给国王的全息图

Martina Sciolino
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Clay's fate parallels America's in the era of globalised techno-capital, its great age as a superpower supported by domestic production and national economic agency decidedly past. In the end, Clay remains in the UAE, hoping to be repatriated in a city that doesn't yet exist. He is the very subject of multinational business, with no real home, no determinate national base. Thus Clay represents American industrialism that has literally lost its place in the world's economy. He seems virtual, the eponymous hologram, no more American the golden arches or any other multinational brand (such as the Schwinn bicycles he once sold, lost to outsourcing and finally to China). On the other hand, Clay (as his name suggests) is constituted by earth, however pliable. Indeed, like the absurd but realisable city King Abdullah builds on earth that can hardly support it, Clay is a paradox.Egger's postnationalist theme displaces rather than foregrounds environmental concerns. While the novel includes careful descriptions of the mountainous land around Jeddah, the coast where the new city is in being built, the desert in between, all appear as an uncanny frontier where the American cannot adapt. No one can because the enthusiastic creation of all-you-can-eat markets promote blatant disregard for human and environmental wellbeing. Unfortunately, when Egger addresses the division of the virtual and biotic, he does so with romantic asides that maintain their separation. Nature, here, provides a romantic counternarrative to the story of economic progress: 'The work of man is done behind the back of the natural world. When nature notices, and can muster the energy, it wipes the slate clean again.' This Ozymandian mystique obscures the premodern history of coexistence between bioregion and human lifeways. The only past the novel really concerns itself with is Clay's, with its domestic post WW II trajectory leading directly to the Middle Eastern present.Hologram sounds the death knell of American exceptionalism as the late petroleum economy and the information age move the action decidedly away from a North American centre. The American Dream defined by immigration to American shores has itself become an export, many times removed. At one point, the novel describes a sandal merchant whose goods seem indigenous but are actually imported from India, where they can be made cheaply enough to earn him a castle, built in what may one day be the suburbs of the Economic City. 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Following Clay's dogged attempt to find business there, the plot presents a series of displacements that show how 'westernisation' no longer exists as such. The proposed city, whose immediate models are eastern, is an obvious sign not of western imperialism, but of globalisation. Eventually, the contract Clay vies for is finally awarded to a Chinese company (one that has appropriated an American patent). Ultimately, Clay is a deterritorialised American for whom all roads lead east. Clay's fate parallels America's in the era of globalised techno-capital, its great age as a superpower supported by domestic production and national economic agency decidedly past. In the end, Clay remains in the UAE, hoping to be repatriated in a city that doesn't yet exist. He is the very subject of multinational business, with no real home, no determinate national base. Thus Clay represents American industrialism that has literally lost its place in the world's economy. 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引用次数: 3

