Pattern Recognition (Anglais) Poche – 1 février 2005
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Description du produit
Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.
It is that flat and spectral non-hour, awash in limbic tides, brainstem stirring fitfully, flashing inappropriate reptilian demands for sex, food, sedation, all of the above, and none really an option now.
Not even food, as Damien's new kitchen is as devoid of edible content as its designers' display windows in Camden High Street. Very handsome, the upper cabinets faced in canary-yellow laminate, the lower with lacquered, unstained apple-ply. Very clean and almost entirely empty, save for a carton containing two dry pucks of Weetabix and some loose packets of herbal tea. Nothing at all in the German fridge, so new that its interior smells only of cold and long-chain monomers.
She knows, now, absolutely, hearing the white noise that is London, that Damien's theory of jet lag is correct: that her mortal soul is leagues behind her, being reeled in on some ghostly umbilical down the vanished wake of the plane that brought her here, hundreds of thousands of feet above the Atlantic. Souls can't move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage.
She wonders if this gets gradually worse with age: the nameless hour deeper, more null, its affect at once stranger and less interesting?
Numb here in the semi-dark, in Damien's bedroom, beneath a silvery thing the color of oven mitts, probably never intended by its makers to actually be slept under. She'd been too tired to find a blanket. The sheets between her skin and the weight of this industrial coverlet are silky, some luxurious thread count, and they smell faintly of, she guesses, Damien. Not badly, though. Actually it's not unpleasant; any physical linkage to a fellow mammal seems a plus at this point.
Damien is a friend.
Their boy-girl Lego doesn't click, he would say.
Damien is thirty, Cayce two years older, but there is some carefully insulated module of immaturity in him, some shy and stubborn thing that frightened the money people. Both have been very good at what they've done, neither seeming to have the least idea of why.
Google Damien and you will find a director of music videos and commercials. Google Cayce and you will find "coolhunter," and if you look closely you may see it suggested that she is a "sensitive" of some kind, a dowser in the world of global marketing.
Though the truth, Damien would say, is closer to allergy, a morbid and sometimes violent reactivity to the semiotics of the marketplace.
Damien's in Russia now, avoiding renovation and claiming to be shooting a documentary. Whatever faintly lived-in feel the place now has, Cayce knows, is the work of a production assistant.
She rolls over, abandoning this pointless parody of sleep. Gropes for her clothes. A small boy's black Fruit Of The Loom T-shirt, thoroughly shrunken, a thin gray V-necked pullover purchased by the half-dozen from a supplier to New England prep schools, and a new and oversized pair of black 501's, every trademark carefully removed. Even the buttons on these have been ground flat, featureless, by a puzzled Korean locksmith, in the Village, a week ago.
The switch on Damien's Italian floor lamp feels alien: a different click, designed to hold back a different voltage, foreign British electricity.
Standing now, stepping into her jeans, she straightens, shivering.
Mirror-world. The plugs on appliances are huge, triple-pronged, for a species of current that only powers electric chairs, in America. Cars are reversed, left to right, inside; telephone handsets have a different weight, a different balance; the covers of paperbacks look like Australian money.
Pupils contracted painfully against sun-bright halogen, she squints into an actual mirror, canted against a gray wall, awaiting hanging, wherein she sees a black-legged, disjointed puppet, sleep-hair poking up like a toilet brush. She grimaces at it, thinking for some reason of a boyfriend who'd insisted on comparing her to Helmut Newton's nude portrait of Jane Birkin.
In the kitchen she runs tap water through a German filter, into an Italian electric kettle. Fiddles with switches, one on the kettle, one on the plug, one on the socket. Blankly surveys the canary expanse of laminated cabinetry while it boils. Bag of some imported Californian tea substitute in a large white mug. Pouring boiling water.
In the flat's main room, she finds that Damien's faithful Cube is on, but sleeping, the night-light glow of its static switches pulsing gently. Damien's ambivalence toward design showing here: He won't allow decorators through the door unless they basically agree to not do that which they do, yet he holds on to this Mac for the way you can turn it upside down and remove its innards with a magic little aluminum handle. Like the sex of one of the robot girls in his video, now that she thinks of it.
She seats herself in his high-backed workstation chair and clicks the transparent mouse. Stutter of infrared on the pale wood of the long trestle table. The browser comes up. She types Fetish:Footage:Forum, which Damien, determined to avoid contamination, will never bookmark.
The front page opens, familiar as a friend's living room. A frame-grab from #48 serves as backdrop, dim and almost monochrome, no characters in view. This is one of the sequences that generate comparisons with Tarkovsky. She only knows Tarkovsky from stills, really, though she did once fall asleep during a screening of The Stalker, going under on an endless pan, the camera aimed straight down, in close-up, at a puddle on a ruined mosaic floor. But she is not one of those who think that much will be gained by analysis of the maker's imagined influences. The cult of the footage is rife with subcults, claiming every possible influence. Truffaut, Peckinpah . . . The Peckinpah people, among the least likely, are still waiting for the guns to be drawn.
