Jennifer Egan’s bold new novel – a sequel, of kinds, to 2010’s “A Visit From the Goon Squad” – riffs on memory, authenticity and the allure of new know-how. Whenever you purchase an independently reviewed e book by our site, we earn an affiliate fee. Jennifer Egan’s 2010 “A Visit From the Goon Squad” was, depending whom you requested, a novel, or a collection, or a story cycle. Following a tangle of characters in and adjoining to the music business throughout decades, it switched voices and techniques in a kaleidoscopic extended-household portrait. But you could additionally name it a concept album. “The Candy House,” which passes the microphone to a number of peripheral “Goon Squad” characters, is similar in its anti-chronological construction and chameleonic virtuosity. But given its material, it could be higher to explain it as a social community, the literary version of the collaborative novel written by your friends and buddies of pals on Facebook or Instagram, every link opening on a brand new protagonist.
We’ve seen how that kind of vision performs out – surely the more we learn about one another, the higher we’ll perceive each other? Proper? – and so has its creator. Bix, who is Black, imagined the internet in the ’90s as a “new metaphysical sphere” the place “Black folks would be delivered from the hatred that hemmed and stymied them in the bodily world.” The concept, he concedes, “looked comically naïve from a 2010 perspective.” Nonetheless, we try, attempt once more. Contemporary fiction usually treats this form of “Black Mirror” premise (specifically, it has shades of the episode “The Entire Historical past of You”) skeptically; the expertise is an oppressor, or, to the novelist, a competitor. ‘The Candy House (just click the next website page)’ takes its title from a repeated metaphor for temptation: the lures of amusement and nostalgia that Hansel-and-Gretel us right into a spun-sugar edifice upon which we’re invited to gorge and during which we – our needs, our recollections – are also on the menu. See, as an illustration, Dave Eggers’s “The Circle,” which focused on the passive-aggressive totalitarianism of the imperative to “share.” There’s a component of that here, with hints of a resistance to the collective unconscious, together with “eluders,” individuals who go to extremes to flee the mass mind, even vanishing altogether. We are having hassle retrieving the article content. Thank you on your patience while we verify access. Please enable JavaScript in your browser settings. Thanks to your persistence while we verify access. If you are in Reader mode please exit and log into your Instances account, or subscribe for all of the Occasions. Already a subscriber? Log in.
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It’s a spectacular palace built out of rabbit holes. Tech may not be the brand new rock ’n’ roll, but it surely serves an analogous function in “The Candy Home.” It’s the world-shifting phenomenon that defines an era and connects strangers. It is also, though it wears the fine cloth of idealism, massive enterprise. His subsequent large concept, built on an experimental technology that can digitally seize animal consciousness, allows folks to add a life’s worth of recollections – even long-forgotten ones – share them in a collective archive and access others’, as if traveling in a cranial time machine. The killer app that defines the alternative reality of “The Sweet House” is dreamed up in 2010 by Bix Bouton, briefly introduced as an early-90s web obsessive in “Goon Squad,” now a social-media mogul. The title of the product, Personal Your Unconscious, suggests a lofty, even spiritual aspiration, as does the name of Bix’s company, Mandala.
The online. The data superhighway. HAL, the pushy AI in 2001: A space Odyssey, obtained ornery with hapless Dave manner again in 1968, in a movie primarily based on the stories of Arthur C. Clarke written two many years before that. And at the daybreak of talkies, as movie audiences couldn’t help but really feel they had been watching life itself unfold, Buster Keaton upped the ante and climbed right into the display, within the 1924 traditional Sherlock Jr. Two years earlier than that, James Joyce conjured much of life from 800 or so printed pages. The stubborn energy of the brain usually eludes literary novelists, as well as tech moguls. If our “literary culture” has been addled by algorithms and screens, passionate readers might need to look beyond a mere two paths for the novel. One other recent tech-topian e book observes: “Gaining access to all of that information turned out to be one thing of a mixed blessing.” This is neither an avant grade meta-narrative nor middlebrow drama, but an unapologetic adventure-Ernest Cline’s Ready Participant One.
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