Author: Christian Sauvé

  • Coercion: Why we Listen to What "They" Say, Douglas Rushkoff

    ByChristian Sauvé Book Review

    Riverhead, 1999, 293 pages, C$20.00 tpb, ISBN 1-57322-829-X

    Like most of your contemporaries, you probably think of yourself as a smart, savvy, independent person. You like to make up your own mind: Advertisements don’t work on you, and neither does the cheap rhetoric of politicians, media spokesperson or car dealers. You’re too smart to be taken in by those blatant techniques.

    Well, good for you. But chances are that you’re fooling yourself. Today’s methods for changing your mind on just about any subject are more subtle than a gross sales pitch. They seek to bypass your intellect and get you through your emotions. Sometimes, they actually want you to be so smart as to see through them. Politicians, corporations, religions, celebrity-makers and con artists alike are fighting for a piece of your mind with a desperation that leads to a memetic arms-race: As the target (you) get smarter about their methods, they’ll switch to a new one against which there is no predefined defence.

    In his introduction to Coercion, Douglas Rushkoff describes the strange path that has led him to write the book. From media pundit who took a delight in pointing out how the media was being subverted from within (in Media Virus!), Rushkoff found himself increasingly solicited by ad agencies and media think-tanks, asked to help them harness the power of subversion in order to better market their wares. “Going underground”, so to speak, he collected notes and Coercion is the result of his journey in the underworld. Either that or it’s just another way for him to sell more books; from the start, Rushkoff takes an impish pleasure in pointing how he himself is selling his book to a potential audience. Unless he’s simply being meta-clever, hoping to attract readers who think they’re smarter than him? Hmmm…

    Still, most of Coercion is a description of how sophisticated the battle for mindspace has become. Salesman techniques borrow from CIA interrogation manuals (or the other way around); malls and supermarkets use psychology in arranging their displays layouts; sects and scams alike are optimized in a pyramidal model (so is the stock market); religious groupings share traits with political rallies, rock shows and wrestling events; public relations take the unpleasant truth and twist it in a logical feel-good story ready for mass consumption; publicity campaigns resort to cynicism in order to be hip for the media-savvy audiences. Oh, and the Internet isn’t the consensus-busting tool is promised to be, but has become jut another marketing tool. (Surprise!)

    All fine and well (and familiar to anyone who’s well-read in psychology, specialized media and counter-literature such as Adbusters magazine) but one of Rushkoff’s main sub-themes is to illustrate how this incessant war for your attention is having an impact on the Rest of Your Life. Friendly Salespersons compliment your figure in order to sell you clothes, but isn’t the same duplicity undistinguishable from comments received by friends? When the government distorts the truth to manufacture consent for another war in the Gulf, doesn’t this undermine what they’re saying about other things? What about spam: deluged by a flow of trash, some people are simply abandoning this mean of communication. Indeed, argues Rushkoff, as marketers are becoming more desperate and devious, they are threatening the fabric of civility. That’s the nagging feeling most of us get when marketing makes a new intrusion in our lives.

    Indeed, it’s difficult to read Coercion without tying it with our own lives. I myself was shocked, not as much in seeing what techniques were “used” on me, but how I was using some methods -notably at work- to facilitate my life. Brr!

    But it’s easy to become paranoid when reading this book, and that’s something against which Rushkoff warns us. Being aware is good; being paranoid makes us needlessly fearful, dismissing the good along with the bad. Still, a faint doubt remains, and that should also be the case for you: What if this web site, these hundreds of pages, these millions bytes, are nothing but a subtle way to sell you Rushkoff’s book?

  • Shanghai Knights (2003)

    Shanghai Knights (2003)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) This ordinary follow-up to 2000’s Shanghai Noon takes the Jackie Chan / Owen Wilson duo away from the wild west and drops them in Victorian London. Various hijinks ensue, this time more focused on straight comedy than all-out action: Chan, after all, is getting older. It’s all fun and entertaining, but the discomfort comes from seeing an original situation being churned in boring limpness. There are winks and nods to Arthur Conan Doyle, Charlie Chaplin, Jack the Ripper and other period icons… but they’re lazy and witless. After dozen of clever steampunk books playing around with the Victorian era, it’s hard to be amused by dumb name-dropping. Laziness is indeed the style of comedy as practiced here; most of the gags can be seen coming miles away and aren’t very funny anyway. Oh well. Shanghai Knights isn’t terrible, mind you; just dull and ordinary. The ending is overlong. Anachronisms abound, but you’d expect that, right? Even the bloopers have a forced air, including a cell-phone bit that surely sounded contrived. At least for Jackie Chan fans, it’s a definite step back in the right direction after the horrible The Tuxedo.