She enters the forum itself now, automatically scanning titles of the posts and names of posters in the newer threads, looking for friends, enemies, news. One thing is clear, though; no new footage has surfaced. Nothing since that beach pan, and she does not subscribe to the theory that it is Cannes in winter. French footageheads have been unable to match it, in spite of countless hours recording pans across approximately similar scenery.
She also sees that her friend Parkaboy is back in Chicago, home from an Amtrak vacation, California, but when she opens his post she sees that he's only saying hello, literally.
She clicks Respond, declares herself CayceP.
Hi Parkaboy. nt
When she returns to the forum page, her post is there.
It is a way now, approximately, of being at home. The forum has become one of the most consistent places in her life, like a familiar café that exists somehow outside of geography and beyond time zones.
There are perhaps twenty regular posters on F:F:F, and some much larger and uncounted number of lurkers. And right now there are three people in Chat, but there's no way of knowing exactly who until you are in there, and the chat room she finds not so comforting. It's strange even with friends, like sitting in a pitch-dark cellar conversing with people at a distance of about fifteen feet. The hectic speed, and the brevity of the lines in the thread, plus the feeling that everyone is talking at once, at counter-purposes, deter her.
The Cube sighs softly and makes subliminal sounds with its drive, like a vintage sports car downshifting on a distant freeway. She tries a sip of tea substitute, but it's still too hot. A gray and indeterminate light is starting to suffuse the room in which she sits, revealing such Damieniana as has survived the recent remake.
Partially disassembled robots are propped against one wall, two of them, torsos and heads, like elfin, decidedly female crash-test dummies. These are effects units from one of Damien's videos, and she wonders, given her mood, why she finds them so comforting. Probably because they are genuinely beautiful, she decides. Optimistic expressions of the feminine. No sci-fi kitsch for Damien. Dreamlike things in the dawn half-light, their small breasts gleaming, white plastic shining faint as old marble. Personally fetishistic, though; she knows he'd had them molded from a body cast of his last girlfriend, minus two.
Hotmail downloads four messages, none of which she feels like opening. Her mother, three spam. The penis enlarger is still after her, twice, and Increase Your Breast Size Dramatically.
Deletes spam. Sips the tea substitute. Watches the gray light becoming more like day.
Eventually she goes into Damien's newly renovated bathroom. Feels she could shower down in it prior to visiting a sterile NASA probe, or step out of some Chernobyl scenario to have her lead suit removed by rubber-gowned Soviet technicians, who'd then scrub her with long-handled brushes. The fixtures in the shower can be adjusted with elbows, preserving the sterility of scrubbed hands.
She pulls off her sweater and T-shirt and, using hands, not elbows, starts the shower and adjusts the temperature.
FOUR hours later she's on a reformer in a Pilates studio in an upscale alley called Neal's Yard, the car and driver from Blue Ant waiting out on whatever street it is. The reformer is a very long, very low, vaguely ominous and Weimar-looking piece of spring-loaded furniture. On which she now reclines, doing v-position against the foot rail at the end. The padded platform she rests on wheels back and forth along tracks of angle-iron within the frame, springs twanging softly. Ten of these, ten toes, ten from the heels. . . In New York she does this at a fitness center frequented by dance professionals, but here in Neal's Yard, this morning, she seems to be the sole client. The place is only recently opened, apparently, and perhaps this sort of thing is not yet so popular here. There is that mirror-world ingestion of archaic substances, she thinks: People smoke, and drink as though it were good for you, and seem to still be in some sort of honeymoon phase with cocaine. Heroin, she's read, is cheaper here than it's ever been, the market still glutted by the initial dumping of Afghani opium supplies.
Done with her toes, she changes to heels, craning her neck to be certain her feet are correctly aligned. She likes Pilates because it isn't, in the way she thinks of yoga, meditative. You have to keep your eyes open, here, and pay attention.
That concentration counters the anxiety she feels now, the pre-job jitters she hasn't experienced in a while.
She's here on Blue Ant's ticket. Relatively tiny in terms of permanent staff, globally distributed, more post-geographic than multinational, the agency has from the beginning billed itself as a high-speed, low-drag life-form in an advertising ecology of lumbering herbivores. Or perhaps as some non-carbon-based life-form, entirely sprung from the smooth and ironic brow of its founder, Hubertus Bigend, a nominal Belgian who looks like Tom Cruise on a diet of virgins' blood and truffled chocolates.
The only thing Cayce enjoys about Bigend is that he seems to have no sense at all that his name might seem ridiculous to anyone, ever. Otherwise, she would find him even more unbearable than she already does.
