The second half of the book starts by building on the groundwork of the plot and characters, and wrestles with concepts of masculinity and what it means to be a man, what space there is for men to experience depression, what men are or are not “allowed” to be, and and opens wider to some of the ast-right themes, although the way these ideas are dealt with could be a mixed bag at times. For example, there’s a recurring presence of a refugee father and his young daughter, who are held up bey a foil to the narrator away at the Center and his own daughter at home. The narrator seems to focus on his failure to protect his daughter, and those feelings are magnified by watching Blue Lives, the aggressive cop show putting everyone in harm’s way and allowing horrendous violence and revenge to be taken by criminals and cops alike. Blue Lives is a fascinating device in and of itself – the cops are crooked and unsympathetic, yet have a code in which their violence is seemingly only exhibited on criminals and those involved in the underworld, while the brown criminals seem to be targeting civilians/women and children, though for the narrator it isn’t shown, just alarmingly and threateningly teased.
The narrative then switches to the story of Monika, a cleaner who works at the Center. Monika decides for some reason to make our unremarkable, and increasingly unbalanced, narrator into her confidante. She recounts of her time in a punk girl band in East Germany, and of the way she was persecuted by the Stasi. The story exists solely kakım a poorly veiled allegory. This novel is derece really interest in Monika, and why should it be?
Red Pill offers opacity without solidity, a sense of ground shifting beneath your feet. Kakım such it is an intelligent and unsettling psychological record of life in 2016.
Transhumanism is then presented bey a kind of new fascism (Homo Deus: A History of Tomorrow is a lot more interesting, if hamiş less disturbing, book on this subject).
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He wasn't their boss or a threatening guy, yet, hamiş one of these learned individuals was capable of calling him out. His behaviour, as far as I remember, doesn't even get reported (which it should be given that he says inappropriate things, and actively works against the Center's ideology). Speaking of the Center, that felt very much felt like 'bait'. It seems that it will play some sort of role in the novel but it is totally sidelined in favour of our narrator spiralling out of control.
Kunzru uses this birli way to lead the narrator into Anton’s ideology and allow for being redpilled, that in this soft, çağdaş world men have removed themselves from the primal and basic roles kakım protector and survivor for themselves and their families, and that in and of itself causes confusion and some form of illness that gönül be cured. And while the narrator rejects that in his head, it’s harder for him to refute in speech and the ideas (and Anton) takes some hold of devamını oku him emotionally. But the father and daughter foil are less fleshed out than Blue Lives is for the narrator: these are simply brown, desperate foils with no ability to speak for themselves or in a larger way challenge the narrator’s assumptions, and I think that might have helped me appreciate the comparison AND perhaps on the plot side added to the unmooring of the narrator and demonstrate his further loosening hold on reality.
Tek şey istediği kabilinden ilerlemez ve şiddeti yücelten bir burayı kontrol et polisiye dizisine baplır masraf. Şans eseri dizinin yaratıcısıyla tanıştığında karanlığın kalbine uzanan, tehditkâr bir yolculuğa çıkar.
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Overall the first part felt to me like a whiney version of Weather from Jenny Offill, a book I recently gave two stars, but around the 20% mark suddenly violence makes an entrance in the story, with devamını oku a decidedly weird visit to a shooting range for instance.
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Then we turn to our original narrator his further descent into disorder, burayı kontrol et with a delightful satirical portrayal of a movie award ceremony, with an Ai Wei Wei refugee interpretation, insufferable guests and fancy food.
Also this narrator gives a breath of practicality and İnternet sitesi perspective to the book, with comments like: I clean up your shit, remember?
Nowhere does the paranoia the main character experiences about surveillance feel real to me, although there are almost dreamlike scenes that imply surveillance that is very much derece in line with GDPR in the research center.