21st-century naturalistic fiction. But over the last five to six years it's started to seem to me that there's something else going on as well, that maybe we're in what the characters in my novel Idoru call a "nodal point," or a series of them. We're in a place where things could just go anywhere. A couple of weeks ago I happened to read Charlie Stross's argument as to why he believes that there will never, ever be any manned space travel. It's not going to happen. We're not going to colonize Mars. All of that is just a big fantasy. And it's so convincing. I read that and I'm like, "My god, there goes so much of the fiction I read as a child."
From Publishers Weekly
Starred Review. Set in the same high-tech present day as Pattern Recognition, Gibson's fine ninth novel offers startling insights into our paranoid and often fragmented, postmodern world. When a mysterious, not yet actual magazine, Node, hires former indie rocker–turned–journalist Hollis Henry to do a story on a new art form that exists only in virtual reality, Hollis finds herself investigating something considerably more dangerous. An operative named Brown, who may or may not work for the U.S. government, is tracking a young, Russian-speaking Cuban-Chinese criminal named Tito. Brown's goal is to follow Tito to yet another operative known only as the old man. Meanwhile, a mysterious cargo container with CIA connections repeatedly appears and disappears on the worldwide Global Positioning network, never quite coming to port. At the heart of the dark goings-on is Bobby Chombo, a talented but unbalanced specialist in Global Positioning software who refuses to sleep in the same spot two nights running. Compelling characters and crisp action sequences, plus the author's trademark metaphoric language, help make this one of Gibson's best. 8-city author tour. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
As in his previous novel, Gibson abandons the futuristic dystopias that have sustained most of his career, picturing instead a dystopic present—specifically, a post-9/11 America, which, in thrall to ubiquitous media and vague threats of annihilation, has "developed Stockholm syndrome toward its own government." The convoluted and politically insistent plot involves a missing shipping container, a former rock star, a Cuban-Chinese crime-facilitating family, and an Ativan addict coerced into domestic espionage. Fanciful touches include the creation of virtual art in public spaces using satellite mapping and Wi-Fi; texting in Volapuk, a Cyrillic-Latin amalgam; encrypting data within songs on an iPod; and the C.I.A.’s recruitment of sea pirates in the war on terrorism. (All but the last are verifiably real.) If Gibson’s vision has got bleaker, his eye for the eerie in the everyday still lends events an otherworldly sheen
Copyright © 2007 Click here to subscribe to The New Yorker
Most helpful customer reviews
0 of 0 people found the following review helpful.
I didn't just read this book, I experienced it. Wow!
By Fascinatingbooks
Once in a great while a book comes along that transcends the events written about and explains something of deep and cosmic importance. I was stunned by the real story, uncoiling like an invisible serpent of stars, behind the "on the page" story of a woman hired to possibly write for a new magazine, and a parallel story of intrigue amongst a motley collection of spies. These stories coil around each other like a DNA helix to create a new being, a glimpse into a future that could go so wrong or incredibly right. This is Hollis in Wonderland as told by Gibson, a sci-fi cyber punk writer of epic proportions. I am practically obsessed with this book, both in print and the audio read in an intimate and engaging way by the incomparable Robertson Dean. The story is interdimensional, with so many levels to explore I can get lost in a single sentence like a maze that opens doors in my own mind. I didn't just read this book, I experienced it like a psychedelic trip down a white Lego lined rabbit hole.
6 of 6 people found the following review helpful.
William Gibson, I am so disappoint. :(
By Meirelle
I was excited to read this book. William Gibson is one of my favorite authors. When he stopped writing cyberpunk scifi, I was skeptical, but I gave his non-sf novel "Pattern Recognition" a try anyway, and I'm glad I did. It took a while to get into, but once I did, I couldn't put it down! Since "Spook Country" takes place in the same world, I was prepared for the story to start out slow. After all, I stuck with "Pattern Recognition" for over 50 pages before it got interesting, and I was rewarded.
"Spook Country" still had me waiting at over 200 pages. There was next to no plot, and I didn't care at all about the characters. Chapters are hardly that-- just little insignificant snapshots of these characters' daily lives. It seemed more like an experimental writing exercise than a novel. Don't get me wrong-- sometimes that sort of thing can work, but in this case it didn't.
If I had to wade through over half of the book, no amount of awesome plot twist will be able to make up for the painful experience of reading those first 200 pages. I went through hell with this book. I tried to keep on going-- I really did. I wanted to like this book because it was written by William Gibson. However, the truth is that it's terrible, and I sighed with relief when I finally decided to give up on it-- "Finally, reading can be FUN again!"
1 of 1 people found the following review helpful.
hard to get engaged
By MV
This was a book for bookgroup or I would not have finished it. I found it very difficult to become engaged and never did. What put me off is that the character development is very superficial, and, I wasn't remotely interested in any of the characters. They seemed like randomly generated one dimensional people (maybe this is part of Gibson's message, which is clearly something to do with technology and its advancement). That brings me to the second issue that made the book not enjoyable for me. I couldn't really figure out if it had any point, meaning or even a theme except for perhaps general confusion in this chaotic, technological world.
There is a goal the characters are working towards (well, some of them). I don't think I should state the goal though because it is kind of the main center of the plot and would give it away (I think. . . ). Other characters motives and drives seem largely enigmatic. Lots of questions raised about the nature of reality, but I wasn't quite sure what the questions were or what the novel had to say about them. My confusion could just be a lack of knowledge about technology and computers and their insidious insinuation into our lives (which is also a theme, I think).
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