It was pure luck that a Time Warner journalist ran into<br >a Time Warner executive at a redwood retreat 70 miles<br >north of San Francisco. It was also bad luck, at least for the<br >journalist. The Time Warner executive threw him out.<br > You see, it wasn t just any retreat. The chance meeting<br >occurred at the exclusive, super-secret Bohemian Grove<br >where the old boys of America s government and corporate<br >elite gather each summer for two weeks of laid-back<br >schmoozing and speechmaking, not to mention the club s<br >mock-Druid fire rituals.<br > And it wasn t just any journalist. Dirk Mathison was,<br >until recently, the enterprising San Francisco bureau chief of<br >People magazine, owned by Time Warner. An uninvited<br >guest (reporters are banned from Bohemian Grove), Mathi-<br >son hiked over back-country trails to sneak into the Grove s<br >July 1991 "encampment" three different times. The third<br >time was no charm for Mathison: that s when he ran into the<br >Time Warner executive who recognized him and tossed<br >him out.<br > Mathison had already learned a lot. Contrary to the<br >claims of the Grove, Mathison saw that the male-only re-<br >treat is not just innocent summertime relaxation. Newswor-<br >thy events occur there. Former Secretary of the Navy John<br >Lehman, for example, gave a lecture in which he stated that<br >the Pentagon estimated 200,000 Iraqis were killed during<br >the six weeks of the Gulf War. The Pentagon believes the<br >public is not ready to hear the death count; among friends,<br >Lehman felt no need to go dumb on the subject. The title of<br >his speech: "Smart Weapons."<br > Other speakers included Defense Secretary Richard<br >2<br >The Media Elite<br >Cheney and former Health, Education and Welfare S~<br >tary Joseph Califano, speaking on "America s Health R<br >lution--Who Lives, Who Dies, Who Pays." For<br >Attorney General Elliot Richardson titled his speech "D~<br >ing the New World Order." That definition is sough<br >millions of Americans, but the speech wasn t aired ol<br >SPAN.<br > Expecting to read all about it in People? Don t cour<br >it. Even though Mathison embarked on the Boher<br >Grove story with his editors approval, and even thc<br >Mathison says his article was so well received that e<br >space was alloted for it, the story was mysteriously kilh<br > People s managing editor told our researchers<br >while he had authorized Mathison to infiltrate the Grow<br >later killed the piece (denying any input from Time Wa<br >higher-ups) after realizing that he had authorized "tresf<br >ing."<br > Mathison believes the reason People editors spikec<br >story "had to do with their bosses, not mine." He warne<br >we might never pin down the full explanation: "It s easi,<br >penetrate the Bohemian Grove than the Time-Life Bt<br >ing."