摘要

戴夫·埃格斯的《国王的全息图》讲述了美国人艾伦·克莱(Alan Clay)的流亡故事,他前往阿拉伯联合酋长国向国王阿卜杜拉(Abdullah)出售正在开发的城市的电信设备。这座被直白命名为“阿卜杜拉国王经济城”的城市将超越迪拜,在规模上展现出无限的雄心,无视人居环境。随着克莱顽强地试图在那里找到生意,故事情节呈现了一系列的流离失所,表明“西方化”如何不再存在。这座拟建城市的直接模式是东方的,它明显不是西方帝国主义的标志,而是全球化的标志。最终,克莱争夺的合同最终被授予了一家中国公司(这家公司盗用了一项美国专利)。归根结底,克莱是一个无疆域化的美国人,对他来说,条条大路东通。克莱的命运与美国在全球化技术资本时代的命运相似,美国作为一个由国内生产和国家经济机构支撑的超级大国的伟大时代显然已经过去了。最后,克莱留在了阿联酋,希望在一个还不存在的城市被遣返。他是跨国企业的主体,没有真正的家,没有确定的国家基础。因此,克莱代表着已经在世界经济中失去地位的美国工业主义。他似乎是虚拟的,与他同名的全息图,不再是美国的金色拱门或任何其他跨国品牌(比如他曾经卖过的施温自行车,后来输给了外包,最后卖给了中国)。另一方面,粘土(正如它的名字所暗示的)是由泥土构成的,无论它多么柔韧。事实上,就像阿卜杜拉国王在地球上建造的荒谬但却可以实现的城市一样,克莱是一个悖论。埃格的后民族主义主题取代了而不是突出了环境问题。虽然小说对吉达周围的山区、正在建设新城的海岸以及中间的沙漠进行了细致的描述,但所有这些都像是美国人无法适应的神秘边疆。没有人能做到这一点,因为热情创造的“吃到饱”市场助长了对人类和环境福祉的公然漠视。不幸的是,当埃格谈到虚拟和生物的分离时,他用浪漫的旁白来维持它们的分离。在这里,自然为经济进步的故事提供了一个浪漫的反叙事:“人类的工作是在自然世界的背后完成的。”当大自然注意到这一点,并能集中精力时,它就会把石板擦干净。”这种奥兹曼式的神秘感掩盖了生物区域和人类生活方式共存的前现代历史。这部小说唯一真正关注的是克莱的过去,他在二战后的国内生活轨迹直接导致了中东的现状。随着石油经济晚期和信息时代的到来,美国的行动正逐渐远离北美中心,全息图敲响了美国例外论的丧钟。移民到美国海岸所定义的美国梦本身已经成为一种出口,很多次被移除。小说中有一处描写了一个卖凉鞋的商人,他的商品看起来是本土的,但实际上是从印度进口的。在印度,这些商品的制造成本很低,足以为他赚到一座城堡,这座城堡有朝一日可能会建在经济城的郊区。与此同时,克莱和他的手下在试图与一个与西方结盟复杂、晦涩、冷漠的民族国家做生意时,经历了一次又一次小小的侮辱。克莱试图让自己置身其中的社会并没有取得多大成功,它也是一个神权社会,在这里,公民权利被贬低为冷战时期最糟糕的噩梦,个人可能在任何时候因为越界(这里指的是宗教禁忌)而被怨恨的对手谴责,但在这里,每个人都能找到一种方式来参加聚会,就像这永远是一个千年的结束,而不是一个新千年的开始。克莱被拖到一个又一个狂欢的酒宴上,在这个国家,饮酒和性行为在最严格的条件下都是非法的。…
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Hologram for the King
Dave Eggers, A Hologram for the King (McSweeney's, 2012)Dave Eggers' A Hologram for the King plots the expatriation of American Alan Clay, who travels to the United Arab Emirates to sell King Abdullah telecommunications for his city in development. The baldly named 'King Abdullah Economic City' would outdo Dubai in its expression of limitless ambition, in size, in defiance of habitat. Following Clay's dogged attempt to find business there, the plot presents a series of displacements that show how 'westernisation' no longer exists as such. The proposed city, whose immediate models are eastern, is an obvious sign not of western imperialism, but of globalisation. Eventually, the contract Clay vies for is finally awarded to a Chinese company (one that has appropriated an American patent). Ultimately, Clay is a deterritorialised American for whom all roads lead east. Clay's fate parallels America's in the era of globalised techno-capital, its great age as a superpower supported by domestic production and national economic agency decidedly past. In the end, Clay remains in the UAE, hoping to be repatriated in a city that doesn't yet exist. He is the very subject of multinational business, with no real home, no determinate national base. Thus Clay represents American industrialism that has literally lost its place in the world's economy. He seems virtual, the eponymous hologram, no more American the golden arches or any other multinational brand (such as the Schwinn bicycles he once sold, lost to outsourcing and finally to China). On the other hand, Clay (as his name suggests) is constituted by earth, however pliable. Indeed, like the absurd but realisable city King Abdullah builds on earth that can hardly support it, Clay is a paradox.Egger's postnationalist theme displaces rather than foregrounds environmental concerns. While the novel includes careful descriptions of the mountainous land around Jeddah, the coast where the new city is in being built, the desert in between, all appear as an uncanny frontier where the American cannot adapt. No one can because the enthusiastic creation of all-you-can-eat markets promote blatant disregard for human and environmental wellbeing. Unfortunately, when Egger addresses the division of the virtual and biotic, he does so with romantic asides that maintain their separation. Nature, here, provides a romantic counternarrative to the story of economic progress: 'The work of man is done behind the back of the natural world. When nature notices, and can muster the energy, it wipes the slate clean again.' This Ozymandian mystique obscures the premodern history of coexistence between bioregion and human lifeways. The only past the novel really concerns itself with is Clay's, with its domestic post WW II trajectory leading directly to the Middle Eastern present.Hologram sounds the death knell of American exceptionalism as the late petroleum economy and the information age move the action decidedly away from a North American centre. The American Dream defined by immigration to American shores has itself become an export, many times removed. At one point, the novel describes a sandal merchant whose goods seem indigenous but are actually imported from India, where they can be made cheaply enough to earn him a castle, built in what may one day be the suburbs of the Economic City. Meanwhile, Clay and his staff experience one minor indignity after another attempting to do business with a nation state whose alliances are complex, obscure, and indifferent to the west.The society Clay tries to immerse himself in, with not much success, is also a theocracy where civil rights are reduced to the worst nightmares of the Cold War, wherein individuals may be denounced by resentful rivals to the state at any time for transgressions (here, religious taboos), but where everyone who can finds a way to party like it's always the end of a millennium rather than the start of a new one. Clay is dragged to one orgiastic bacchanal after another, in a country where drinking and sex outside the strictest possible terms are both illegal. …
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