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Talented, vulnerable heroine Cayce Pollard is an adept "coolhunter" with an intuitive gift for telling whether any image or logo will be a commercial flop. The downside is her tortured sensitivity--like an allergic reaction--to logo overexposure. She can just about bear to fly BA, but not cross-promoted Virgin...
When she's consulted by top ad agency Blue Ant and gives the thumbs-down to their designer's latest concept, the edgy urban paranoia begins. A porn-site URL that she never accessed appears in her browser history, and the phone's redial button goes somewhere it shouldn't. The same faces appear around her as she flits between continents. Small world. Worryingly small.
As new vistas open in viral marketing and stealth publicity, the big admen are all too interested in Cayce's private hobby: mystery fragments of haunting movie footage, released anonymously on the Web. This unknown "garage Kubrick" auteur has spawned a fascinated, obsessive online cult. Is this a brilliant marketing operation for a still-unknown product, or something with different, dark and painful roots?
Cayce's personal quest, or flight, converges on the source of the Footage, helped and threatened by memorably offbeat characters. In Britain, these include a pettily sadistic woman who seems to know Cayce's most carefully concealed phobias, and an embittered collector of obsolete mechanical calculators made in Liechtenstein. Tokyo: a lovesick Japanese geek whose "otaku" friends find a hidden digital signature in the Footage. Moscow: a strange girl whose uncle is a fabulously wealthy--and dangerously protected--Russian mafioso...
Here's Cayce in a Japanese hotel, showing that wittily lyrical Gibson view of the world and his deft use of brand names:
She uses the remote as demonstrated, drapes drawing quietly aside to reveal a remarkably virtual-looking skyline, a floating jumble of electric Lego, studded with odd shapes you wouldn't see elsewhere, as if you'd need special Tokyo add-ons to build this at home.
This world of glittering surfaces and pulsating data connections is mined with surprises, betrayals, flurries of violence and unexpected allies. This is a very 21st century novel: compulsive reading, and vintage Gibson. --David Langford -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pollard is among a cult-like group of Internet obsessives that strives to find meaning and patterns within a mysterious collection of video moments, merely called "the footage," let loose onto the Internet by an unknown source. Her hobby and work collide when a megalomaniac client hires her to track down whoever is behind the footage. Cayce's quest will take her in and out of harm's way in a high-stakes game that ultimately coincides with her desire to reconcile her fathers disappearance during the September 11 attacks in New York.
Although he forgoes his usual future-think tactics, this is very much a William Gibson novel, more so for fans who realize that Gibson's brilliance lies not in constructing new futures but in using astute observations of present-day cultural flotsam to create those futures. With Pattern Recognition, Gibson skips the extrapolation and focuses his acumen on our confusing contemporary world, using the precocious Pollard to personify and humanize the uncertain anxiety, optimistic hope, and downright fear many feel when looking to the future. The novel is filled with Gibson's lyric descriptions and astute observations of modern life, making it worth the read for both cool hunters and their prey. --Jeremy Pugh -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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Die Protagonistin Cayce bleibt größtenteils farblos; sie driftet durch eine Handlung, in der sie als Person nahezu austauschbar ist (wenn man einmal ihre wundersame Fähigkeit, Muster & Trends zu erkennen, weglässt). Die Emails ihres Freundes, eines Regisseurs, der in Russland eine Dokumentation dreht, waren für mich die lebendigsten und intensivsten 5 Seiten des Romans.
Gibsons Stil war in 'Virtual Light' auch schon einmal besser und das Buch gleich als 'masterful snapshot of modern consumer culture and hipster esoterica' zu bezeichnen, nur weil der Autor 'to google' als Verb verwendet und Bret-Easton-Ellis maessiges Marken Name-Dropping betreibt, ist nur eine der gewohnten Übertreibungen der US-amerikanischen Kritik, die ja mittlerweile auf nahezu jedem Buchcover das jeweilige Werk als inflationär 'brilliant', 'best novel in years', 'hilarious' usw. bezeichnet.
There is only one point that's a bit disappointing to me, that's the ending which is (at least in my opinion) not as open as it could be, and drops a little bit to much and to many "all-controlling" russians in the game.
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