It's entirely personal, though at one remove.
Still doing heels, she checks her watch, a Korean clone of an old-school Casio G-Shock, its plastic case sanded free of logos with a scrap of Japanese micro-abrasive. She is due in Blue Ant's Soho offices in fifty minutes.
She drapes a pair of limp green foam pads over the foot rail, carefully positions her feet, lifts them on invisible stiletto heels, and begins her ten prehensile.
—Reprinted from Pattern Recognition by William Gibson by permission of G. P. Putnam’s Sons, a member of Penguin Putnam Inc. Copyright © 2003, William Gibson. All rights reserved. This excerpt, or any parts thereof, may not be reproduced in any form without permission.
Revue de presse
“A masterful performance.”—Chicago Tribune
“Gibson nails the texture of internet culture: how it feels to be close to someone you know only as a voice in a chat room, or to fret about someone spying on your browser’s list of sites visited.”—The New York Times
“Completely contemporary...his best book.”—San Francisco Chronicle Book Review
“[An] eerie vision of our time.”—The New Yorker
“Pattern Recognition races along like an expert thriller, but it rides on a strong current of melancholy, of elegy for the broken and the vanished...Gibson knows he’s building on ground zero.”—GQ
“So good it defies all the usual superlatives.”—The Seattle Times
“It turns out that William Gibson knows as much about the present as he does about the future...a masterful performance from a major novelist who seems to be just now hitting his peak. Welcome to the present, Mr. Gibson.”—Chicago Tribune
“Gibson’s first novel to take place in the present takes you on a reckless journey of espionage and lies and doesn’t promise a safe return...wonderfully chilling...a dangerously hip book.”—USA Today
“[Gibson], who invented the future with Neuromancer, shows he’s just as skilled at seeing the present.”—Entertainment Weekly
“A serious thriller set in the dystopian present...glossy [and] well-paced.”—Time
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Meilleurs commentaires des clients
No cyber, but finely chiseled characters and great story-telling make it a pleasant novel.
Commentaires client les plus utiles sur Amazon.com
Characters are deliciously drawn. The mystery unravels at a pace that is pitch perfect. The sadness and strange subtle shift of America after 9/11 is captured in a way that other authors haven't touched, which is interesting considering that the novel takes us from London to Tokyo, and Moscow, to Paris.
I love this world. I can't wait to read the book or the books that are going to connect his most recent texts - those set in our present - back to those that are set in the near future, and the still far future of his earlier work.
Gibson's writing style for this is a bit jarring at first, but once I adjusted it flowed quite nicely. The main character's inner monologue I found to be very similar to my own so her character became very real to me. Also being from New York and living in Manhattan during 9/11 it was easy to put myself in the settings being described surrounding the event. Also love his attention to the details. Helps paint a very clear picture.
Would recommend to fans of his and those interested in mysteries and globetrotting.
As often happens to me, I made the wrong call. I decided to break in my Kindle with Pattern Rec, and what a great way to test the readability of the device. I burned through the book in about 3 days.
What made this novel so compatible to my needs as a writer are as much accidental as intentional. I have a fierce streak of OCD, not to the extent of washing my hands all day but still a cut above the average person. I'm also a bit of a cinephile, so the subject matter driving the protagonist here was a very natural hook to myself as reader, and the need to discover the origin of the footage for Cayce became my need as a reader as well.
The essence of the story, just for people new to the book, is that the main character has a server allergic reaction to well known marketing icons, most notably the Michelin Man. Even so, she is exceptionally good at forecasting whether a logo will hit big in the advertising world. Privately, she is a member of a forum that is dedicated to analyzing mysterious film segments that are being posted on the internet, from an unknown creator and for unknown reasons. Her career profession ends up interacting with her private obsession when one of her frequent employers charges her with finding the maker of the footage.
This is basically a good old detective yarn, imbued with that signature Gibson style. It's drastic change of setting from his previous works makes no difference in quality, as he expertly draws the reader in to the life of Cayce and her notably unusual life. His ability to convey a different view of a common thing, in many cases clothing and brands, is a thing to behold.
Bottom line, if you dug Gibson before and were on the fence about the new stuff, dive in. It's classic Gibson in modern context. A fantastic read.
About a year after the first reading, I went back and was stunned by how much I loved the book. As he matures, Gibson has gotten away from his youthful pyrotechnics and become more interested in things like how power is wielded in society and how marketing creates our sense of culture. You have to slow down to get this book, and savor it like a good meal — but once you've accepted that no one is going to get shot, turn themselves into a cyborg, or rob a bank on a broken leg, I think you'll find Gibson's social and moral matrix as satisfying as the virtual one.
But if the Sprawl trilogy was an origin, you can see the way the Bridge trilogy led to this book. A shift to more subtle science fiction, a focus on the essential weirdness of the present. It's a wonderful book.
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