Saturday, July 19, 2014

** Ebook The Pickup Artist, by Terry Bisson

Ebook The Pickup Artist, by Terry Bisson

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The Pickup Artist, by Terry Bisson

The Pickup Artist, by Terry Bisson



The Pickup Artist, by Terry Bisson

Ebook The Pickup Artist, by Terry Bisson

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The Pickup Artist, by Terry Bisson

From the award-winning author of Pirates of the Universe, a New York Times Notable Book of the Year, comes The Pickup Artist--a sharp, witty, and subversive exploration of the future of art, culture, and society. In the tradition of Ray Bradbury's fireman who burns books in Fahrenheit 451, our hero, Hank Shapiro, is a pickup artist, a government agent who gathers for retirement creative works whose time has come and gone. You see, there's simply not enough room in the world for all the art, so anything past a certain age must be cataloged, archived in the records, and destroyed, paving the way for new art. It's a job that comes with risk and the pay's lousy, but it covers the bills. And, after all, this year's art is better than last year's, isn't it?

But what happens is not nearly as important as the telling. Terry Bisson is an American writer in the satirical tradition of Twain and Vonnegut and perhaps Richard Brautigan. He can make you laugh and touch your heart in the same sentence. This is a book about love, death, and America.

  • Sales Rank: #5054377 in Books
  • Published on: 2001-04-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.58" h x .88" w x 6.18" l,
  • Binding: Hardcover
  • 240 pages

From Publishers Weekly
Science fiction needs humor, and it is plentiful in this zany, seriocomic variation on Ray Bradbury's Fahrenheit 451 from Hugo and Nebula award winner Bisson. BAE (Bureau of Arts and Entertainment) agent Hank Shapiro makes his living picking up for "deletion" books by older authors in a world that has run out of room for them. Deletion also applies to musicians and artists. Frank Sinatra records, as well as Impressionist paintings, are all fodder for Hank's pickup bag. He is curious about none, just doing his job, until he finds a recording by his namesake, country singer Hank Williams. Curious, he listens to, then loses, the recording. His need to retrieve it starts him on an extended and increasingly antic road trip across America, accompanied by his dog, usually but not always dead, thanks to "HalfLifeTM". Along the way Hank encounters a young woman pregnant for more than nine years who finally gives birth, and Bob, a dead man, one of 63 Bob clones who keep hilariously popping up. Humorous episodes involve a mountainously high garbage fill on Staten Island, N.Y., and a Ramapo Indian casino in northern New Jersey. Providing continuity are historical summaries of the deletion movement, which began with protests by young artists, "Alexandrians," who are "named for the fire, not the library." In a nice twist reminiscent of the ending of Bradbury's classic, the Alexandrians ultimately decide they should be "named after the library and not the fire." (Apr. 11)
Copyright 2001 Reed Business Information, Inc.

From Library Journal
As a pickup artist, Hank Shapiro has the responsibility of confiscating works of art slated for elimination to make room for works by new artists. When he succumbs to the urge to listen one more time to a forbidden Hank Williams song, he becomes a fugitive and discovers a strange underground organization dedicated to saving the past. The author of Bears Discover Fire and Other Stories and Pirates of the Universe brings his peculiar blend of outrageous humor and incisive perceptions to a tale reminiscent of Bradbury's classic Fahrenheit 451 with a distinctly 21st-century twist. For most sf collections.
Copyright 2001 Reed Business Information, Inc.

From Booklist
Hank Shapiro is a pickup artist--a deletion officer for the Bureau of Arts and Entertainment, that is. He makes house calls to collect books, recordings, movies, and graphic artworks whose time has come. Later in this century, you see, there is just too much art around. After a terrorist outbreak against museums and libraries, a government disposal scheme is implemented, and deletion begins. Anyway, Shapiro gets hung up on a particular pickup, a Hank Williams LP. He has to hear it, which means acquiring a phonograph, which means resorting to the criminal black market, which means getting caught in the crossfire when the exchange site is raided and killing an agent with an old gun that comes to hand. He must flee, with the corpse of his black-market contact, a nine-years-pregnant librarian, and his dying dog in tow. His destination is strictly unknown but west, probably Vegas; his goal, to regain the record, lost in the shootout. From page one on, things get curiouser and curiouser in Bisson's second novel, which in its blend of the eerie, the sexy, and the disgusting (the corpse is in for the entire journey) becomes surrealistic in the manner of a Bunuel movie. If this gets filmed, though, the Coen brothers should do it--on a Roger Corman (Bucket of Blood, Wild Angels) budget. Ray Olson
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

1 of 1 people found the following review helpful.
Science Fiction worthy of the genre
By Robert R. Reece
I haven't read science fiction for a long time because science fiction had stopped being what it used to be. Science fiction used to be fun, challenging, stimulating, and critical. This novel brought all of those things back to me and I recommend it unreservedly. It starts with a neatly drawn, nicely consistent future society richly described with gritty detail. The characters are few but interesting and believable. The plot commenses with a nod towards Fahrenheit 451, but travels in unexpected directions. The author's style is reminiscent of Ray Bradbury, Alfred Bester, and Cordwainer Smith. Fine company for a contemporary author.