<br > One need not penetrate the Time-Life Building to<br >ize what this episode says about journalism today. It tel<br >how difficult it can be for journalists to report full}<br >America s political and economic elite when their bosse<br >loyal members of that elite.<br > Every year at Bohemian Grove, media executives 1<br >nob with newsmakers. Walter Cronkite, for example<br >sides at the same lodge at the Grove as George Bush.<br >media figures enter into a pact of silence, agreeing thai<br >Grove--whose membership has included every Republ<br >president since Coolidge, and on whose premises presi~<br >tial campaigns were fueled and the Manhattan (A-bc<br >Project ~oncefved--is off-limits to news coverage.<br > <br ><br >
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这本书的语言风格,说实话,初读时有些晦涩,但一旦适应了那种独特的韵律感,便会发现其中蕴含的巨大魔力。作者似乎偏爱使用长句和嵌入式从句,使得信息的密度非常高,每一个句子都像是精心打磨过的宝石,闪烁着多重含义。它不像市面上流行的快餐式小说那样直白,更像是某种晦涩的诗歌散文与硬科幻元素的奇异结合。我特别留意了书中对环境和感官体验的描述,比如对“声波污染”的描绘,那种听觉上的压迫感几乎要穿透纸面直达读者的耳膜。这种对感官细节的极致追求,成功地将读者从现实抽离,完全沉浸到那个虚拟搭建的场域中。而且,角色间的对话充满了张力,他们很少直接点明主题,更多是通过潜台词、隐喻和彼此间的沉默来推进情感和情节的发展,这对读者的理解能力提出了很高的要求,但回报也是丰厚的——当你终于破解了某段看似无意义的对话背后的深层含义时,那种“顿悟”的感觉是无与伦比的。这绝对是一本需要反复重读才能品出其中真味的佳作。
评分从结构上看,作者采用了多视角叙事,而且视角之间频繁切换,没有明确的标识,完全依赖于文本的语境和情绪的转变来区分。这种手法在初期制造了相当大的阅读障碍,我好几次需要回溯前几页,确认现在到底是谁的眼睛在观察这个世界。然而,一旦适应了这种“万花筒”式的视角转换,你便能感受到作者的匠心所在——通过不同的眼睛去观察同一个事件,揭示了“真相”的相对性和主观建构性。比如,同一个地标性建筑,在官方记录者眼中是秩序的象征,而在底层反抗者眼中却是压迫的图腾。这种对立和交织,使得叙事本身成为一种对权力结构和信息控制的批判。书中关于时间流逝的哲学思考也令人印象深刻,它探讨了在高度技术化的社会中,人类对“线性时间”的传统认知是如何被解构和重塑的。总的来说,这本书的结构设计大胆前卫,成功地在形式上挑战了传统小说的范式。
评分这本书的社会批判性是毋庸置疑的,但它高明的地方在于,它没有采用说教式的口吻,而是将那些尖锐的问题巧妙地融入到角色的日常琐事和情感纠葛之中。让我印象最深的是对“身份焦虑”的描摹,在那个设定中,个人的价值似乎完全取决于其数字化的评分和公开记录,真实的情感和私密的挣扎反而成为一种需要隐藏的“漏洞”。主角们在试图维护仅存的人性尊严时,所展现出的那种脆弱和坚韧并存的状态,非常真实可感。我尤其欣赏作者对小人物命运的关注,那些在宏大叙事背景下被忽略的边缘群体,他们的抗争和妥协,构成了故事最动人的底色。读到他们为了争取一点点“存在感”而付出的代价时,那种代入感极强,仿佛亲眼目睹了一场无声的悲剧。这种对“人之所以为人”的探讨,超越了类型小说的限制,触及了非常普世的哲学命题,让人在阅读的兴奋之余,更添一份沉重的反思。
评分这本书的叙事节奏简直像是坐过山车,一刻不停地把你拽入一个又一个光怪陆离的场景中。我得说,作者在构建这个世界的独特性上花了大心思,每一个角落都充满了意想不到的细节,那种饱和度极高的色彩和错综复杂的社会结构,读起来让人既感到新奇,又隐隐有些不安。它不是那种温吞水似的线性故事,更多的是一种碎片化的体验,你得自己去拼凑出事件的完整脉络。尤其喜欢作者处理冲突的方式,不是那种简单的善恶对立,而是将道德的灰色地带描绘得淋漓尽致,让你在合上书页后,还在反复斟酌主角的每一个决定是否真的“正确”。比如,开篇对那个被称为“记忆编织者”的角色的铺陈,其动机的复杂性,远超出了传统文学中对反派的刻板印象。书中对高科技与人性异化的探讨也十分深刻,那种冷峻的笔触,仿佛在预言我们未来某种必然的走向,读起来让人不寒而栗,却又忍不住一页接一页往下翻,生怕错过任何一个微小的暗示。整体而言,这是一部需要读者全身心投入才能真正领略其魅力的作品,绝非茶余饭后的消遣之物。
评分这本书的想象力储备简直是取之不尽用之不竭的,尤其是对那个未来世界的科技设定,细节的丰富程度令人咋舌。它不是那种空泛地提到“未来科技”就了事,而是深入到每一个技术细节的运作逻辑和对社会伦理的影响。比如,关于“记忆备份与植入”的描写,作者不仅阐述了其技术原理,更深入挖掘了当记忆不再是个人独有资产时,个体认同感将如何瓦解。这种对技术细节的扎实处理,让整个故事背景显得无比可信,即便内容再是天马行空,读者也愿意相信“在这个世界里,事情就是这样运作的”。而且,作者在处理情感戏份时也保持了相当的克制和高级感,男女主角之间的关系发展,并非建立在俗套的误会或激情之上,而是基于对共同困境的理解和默契,充满了知识分子式的疏离和深刻的共鸣。这本书的整体氛围是忧郁而精致的,它提供了一个逃离现实的窗口,但这个窗口的另一边,映照的却是我们当代社会潜藏的危机和矛盾,看完让人意犹未尽,急切地想知道作者下一部作品会如何延续这种迷人的探索。
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