  • The Pianist (2002)

    The Pianist (2002)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Did we need yet another Holocaust film? Well, maybe not, but few will complain after seeing Roman Polanski’s latest effort. It’s the based-on-true-events story of a Polish Jew whose adventures in war-torn Warsaw defy common sense. Adrian Brody turns in an Oscar-worthy performance as a protagonist who’s harassed, saved, helped, forced to hide and then to flee in the remnants of a destroyed city. Technical credits are top-notch, and Polanski’s direction is in fact pretty darn good in an understated fashion. The film, maybe inevitably, is stronger in its first half as we witness the casual harassment of the Warsaw Jews; whereas The Pianist never gets close to a concentration camp, this section film shows that plenty of horrible things did happen in the so-called “safe” city. The second half of the film is a touch less urgent and rather more surreal, as the protagonist becomes a rabbit stuck between the armies fighting for Warsaw. You haven’t seen this story before. But you probably should.

  • The Life Of David Gale (2003)

    The Life Of David Gale (2003)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) For a while, I was nearly taken by this film. It starts with an interesting conceit, okay characters and a first third in which it’s possible to discern some intellectual/philosophical depth. Plus, Kevin Spacey is almost always a pleasure to watch even when (like in here) he shamelessly overacts and gives a smarmy edge to whatever role he’s playing. But what becomes more and more obvious as the film progresses is that it will stop at nothing to wring out suspense out of situations that don’t have any. The discovery of the first tape is an example; the second visit to the crime scene is another. Suddenly, you may start asking questions about the plot, and it’s an exercise that’s almost always fatal to such a thinly-plotted story like this. Whether it’s an ominous cowboy or a cell phone that doesn’t work or a car that breaks down, The Life Of David Gale transforms itself from a decent “issues” drama to a cheap thriller. And if you haven’t been paying attention, the wretched conclusion will drive home the point that this film doesn’t make sense. Not from an internal logic viewpoint (the ending nullifies what the “heroes” have tried to accomplish) and not from an external thematic viewpoint either (whatever message the film had, if it had one, got lost in the plot mechanics). Sure, it has a dramatic inertia that keeps it bearable… but this is the type of film that gives “twist ending” a bad name.

  • Life As A House (2001)

    Life As A House (2001)

    ByChristian Sauvé Movie Review

    (On DVD, February 2003) From the trailer, I was led to expect a weepy drama where a terminally ill character manages to solve everyone else’s problems and does something cool before croaking. Well, that’s what I got, though it was slightly more fun that I expected. For one thing, the first half of the film has a certain edge as none of the character really like each other and aren’t exactly afraid to show it. The “tough love” approach taken by Kevin Kline’s character is fun to watch, and isn’t as sappy as his latter approach. What doesn’t work so well is the finale, precipitated by a few unexplainable acts taken by various characters and a whopper of a coincidence. Then it truly gets sappy and gag-inducing. But for a while, Life As A House nearly works because it doesn’t shamelessly pander to the audience. The DVD contains an interesting making-of featurette in which they describe how they built a neighbourhood specifically for the film. Alas, the good stuff is nearly driven out by the promotional fluff, in what may be an ironic comment on the film itself.

  • The End of War, David L. Robbins

    ByChristian Sauvé Book Review

    Bantam, 2000, 506 pages, C$9.99 mmpb, ISBN 0-553-58138-4

    Early 1945. The Third Reich is crumbling, attacked from two fronts: The Allies have been in Europe for six months and the Russians are pitting the might of their war machine against a battered German army. Both sides are rushing towards Berlin. Whoever first captures the capital will get to dictate Europe’s geopolitical history for decades. As high-level talks divvy up lines on a map, it’s up to the soldiers to suffer through the consequences of these decisions.

