Sunday, September 29, 2019

Jonathan Lethem on Edward Snowden

Jonathan Lethem (author of GUN, WITH OCCASIONAL MUSIC, GIRL IN LANDSCAPE, MOTHERLESS BROOKLYN, and many other fine novels) has published an in-depth review of Edward Snowden's autobiography PERMANENT RECORD in the 10-24-19 edition of THE NEW YORK REVIEW OF BOOKS. Here's an excerpt from Lethem's "Snowden in the Labyrinth":

In Robert Sheckley’s 1978 short story “Is That What People Do?,” a man named Eddie Quintero buys himself a pair of binoculars from an army and navy surplus outlet, “because with them he hoped to see some things that he otherwise would never see. Specifically, he hoped to see girls undressing at the Chauvin Arms across the street from his furnished room”—but he was also “looking for that moment of vision, of total attention.” Since this is a science fiction story, Quintero accidentally ends up with a pair marked “Experimental. Not to Be Removed from the Testing Room.”

The binoculars turn out to have a fabulous capacity not only for seeing through walls but also for diminishing the distance between Quintero and those he would spy on. When he peers through the experimental device just so—an effort of contorting his body into increasingly bizarre positions—Quintero is suddenly granted visions of other human beings, behind closed doors, doing “what people do.” Which turns out to be, well, weird shit. The least disturbing of what Quintero surveils is what’s now called cosplay; the most extreme consists of giddy ritual murder, and of the deliberate calling-forth of a Satanic, sexually violent “smoke-demon.” On the last page, Sheckley’s parable attains an existentialist clarity: the binoculars grant a vision of a shabby, middle-aged man in a dreary room, standing on his head, with a pair of binoculars awkwardly wedged against his face. Quintero recognizes himself:

He realized that he was only another performer in humanity’s great circus, and he had just done one of his acts, just like the others. But who was watching? Who was the real observer?
He turned the binoculars around and looked through the object-lenses. He saw a pair of eyes, and he thought they were his own—until one of them slowly winked at him.
Edward Snowden, late in the pages of his memoir, Permanent Record, describes his sensation at being personally introduced to XKEYSCORE, the NSA’s ultimate tool of intimate, individual electronic surveillance. Among the NSA’s technological tools (some of which Snowden aided in perfecting), XKEYSCORE was, according to Snowden, “the most invasive…if only because [the NSA agents are] closest to the user—that is, the closest to the person being surveilled.” For nearly three hundred pages, the memoir has built to this scene, foreshadowed in the preface, in which the whistleblower-in-the-making sees behind the curtain:
I sat at a terminal from which I had practically unlimited access to the communications of nearly every man, woman, and child on earth who’d ever dialed a phone or touched a computer. Among those people were about 320 million of my fellow American citizens, who in the regular conduct of their everyday lives were being surveilled in gross contravention of not just the Constitution of the United States, but the basic values of any free society.
The steady approach to Snowden’s come-to-Jesus encounter with XKEYSCORE is as meticulous as the incremental unveiling of the terror of Cthulhu in an H.P. Lovecraft tale. Snowden himself alludes to this parallel:
It was, simply put, the closest thing to science fiction I’ve ever seen in science fact: an interface that allows you to type in pretty much anyone’s address, telephone number, or IP address, and then basically go through the recent history of their online activity. In some cases you could even play back recordings of their online sessions, so that the screen you’d be looking at was their screen, whatever was on their desktop.
And: “It was like watching an autocomplete, as letters and words flashed across the screen. But the intelligence behind that typing wasn’t artificial but human: this was a humancomplete.” And:
One thing you come to understand very quickly while using XKEYSCORE is that nearly everyone in the world who’s online has at least two things in common: they have all watched porn at one time or another, and they all store photos and videos of their family. This was true for virtually everyone of every gender, ethnicity, race, and age—from the meanest terrorist to the nicest senior citizen.
The humancomplete that chills Snowden’s blood is “this one child in particular, a little boy in Indonesia. Technically, I shouldn’t have been interested in this little boy, but I was, because my employers were interested in his father” (who was, according to Snowden, “just a regular academic who’d been caught up in a surveillance dragnet”):
He was sitting in front of his computer, as I was sitting in front of mine. Except that in his lap he had a toddler, a boy in a diaper.
The father was trying to read something, but the kid kept shifting around, smacking the keys and giggling. The computer’s internal mic picked up his giggling and there I was, listening to it on my headphones. The father held the boy tighter, and the boy straightened up, and, with his dark crescent eyes, looked directly into the computer’s camera—I couldn’t escape the feeling that he was looking directly at me. Suddenly I realized that I’d been holding my breath.
Permanent Record is an attempt to reverse the binoculars and offer a self-portrait of the man—whistleblower? leaker? dissident? spy?—who walks the earth, these days in Moscow, under the name Edward Snowden.
 
To read the rest of Lethem's article, click HERE.

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