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by Don DeLillo
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Geoff Dyer, Don DeLillo, and Jonathan Lethem, for all their differences, have one thing in common. Each became bewitched by a movie that spoke so forcefully to him that he watched it again and again until it revealed all of its secrets.
His vision spreads outward, encompassing ever more of the nuances and frequencies of an urbanized West that has maxed out on chatter and distraction. It has to expand like this in order to express the burden of shepherding a lone self through a world of mass-consciousness, ruled by media and money, where terror is the only form of awe that has not been stripped and sold for parts.
Gibson has always been fascinated by fashion, not only as an expression of personal style, but as a place where technology and advertising work together, on a global scale, to create and feed human appetites in the name of corporate profits.
We are in a situation similar to the one Delillo lays out in White Noise: things are bad, danger is lurking, but we don’t know its full extent. Our exposure has been consummate, and fatal for the health and economic stability of many, but the final tally is not yet in.
We've become not just curators of music but curators of connections, immersed in an aural landscape and a transporting, internal soundtrack.