    After writing about the battle of Stalingrad in The War of the Rats, David L. Robbins goes back to World War II with The End of War, a novel about the race for Berlin in the last few weeks of the European front. Not only a story about the end of WW2, The End of War is also a portentous narrative that suggests most of subsequent European history.

    It is, naturally enough, a big subject, involving millions of men from more than three nations on two continents. The sweep of the events may be epic, but Robbins carefully restricts his characters to only a few. As he point out in the author’s foreword,

    The End of War is constructed along the lines of a Greek tragedy: the gods discuss the affairs of man, then their Olympians intents are played at human level. In this novel, the gods are Winston Churchill, Josef Stalin, and Franklin Roosevelt. Lesser deities include General Dwight Eisenhower and Field Marshal Bernard Montgomery. The book’s corresponding mortals are three fictional characters – one Russian soldier, one German civilian, and one American photojournalist.

    As the race toward Berlin heats up, the novel describes the high-level negotiations -Malta, Yalta, etc- that led to the Russian takeover of Berlin. Naturally enough, the most interesting storyline is the American one, as photojournalist Charley Bandy is closer to our own viewpoint. As an observer, he witnesses the battlefield as we would, and reacts to the discovery of Nazi atrocities much like we would too. The next most interesting storyline is Lottie’s story: as a female cellist stuck in Berlin as the two armies converge on their ultimate objective, she’s the viewpoint by which we witness the city being bombed in submission. Finally, the third storyline is a young Soviet Soldier’s perspective as he fights his way to Berlin. Some readers will probably find this to be the book’s strongest storyline, but it just seemed dull compared to the more immediate plights of the two others.

    Yet, The End of War does a good job at telling the story leading up to the last few days of the European front. The historical credibility of the novel is high thanks to the depth of research demonstrated by the details of the narrative. But what’s even more effective is Robbin’s ability to convey the lassitude of the characters involved in the events. The endgame is as much a matter of endurance as of might, and the fatigue that permeates everyone’s decisions is palpable.

    History buffs will undoubtedly devour The End of War as a compelling war story. There is a lot of material packed in those five hundred pages. While not stories here are as equally compelling, they all add up to an impressive historical portrait. It’s another splendid effort by Robbins; maybe not as memorable as the very personal sniper duel in War of the Rats, but impressive in its own right.

  • The Hours (2002)

    The Hours (2002)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Shameless Oscar-bait film that would be wholly unremarkable if it wasn’t for the acting talent and the self-conscious focus on time-tested critic-nip. Throw together a cast of self-destructive characters, edit between multiple storylines, throw in a few soliloquies about the nature of life and you’ve got yourself a nice little package “for your consideration.” Fortunately, the film isn’t as dull or preachy as it may sound, and despite the deliberate nature of the material, it’s not completely dull. In fact, there is a lot to like here, from a shared willingness of the actors to suffer for their part (Oscar lust will do that to you) to a dazzling structure that hops between three eras and a dozen characters. While your sympathy for self-destructive suicidal characters may run low, The Hours offers a bit more than that and may actually be worth a look.

  • Frida (2002)

    Frida (2002)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) I don’t know much about Frida Kahlo, and so I suspect that much of the film’s content was lost on me. On the other hand, I can testify that it does a credible job at telling her story. Salma Hayek hits a career high with this role which takes her from teenhood to old age in a fairly smooth fashion. (Plus, we get to see her naked and nude) The script is all right, but what makes the film come alive is Julie Taymor’s direction, which attempts to give to the film the style of Kahlo’s paintings. Some of the symbolism is a touch too obvious (the butterflies on her full-body cast… awww…) but don’t worry; there’s plenty of story to enjoy too. There are a bunch of familiar faces in small roles, from Antonio Banderas to Edward Norton (both uncredited) and Geoffrey Rush.

