Back The Gold Coast
Chapters (90)
  1. Title Page
  2. Copyright Notice
  3. Contents
  4. Maps
  5. Chapter 1
  6. Chapter 2
  7. Chapter 3
  8. Chapter 4
  9. Chapter 5
  10. Chapter 6
  11. Chapter 7
  12. Chapter 8
  13. Chapter 9
  14. Chapter 10
  15. Chapter 11
  16. Chapter 12
  17. Chapter 13
  18. Chapter 14
  19. Chapter 15
  20. Chapter 16
  21. Chapter 17
  22. Chapter 18
  23. Chapter 19
  24. Chapter 20
  25. Chapter 21
  26. Chapter 22
  27. Chapter 23
  28. Chapter 24
  29. Chapter 25
  30. Chapter 26
  31. Chapter 27
  32. Chapter 28
  33. Chapter 29
  34. Chapter 30
  35. Chapter 31
  36. Chapter 32
  37. Chapter 33
  38. Chapter 34
  39. Chapter 35
  40. Chapter 36
  41. Chapter 37
  42. Chapter 38
  43. Chapter 39
  44. Chapter 40
  45. Chapter 41
  46. Chapter 42
  47. Chapter 43
  48. Chapter 44
  49. Chapter 45
  50. Chapter 46
  51. Chapter 47
  52. Chapter 48
  53. Chapter 49
  54. Chapter 50
  55. Chapter 51
  56. Chapter 52
  57. Chapter 53
  58. Chapter 54
  59. Chapter 55
  60. Chapter 56
  61. Chapter 57
  62. Chapter 58
  63. Chapter 59
  64. Chapter 60
  65. Chapter 61
  66. Chapter 62
  67. Chapter 63
  68. Chapter 64
  69. Chapter 65
  70. Chapter 66
  71. Chapter 67
  72. Chapter 68
  73. Chapter 69
  74. Chapter 70
  75. Chapter 71
  76. Chapter 72
  77. Chapter 73
  78. Chapter 74
  79. Chapter 75
  80. Chapter 76
  81. Chapter 77
  82. Chapter 78
  83. Chapter 79
  84. Chapter 80
  85. Chapter 81
  86. Chapter 82
  87. Chapter 83
  88. Acknowledgments
  89. By Kim Stanley Robinson from Tom Doherty Associates
  90. Copyright

Back at work in the First American Title Insurance and Real Estate Company, back at work in his night classes, Jim finds he cannot keep Sheila Mayer and her jigsaw puzzles from his mind. Now it’s the principal element of the uneasiness that oppresses him. And he can’t escape it.

Hana is still working hard, she has no time. Hana is working, he is not.

Finally, impelled to it, he sits at his computer and stares at the screen. He’s got to work, to really work, he’s got to. Tonight it’s as much an escape from his life, from his uneasiness, as anything else. But any motive will do at this point.

He thinks about his poetry. He considers the poetry of his time. The thing is, he doesn’t like the poetry of his time. Flashy, deliberately ignorant, concerned only with surfaces, with the look, the great California image, reflected in mirrors a million times.… It’s postmodernism, the tired end of postmodernism, which makes utterly useless all his culturevulturing, because for postmodernism there is no past. Any mall zombie can write postmodern literature, and in fact as far as Jim can tell from the video interviews, that’s who is writing it. No, no, no. He refuses. He can’t do that anymore.

And yet this is his time, his moment; what else can he write about but now? He lives in a postmodern world, there is no way out of that.

Two of the writers most important to Jim wrote about this matter of one’s subject. Albert Camus, and then Athol Fugard, echoing Camus—both said that it was one’s job to be a witness to one’s times. That was the writer’s crucial, central function. Camus and the Second World War, then the subjugation of Algeria—Fugard and apartheid in South Africa: they lived in miserable times, in some ways, but by God it gave them something to write about! They had something to witness!

While Jim—Jim lives in the richest country of all time, what’s happening man, nothing’s happening man.… Jack-in-the-Box is faster than McDonald’s!

My Lord, what a place to have to be a witness to.

But how did it get this way?

Hmm. Jim mulls that over. It isn’t really clear, yet; but something in that question seems to suggest a possible avenue of action for him. An approach.

But that brings up a second problem: it’s all been done before.