“There are too many improbable coincidences and the characters are definitely caricatural, while reminding me of the previous books: the female artist drawn into investigation for lack of money, the geek computer genius, the woodoo inspired ninja-like thug, the tough CIA spook, the media executive with unlimited wealth…”
During my short dash in a Seattle bookstore, when attending JSM 2015, I spotted William Gibson’s Zero history and bought it (along with the last volume in the Traitor Spy trilogy). This is not a most recent book of Gibson’s, since it first appeared in 2010, but I had somewhat missed it, after reading Spook Country in Finland a few years ago. Fact is, the book ends up a loose trilogy, along with Pattern Recognition and Spook Country of which I have very fragmented memories, fragmented enough to miss the connection with this current book. Despite it having several common characters. And the memes being just the same. (Terrible bilingual pun…) To the point of my earlier comments [reproduced as a self-quote above!] applying to this book as well. Which is not to say the book is uninteresting or dull, as I read it over a few days when I came back from Washington State. That is, across the bay from Gibson’s Vancouver.
The topic of this novel is characteristically branding and the action that takes place in the second part of the novel still relates to brand and industrial spying and commercial turf wars. There is very little of the novelistic feeling of the early books (like Neuromancer I read and reread ad nauseam in the mid 80’s). The only innovations [a wee spoiler!] are a drone with a Taser gun [about to be tested in the US!] and a tee-shirt deleting the owner from CTV footage. Oh, and an electric bike on steroids. However, the central plot of the story is quite nice, looking for the creator of an anti-brand… brand, whose clothes are sold at happenings, in very much a flash mob spirit, rather than in shops or through the Internet (even though they are mostly resold at high prices on eBay and co.). I find this notion appealing when considering the whole production of Gibson, his permanent fascination for brand and branding and for turning people outside the system inside, for either commercial or military purposes.