  • Final Destination 2 (2003)

    Final Destination 2 (2003)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Splatter fans should rejoice, because the most distinguish characteristic of this sequel to 2000’s creepy supernatural thriller isn’t the plot as much as the appalling disregard shown for the human body. In this version of reality, receiving a plate glass window pane on the head isn’t going to give you a fatal cerebral commotion; it’s going to liquefy your body in a mass of reddish organic material. Such gore is commonplace in this movie, which pushes the envelope of its hard-R rating to levels seldom seen nowadays. On one hand, I’m sort of glad to see that the film doesn’t wuss out. On another, even the jaded moviegoer that I am isn’t terribly compelled to encourage this gratuitous school of schlock cinematography. It doesn’t help that the story is a thin re-tread of the original. But whereas the previous film had a nasty little unnerving focus, this one feels looser and filled with nonsensical plot holes. (Why should a suicide attempt fail while another one succeeds?) The tone of the sequel may be more consistent compared to the first film’s shifting atmosphere, but there’s something distasteful in the Grand Guignol level of so-called humorous gore shown here. It’s even out-of place with the showcase sequence of the film, a horrific traffic accident that will make everyone’s teeth grit together for several continuous minutes: There are plenty of spectacular explosions and crashes, but scarcely any enjoyment in seeing dozen of people being graphically dismembered. Oh well; at least the movie kills off some unexpected victims. This is one for the gore fans; you know who you are. I don’t think we need a third film, though.

  • Dark Blue (2002)

    Dark Blue (2002)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Corrupt cops are a dime a dozen in movies, but we should be so lucky as to have them played by Kurt Russell! His take on a cop whose sense of justice doesn’t stop at legal technicalities is one of the best things he’s done in years. The story isn’t terribly original (the similarities of Training Day may stem from the fact that both scripts were written by the same person), but it carries itself ably up to the third act, which is brought down by a hideous coincidence, a gratuitous “big speech” ending and a lack of resonance with 1992’s L.A. riots. Dark Blue isn’t a film that’s going to be remembered a few years from now, but it’s decent enough entertainment; the type of thing you see on late-night TV and watch with a vaguely satisfying impression. There’s real fun in seeing an unorthodox police investigation produce some results and, as mentioned, seeing Kurt Russell in a meaty role for once.

  • The Third Option, Vince Flynn

    ByChristian Sauvé Book Review

    Pocket, 2000, 402 pages, C$10.99 mmpb, ISBN 0-671-04732-9

    Vince Flynn’s first thriller, Term Limits, was a provocative thriller in which super-patriot terrorists began killing corrupt politicians. While the novel later settled for a very disappointing conclusion closer to what we’d call “the usual thriller”, it was an original debut from a writer with potential. Flynn once again delivered the goods with Transfer of Power, a by-the-number hostage thriller in which the White House was taken over by Middle Eastern terrorists. Despite familiar plot mechanics, it was a decent enough novel with enough dynamic energy to make it interesting.

    Sadly enough, Flynn’s third outing displays none of the interest and most of the flaws of his previous efforts. It’s dull, pointless and reminiscent of the type of so-called “thrillers” churned out by Robert Ludlum in his most featureless period.

    There isn’t even a decent hook to draw us in. Once again, an American secret operative is double-crossed and left for dead. Naturally enough, he’s barely wounded and vows revenge on whoever betrayed him. There are friends in high places, enemies in equivalent positions and high-level political intrigue. Our hero is forced to flee, infiltrate, attack and punish. All of which has been done before in much more interesting stories.

    Worse; in The Third Option (which refers to “special” intelligence work, once diplomacy and military force are no longer practical), Flynn explicitly brings back characters from his previous two novels. Super-agent Mitch Rapp is back as the protagonist (along with his girlfriend, with predictable plot developments) and Congressman Michael O’Rourke follows up from the events of Term Limits.

    The biggest problem with continuing series is that it robs the reader of a sense of unpredictability. While this is acceptable -even comforting- in some genres such as the mystery genre (see Robert B. Parker’s Spencer series), it’s not an option in the thriller genre. Here, part of the pleasure of reading is in not knowing what can happen at a very high level. The president can be assassinated; a city can be incinerated; conspiracies can be uncovered; protagonists can die. Here, the stakes become correspondingly smaller. The magnitude of the thrill is reduced by built-in constraints. Any writer tempted to write, as Flynn is doing, “a series of political thrillers” would be advised to reconsider. (This goes double for editors trying to sell this stuff.)

    The Third Option‘s conclusion is a splendid example of how series can hamper the thrills; all of our protagonists survive and some of the villains are caught while the bigger villains escape to strike another day, much like in any bad cartoon made for children. Thrills? Slight. Memorable impressions? Even slighter. Worse; the novel is padded, drawing out the unsatisfying conclusion. Some of the political manoeuvring is implausible even for a guy stuck in Ottawa, a fatal blow to a so-called serious “political thriller”.

