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As in his previous novel, Gibson abandons the futuristic dystopias that have sustained most of his career, picturing instead a dystopic present--specifically, a post-9/11 America, which, in thrall to ubiquitous media and vague threats of annihilation, has "developed Stockholm syndrome toward its own government." The convoluted and politically insistent plot involves a missing shipping container, a former rock star, a Cuban-Chinese crime-facilitating family, and an ...