6 of 6 people found the following review helpful.
Neat Premise & Details, but Weakish Trip
By A. Ross
Sure to be compared to the Ray Bradbury classic, Fahrenheit 451, Bisson's satirical romp posits a future in which 20th century works of art (books, films, records, paintings, etc.) are being systematically deleted to make room for new artists. Hank Shapiro works for the Federal Bureau of Arts and Information as a "pick up artist," (kind of a repo man/IRS auditor) employed to make house calls to confiscate items that have been "deleted." The story follows what happens when he confiscates a Hank Williams record and has the urge to play it before destroying it (strictly against the rules). It seems his father, who abandoned him, named him after the singer, and Hank hopes to catch a glimpse of his father through the music, which he has never heard. This leads him to an illegal underground "Misdemeanor Cafe" where he tries to buy a record-player but ends up losing the record, and eventually on a surreal cross-country quest with a long-pregnant woman, his ailing dog, an amazingly resilient homing bug, and a dead clone Indian as companions.
Oddly enough, once the road trip starts, the book starts to rapidly loose steam. Bisson has a knack for great little details like various futuristic drugs, including Half-Life�, which allows the dead to speak (Hilariously, they tend to say things like, "Oh no! I'm dead aren't I? Tell me I'm not dead!"). Or the giant landfill being burrowed through by miners on a drug called "Dig" who retrieve old ephemera that gets sold in "flee" markets that straddle state borders. Vehicles generally run on a massive electrical grid, and Indian casino chips function as a currency franca. But even with these nifty details, the trip�in which Hank is trying to recover the album, and the woman is trying to reunite with an old love�never really goes anywhere interesting.
Fortunately, every other chapter is a history of how the deletion system came into being, starting with terrorist acts against art and museums, and continuing with the support of the shadowy software giant "Mr. Bill" (Bill Gates, duh), and a celebrity trial. This history shows how the production of art has outpaced the world's ability to absorb it, placing new artists at a stifling competitive disadvantage. It's a kind of interesting satirical concept that Bisson riffs on rather well, but it can't completely conceal the tepidness of the road trip chapters.

0 of 0 people found the following review helpful.
Quirky, involving, strange look at next century America
By Richard R. Horton
Terry Bisson's new novel, _The Pickup Artist_, is an interesting, odd, novel that reminded me strongly of Jonathan Lethem, particularly, for some reason, _Amnesia Moon_. At the opening it seems almost a straightforward commentary by SFnal means on a theme reminiscent of _Fahrenheit 451_ (though at core very different), but by the end it has become a road novel through a very strange next century America.
The title character is Hank Shapiro, who works for the government confiscating works of art which have been "deleted". It has been determined that contemporary artists are unfairly at a disadvantage in "competition" with the weight of all the works of literature, painting, acting, etc. from the past, and each month, a randomly selected set of authors, musicians, movies, painters and so on is "deleted", and all their works are supposed to be destroyed. Shapiro and his fellow "pickup artists" travel to people's homes who are reported to own copies of deleted videos, records, and books, and confiscated the works (while compensating the owners).
Hank's dog is dying, and his mother is dead, and his father, who named him for the legendary country singer Hank Williams, left long ago. The combined effects of all these lead him to a criminal act -- when he confiscates a Hank Williams record he decides to try to find a record player on which to listen to it -- just once -- before turning it in. Before long he's involved with a long-pregnant librarian named Henry, and with a series of identical Indians named Bob, and he's breaking into a veterinary hospital to rescue his dog from euthanasia, and his Hank Williams record has been stolen, possibly by one of the Alexandrians (Library version) who apparently try to rescue deleted artwork. So Hank and Henry and the corpse of Indian Bob and the dying dog start to chase the record across the country, through flee markets and abandoned casinos and abandoned highways to the independent city state of Vegas.
Alternating short chapters tell the history of the move for "deletion", which began with terrorist destruction of paintings at museums, and continued with the support of a mysterious software billionaire and an aging actress and a trial of the accidental killers of a number of people at a museum.
The telling of this story is continually interesting, and the characters are quirky and involving if not quite ever real. The plot is discursive and really doesn't go much of anywhere, and the social background is interesting but not coherent. Much gives off the sense of being made of as it goes along. What seems to be the central argument, concerning the morality of this "deletion" and perhaps the "anxiety of influence" or something, is never really engaged, but the book is still about something -- about death, I think, and perhaps about art as a release from a dead life. I don't get the sense of a completed argument, or even, really, a completed book -- but an interesting effort in both areas.

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