    To be entirely fair, it’s impossible to know at this point what Flynn has in mind for his series. Is it all leading up to a concluding tome which will kill the whole cast and send Washington in orbit? Maybe. In the meantime, though, does it mean his readers are going to be teased at every “thrilling” instalment waiting for something to happen? Why should their pay money and waste their time for this dubious privilege?

    As it stands now, The Third Option is a setback for anyone paying attention to Flynn’s career. He’s not a terribly gifted writer on a technical level, so the success of his books tends to depend a lot on the plotting. Consequently, he can’t manage to hold any interest in a very average third novel. Worse; chances are that he’s managed to make anyone very indifferent to the prospect of a fourth one.

  • Daredevil (2003)

    Daredevil (2003)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Marvel Comics’ recent run of decent movie adaptations continues, though Daredevil isn’t much more than decent. The problem isn’t to be found in the built-by-numbers story or the lead cast: While Ben Affleck, Jennifer Garner and Michael Clarke Duncan are a touch bland but okay, Colin Farrell steals the show with one of the most delightfully over-the-top villains in recent history. Nope, the problems are concentrated in the choppy editing, the nervous direction and the lack of oomph. Resemblances are easy to see with Spider-Man, up to a point where it’s possible to worry that comic superheroes movies will all pretty much have the same trauma/story setup. Still, this is darker than usual, though the film chickens out near the end when comes the time to seal some characters’ fate. I was very disappointed at some of the so-called action sequences, which were often over-edited in a choppy mess. (The bar fight is a prime example of this). Some of the operational details of Daredevil’s lifestyle are also sadly unexamined, though some of it may be left in the rumoured 25 minutes of cut footage. What can’t be fixed though more footage, though, is the soundtrack which is already dated “Summer 2002” by its overuse of RIAA-approved rock bands cloned from Creed genes. Still, I’m not complaining too much; as comic book movies go, this is still one of the good ones, and even if it’s lacking, it’s not completely awful. It’ll do.

  • Cradle 2 The Grave (2003)

    Cradle 2 The Grave (2003)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Well, that was fun. Some will argue that the best part of the film is the opening heist sequence. I’ll disagree in a moment, but said lightning-fast sequence certainly sets the breakneck rhythm of the film. The result may be moronic beyond measure, but at least it moves quickly enough that you won’t have time to reflect on the problems until after the film is over. (Thanks to a funny sequence that plays over the credits, that means that the moment of reckoning takes place after all is done.) The biggest strength of Cradle 2 The Grave (don’t look for a relation between this title and the film) is how it doesn’t solely depends on Jet Li and DMX as the protagonists, but assigns a lot of time to a bunch of highly amusing sidekicks. There are a few good action sequences, the best of which involves a chase between police cars and an All-Terrain Vehicle: it’s a lot more fun than you’d think it would be. Alas, this chase is better than the scattered ending, which gracelessly cuts between three or four underwhelming action sequences. Overall, Cradle 2 The Grave is a fun little action film, probably the best American film Jet Li has been in (it is not, however, Jet Li’s best performance in a stateside movie given the lack of material he’s got to work with here.) Gabrielle Union fans will be pleased to note that she not only turns in a fine performance here, but she also does a strip-tease. As if you needed any other reason to see the film…

  • 25th Hour (2002)

    25th Hour (2002)

    ByChristian Sauvé Movie Review

    (In theaters, February 2003) Spike Lee detractors might be pleasantly surprised with this film, a low-key drama that feels like his least militant, yet most mature work to date. Actor demi-god Edward Norton stars as a convicted drug dealer spending one last day of freedom before heading to prison for seven years. Naturally, several plot lines come together during that last day as he says good-bye to family, friends and, er, “business acquaintances”. The rhythm is tepid, but handled nicely; there’s seldom a dull moment. It all builds to a strong conclusion, but a few set-pieces overshadow the narrative arc: an uninterrupted conversation over the wreckage of Ground Zero; a joyfully incorrect sequence in which Norton swears at New York’s population; a last-minute fantasy that threatens to cheapen the whole film. But it all holds together in an intriguing drama. Part of it we’ve seen before (Philip Seymour Hoffman’s arc is duller than his character), but most of it is intriguingly new; how do you say goodbye for seven years, maybe forever? The cast is up to the subtlety of the material, with particular kudos to Barry Pepper as a friend whose tough-love rhetoric hides profound guilt. (Also, Rosario Dawson has seldom looked better.) This is the first film to confront the post-World Trade Center New York City, and if some shots feel gratuitous, at least it hasn’t shirked away from the challenge. All and all, it’s a solid film, worth a look without being spectacular.

