Cayce Pollard owes her living to her pathological sensitivity to logos. In London to consult for the world's coolest ad agency, she finds herself catapulted, via her addiction to a mysterious body of fragmentary film footage, uploaded to the Web by a shadowy auteur, into a global quest for this unknown 'garage Kubrick'.
Since 1948 Gene Wolfe once said that being an only child whose parents are dead is like being the sole survivor of drowned Atlantis. There was a whole civilization there, an entire continent, but it's gone. And you alone remember. That's my story too, my father having died when I was six, my mother when I was eighteen. Brian Aldiss believes that if you look at the life of any novelist, you'll find an early traumatic break, and mine seems no exception. I was born on the coast of South Carolina, where my parents liked to vacation when there was almost nothing there at all. My father was in some sort of middle management position in a large and growing construction company. They'd built some of the Oak Ridge atomic facilities, and paranoiac legends of security at Oak Ridge were part of our family culture. There was a cigar-box full of strange-looking ID badges he'd worn there. But he'd done well at Oak Ridge, evidently, and so had the company he worked for, and in the postwar South they were busy building entire red brick Levittown-style suburbs. We moved a lot, following these projects, and he was frequently away, scouting for new ones. It was a world of early television, a new Oldsmobile with crazy rocket-ship styling, toys with science fiction themes. Then my father went off on one more business trip. He never came back. He choked on something in a restaurant, the Heimlich maneuver hadn't been discovered yet, and everything changed. My mother took me back to the small town in southwestern Virginia where both she and my father were from, a place where modernity had arrived to some extent but was deeply distrusted. The trauma of my father's death aside, I'm convinced that it was this experience of feeling abruptly exiled, to what seemed like the past, that began my relationship with science fiction. I eventually became exactly the sort of introverted, hyper-bookish boy you'll find in the biographies of most American science fiction writers, obsessively filling shelves with paperbacks and digest-sized magazines, dreaming of one day becoming a writer myself. At age fifteen, my chronically anxious and depressive mother having demonstrated an uncharacteristic burst of common sense in what today we call parenting, I was shipped off to a private boys' school in Arizona. There, extracted grub-like and blinking from my bedroom and those bulging plywood shelves, I began the forced invention of a less Lovecraftian persona - based in large part on a chance literary discovery a year or so before. I had stumbled, in my ceaseless quest for more and/or better science fiction, on a writer name Burroughs -- not Edgar Rice but William S., and with him had come his colleagues Kerouac and Ginsberg. I had read this stuff, or tried to, with no idea at all of what it might mean, and felt compelled - compelled to what, I didn't know. The effect, over the next few years, was to make me, at least in terms of my Virginia home, Patient Zero of what would later be called the counterculture. At the time, I had no way of knowing that millions of other Boomer babes, changelings all, were undergoing the same metamorphosis. In Arizona, science fiction was put aside with other childish things, as I set about negotiating puberty and trying on alternate personae with all the urgency and clumsiness that come with that, and was actually getting somewhere, I think, when my mother died with stunning suddenness. Dropped literally dead: the descent of an Other Shoe I'd been anticipating since age six. Thereafter, probably needless to say, things didn't seem to go very well for quite a while. I left my school without graduating, joined up with rest of the Children's Crusade of the day, and shortly found my self in Canada, a country I knew almost nothing about. I concentrated on evading the draft and staying alive, while trying to make sure I looked like I was at least enjoying the Summer of Love. I did literally evade the draft, as they never bothered drafting