Beyond the grid: Reporter finds more than she bargained for in 'Spook Country'
In William Gibson's "Spook Country," investigative reporter Hollis Henry has a fascinating assignment. She's in Hollywood checking out a new art form -- a virtual art that can re-create the death scenes of the famous or fill a hotel room with knee-high poppies.
Hollis is apparently doing the story for a start-up magazine called "Node." The problem is no one has ever heard of the new publication. And she's warned about its superrich owner Hubertus Bigend.
"Locative art," as it's called, is a change, Henry is told. Instead of experiencing virtual reality through a screen, locative art can take place in the world around us.
While she's checking out virtual death scenes, Bigend directs her to get in to see Bobby Chombo, a reclusive, disturbed computer genius who sets up the network needed to support the locative art. Bigend tells Henry that Chombo may be doing more than installing art works.
Bobby sees everything in terms of GPS grids. He has even divided his living space with a grid, a series of squares so he can sleep in a new one each night. Besides setting up the virtual art displays, Bobby designs military navigation systems. "The most interesting applications turn up on the battlefield, or in a gallery," he says.
He may be tracking a mysterious ship, a modern-day Flying Dutchman, that doesn't put into port anywhere. If so, Bigend wants to know and he wants to know what's on the ship and where it will finally dock.
The intricately plotted novel is told from a variety of viewpoints.
Besides Hollis Henry, there is Cuban-Chinese Tito, who with his family specialize in delivery of information and misinformation. Then there's Milgrim. Hooked on prescription anti-anxiety drugs, he is being held prisoner by a man who may or may not be connected to a government agency. And there is an old man who eventually connects all the elements.
Gibson keeps the plot twisting, weaving dark and dangerous elements in a series of fascinating scenes.