William Gibson has long gone into the hinterland of the beautifully absurd. And his imagery is absolutely mesmerizing, it stays with you long after the last traces of the story evaporate.
If the Sprawl Trilogy changed the way we view the future and the Bridge Trilogy brought that future dystopia closer to home, the latest Bigend Trilogy interweaves that future into our everyday life: you know THAT future? Well, it is NOW. And because of this, after turning its last page, memories of the book seem to pop up everywhere, when least expected.
The story ties loosely with the previous two books of the Trilogy (
) and it is surprising to find out just how ruthless the garment business really is. However, the story is the vehicle, not the destination.
Gibson seems determined to deconstruct a persistent and omnipresent pop-culture that glorifies the trivial, attempts to turn our daily grind into a series of tolerable epic moments and reproduces the propaganda that steers public opinion towards the aims of the interconnected elite. And this he achieves with dense poetic wordscapes, his pattern brand-name fetishism and chains of ironic yet insightful observations.