The Savage Girl - Alex Shakar [67]
And in the case of the few readily recognizable products, the ubiquitous tags serve only to defamiliarize. Thus a Burt Bacharach CD is tagged This Is Not Camp. Irony Is beside the Point. A key chain of the Pokémon character Pikachu is labeled I Am Your Aborted Child. I Cry Out for Vengeance. I Order You to Kill! Kill! Kill! A photo of Jay Leno, autographed to “Frances,” is tagged Frances, You and I Are the Same Person, and We Both Know It, and Any Apparent Difference between Us Is Illusory, a Mere Divergence of Angles. Not Something to Be Proud of, for Either of Us, But There It Is.
Several explicitly primitivist products have been thrown in for good measure, including a “sacrificial” animatronic Barney doll, rewired to bellow in pain and then speak in tongues; a wooden box containing sealed canisters of “authentic, 100% organic warpaint”; and a book on Santería with a highlighted instructional chapter on the making of charms and spells.
Two of the items come with lengthy explications. The first is a chrome, egg-shaped beeper whose attached scroll reads:
This product will alert you when your attention is required in any one of your various virtual lives—when, for example, one of your cities is being besieged by Mongol hordes; or when your manager secures a multialbum deal for your rock band; or when your guardian spirit comes under an enemy black-magic assault; or when one of your virtual children is arrested for drug possession; or when you are needed at an urgent meeting of the Council of Jedi Knights.
The other is a set of holographic stills from the TV series Gilligan’s Island, one of each cast member, oscillating strangely among three stages of a characteristic facial expression, the trees and thatch huts of their jungle island in the background. At the bottom of each picture is printed the name of a deadly sin: the picture of Gilligan is labeled “Sloth”; the Skipper is “Anger”; Ginger is “Lust”; Mary Ann is “Envy”; the Professor is “Pride”; Mr. Howell is “Greed”; Mrs. Howell is “Gluttony.” The pictures are about the size of tarot cards; they come in a shallow cardboard box to which is attached an accompanying document:
A scuffle due to egotism causes your flare to fire into the sea; the search plane passes ineffectually by. Your raft sinks under the weight of your possessions; the cargo freighter disappears over the horizon. If you cup a conch hard against your ear, you may even hear the laughter—mocking, disinterested, divine. As a citizen you are trapped in hell, among other citizens whose tragicomic flaws compound your own, ensuring perpetual failure. The only escape from the situation comedy of a dystopian society is into the audience, the position of absolute exteriority. Only insofar as you choose to be purely a consumer, limiting your expressions of freedom to acts of consumption, do you remain free.
At the bottom of the Trendpak box is the trendbook, a manuscript bound by three gold rings. A facsimile of the trendbook’s glossy cover is projected on the screen behind the lava-rock podium. The text reads:
THE LITE AGE
A Trendbook for Survival
in a Bold New Era
TOMORROW LTD.
The title arcs in rainbow-striped letters over a computer-generated