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76 WORLD LITERATURE TODAY reviews Story (1960), Jerry reveals that he had been “homosexual” and, from his actions, still is. All but one of the characters in Mart Crowley’s The Boys in the Band (1968) are gay—and the one who claims he isn’t probably is. In the AIDS era, there was Thom Gunn’s collection, The Man with Night Sweats (1992), a threnody for the plague victims that can only be read with pauses for reflection; Michael Cunningham’s novel, The Hours (1998); and especially Larry Kramer’s justifiably angry documentary-style drama, The Normal Heart (1985). An erratum does not lessen my admiration for Bram’s impressive achievement. Bram claims that Gore Vidal’s screenplay about the Dreyfus affairwasneverfilmed.Itwas;themovie was called I Accuse (1958), directed by and starring José Ferrer as Dreyfus. Bernard F. Dick Fairleigh Dickinson University William Gibson. Distrust That Particular Flavor. New York. G. P. Putnam’s Sons. 2012. isbn 9780399158438 When a leading science-fiction author publishes an anthology of essays entitled Distrust That Particular Flavor, one is relieved to find it is not exactly science fact, nor another book on weight loss or “dietics.” In spite of the promotional description on the inside flap, neither is the book a systematic guide to our times. William Gibson, the godfather of “cyberpunk,” entertains with twentysix pieces, written during a thirty-year span, often in response to requests to say “something interesting.” As different as they are in subject matter, a kind of skeptical humanism—the “Distrust” factor—provides a unifying thread. A human being emerges from inside the author. Each essay is prefaced by a blue title page and dated, making even the most searching critiques of Singapore (a technological totalitarian society) or Japan (a society of solitude and small spaces) possibly fictitious. One understands why Gibson likes Borges. The human who emerges is framed in two pictures: one of a lanky student lounging on a leather (or vinyl) sofa with a girl friend who presumably became his wife. It’s the 1970s and, as my father would say, “The boy needs a haircut.” A second color photo on the back cover features a short-cut gray head, rimless glasses, eyes focused on the camera lens in all seriousness. Also framing are green endpapers decorated with childish cartoons of this head, entitled “iPad Portraiture.” Paged between the pictures and cartoons is the progress of a human and an author: the process of becoming a writer, of constituting a self from pieces of experience, of Steely Dan and film, from Disney to Takeshi Kitano, of reflecting on the Internet that he early imagined as cyberspace. What emerges is a fascination with small objects—a perfect spherical ball, an antique watch purchased on eBay—that dates back to his earlier hand-to-mouth days, when he was a “picker,” on the lookout for what might be “collectable” from Salvation Army shops and garage sales. Gibson is still a sort of hunter -gatherer, storing up images of manga-dressed teens and anticancer “charms” on cell phones in Japan, of objects in a Soho shopwindow, of film sets in Toronto; at the same time he imagines objects and characters that might appear on a page. A purely creative self seems represented by the figure of “Garage Kubrick,” an urban hermit who builds digital landscapes almost from nothing. Certainly that dream touches his own goal of detailing realities the reader never quite grasps, even while the reader believes in them. The essays help one see how science fiction builds on the present, how Gibson ’s fiction replicates postmodern experience, especially the “endless digital Now” of the younger generation , who will someday simply and naturally interact with an environment of many smart tools and interfaces , replacing the screens large and small that presently hold us captive. W. M. Hagen Oklahoma Baptist University I Lived on This Earth: Hungarian Poets on the Holocaust. George Gömöri & Mari Gömöri, ed. London. Alba. 2012. isbn 9780952760511 The contents of this handsome and moving book are summed up on the back cover: Jewish and non-Jewish Hungarian poets express their thoughts on the Holocaust, which— apart from death camp...

Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.