  • Tomorrow Now, Bruce Sterling

    ByChristian Sauvé Book Review

    Random House, 2002, 320 pages, C$37.95 hc, ISBN 0-679-46322-4

    Anyone who’s been following Science Fiction over the last decade knows that Bruce Sterling is The Man. Since 1992, he has produced an impressive series of solid, cosmopolitan, cutting-edge stories. He writes with a degree of originality and complexity that is seldom seen amongst his contemporaries. At a time when SF is massively retreating back on its past glories, Sterling dares to look in our current future and write delightfully energetic Science-Fiction. He’s one of the best, if not the best SF writer today.

    His latest non-fiction book, Tomorrow Now is a reflection of the abilities that have propelled him to the top. Sterling has grown up, and this book demonstrates it. Billed as “envisioning the next fifty years”, this book is more akin to a wide-ranging lecture on a variety of subject.

    It’s loosely structured around Shakespeare’s “Seven Ages of Man” (as outlined in As You Like It) First on the list is “The Infant”, along with a discussion of the possibilities of biotechnology. Standard futurist stuff, though with an emphasis on the disturbingly sceptic feel these innovations will take. The rest of the book is as much about now as it is about tomorrow. “The Student” looks at today’s innovation in education through the Internet while “The Lover” examines technology made “lovable” through personalization. In both cases, Sterling isn’t predictive as much as he studies what is happening today.

    This impression strengthens in Chapter 4, “The Soldier”, as it reads like a Wired article describing the careers of three unorthodox military leaders. The portrait is fascinating; chances are that even though all three have lived and fought during the 1990s, you’ve never heard their names. And yet, taken together, these three show the way towards a future type of warfare. “The Soldier” may be the book’s most interesting chapter. It clearly shows where Sterling got his ideas for his previous novel Zeitgeist, uncovers a facet of recent history few of us even know about and manages to spin it in a blueprint for the next few decades.

    But Sterling also stretches his scope outside simple prediction. In “The Justice”, he discusses the growing complacency of government and becomes a political theorist. In “The Pantaloon”, he tackles economic matters and mentions his invitation to the Davos World Economic Forum with a proper degree of humility. (“If I were to cut and paste my latest 1040 tax form onto the page here, it would be far worse and more shocking that posting nude pics of myself on the Internet.” [P.216]) Finally, in “Mere Oblivion”, he muses on the environment and the dangers of global warming.

    All in all, it’s fantastic reading even if he doesn’t always deliver on what we may expect from a “book of predictions.” Tomorrow Now may meander and end up being too short, but there’s no denying that it’s a new-thought-a-minute, two-quotes-a-page peek in the mind of a genius.

    The only thing that really annoyed me about Tomorrow Now is the physical object itself. Published as a stunted hardcover scarcely bigger than a regular paperback, Tomorrow Now‘s presentation feels a lot like an attempt to camouflage a short book as something worth 40$. Granted, the calibre of the ideas contained therein is certainly a cut above the usual hardcover, but it still doesn’t make up for the perceived loss in value. I’m still glad I sent some money in Sterling’s pocket, but readers without my generous book-buying budget may want to borrow this one at the library… or wait for the paperback edition. I also hated the translucent cover and the title-less design of the dust jacket… but that’s just me.

    Despite the above caveat, I’d be remiss if I didn’t suggest that this is a book that deserves to be read. Despite the often-frustrating rambling and dodgy structure, there is a lot of material here for Sterling fans, think-tanks, techno-geeks, SF writers and anyone else interested in what a fun guy like Sterling may have in mind. As he points out, “you don’t want a free author in your house” [P.230] but Tomorrow Now is the next best thing. Fans of the authors are free to ponder one thing: much as his previous non-fiction book The Hacker Crackdown marked a significant shift in his fiction, what will happen after Tomorrow Now?