Product Description

Ethan and his five co-workers are marooned in JPod, a no-escape architectural limbo on the fringes of a massive game-design company. There they wage battle against the demands of boneheaded marketing staff who torture them with idiotic changes to already idiotic games. Meanwhile, Ethan's personal life is being invaded by marijuana grow-ops, people-smuggling, ballroom dancing, global piracy and the rise of China. Everybody in both worlds seems to inhabit a moral grey zone, and nobody is exempt, not even his seemingly strait-laced parents or Coupland himself.

Product Details

• Amazon Sales Rank: #365812 in Books
• Published on: 2007-06-04
• Original language: English
• Binding: Paperback
• 576 pages

Amazon.com Review
Already dubbed Microserfs 2.0 by some pundits--a winking allusion to Douglas Coupland's previous novel Microserfs, which similarly chronicled pop-culture-damaged twentysomething misfits flailing, foundering, and occasionally succeeding in the high-tech sector--JPod is, like all of Coupland's novels, a byproduct of its era and yet strangely detached from it. Only this time with a bold and very crafty narrative device: Douglas Coupland, novelist, is a character in Douglas Coupland's novel. Which, when you think about it, makes sense since the type of people Coupland depicts are precisely the type of people who consume Coupland novels. As the once-great comedian Dennis Miller might holler, "Stop him before he sub-references again!" Readers familiar with Coupland's oeuvre know what to expect with the characterizations here. They also know that Coupland on a roll is both savagely observant and laugh-out-loud funny: "Bree was showing someone photos of her recent holiday visiting Korean animation sweathshops. She was bummed because she couldn't get into North Korea: too much legal juju. [She said] 'I just wanted to know what it's like to be in a society with no technology except for three dial telephones and a TV camera they won from Fidel Castro in a game of rock paper scissors.'" Much of the book is like that, built on granular and meandering exchanges between characters about . . . stuff. While JPod's flow is hobbled by some preposterous twists and character traits and by random words, phrases, and numbers splattered gratuitously across successive pages in oversized typeface, it's hard to imagine Coupland fans walking away disappointed. --Kim Hughes

From Publishers Weekly
Coupland returns, knowingly, to mine the dot-com territory of Microserfs (1996)—this time for slapstick. Young Ethan Jarlewski works long hours as a video-game developer in Vancouver, surfing the Internet for gore sites and having random conversations with co-workers on JPod, the cubicle hive where he works, where everyone's last name begins with J. Before Ethan can please the bosses and the marketing department (they want a turtle, based on a reality TV host, inserted into the game Ethan's been working on for months) or win the heart of co-worker Kaitlin, Ethan must help his mom bury a biker she's electrocuted in the family basement which houses her marijuana farm; give his dad, an actor desperately longing for a speaking part, yet another pep talk; feed the 20 illegal Chinese immigrants his brother has temporarily stored in Ethan's apartment; and pass downtime by trying to find a wrong digit in the first 100,000 places (printed on pages 383–406) of pi. Coupland's cultural name-dropping is predictable (Ikea, the Drudge Report, etc.), as is the device of bringing in a fictional Douglas Coupland to save Ethan's day more than once. But like an ace computer coder loaded up on junk food at 4 a.m., Coupland derives his satirical, spirited humor's energy from the silly, strung-together plot and thin characters. Call it Microserfs 2.0. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Since the early 1990s Douglas Coupland has mined North America's cultural milieu in books including Microserfs, Generation X, Shampoo Planet, and Eleanor Rigby (*** Mar/Apr 2005), among others. Jpod contains the best and worst of Coupland. The novel offers brilliant commentary on global consumerism and Internet culture. Bizarre characters and witty humor captivated some reviewers. But others criticized the bombardment of cultural references, flat characters, meandering action (15 pages of prime numbers double as a game), and self-conscious insertion of the Coupland character. "If it's more difficult to recognize the profundity of his insights this time," notes the New York Times Book Review, "we should still appreciate Coupland for his consistency in making them."

Copyright © 2004 Phillips & Nelson Media, Inc.

Customer Reviews

Dan Brown in gameland
You just never know with Coupland, do you? Sometimes it is simply magnificent (Hey Nostradamus! Life after God) or at least sweet and moving (Shampoo Planet); sometimes it is a downright failure (Girlfriend in a Coma; All families are psychotic); and sometimes you get something in between, something that is very clever and entertaining and post-postmodern and selfconsciously self-deprecatory - and yet, the moment you turn the final page ("play again? y/n") you forget all about it (JPod). Maybe the forgettability was intentional in this novel about geeks who work in game development and who are obsessed with futile details and highly transitory, pointless hypes. The plot is way over the top and clearly not meant to be taken seriously, nor are we for a moment expected to believe (I hope) that any of these people might actually exist. We get (**spoilers**) a weed-growing mom who kills and turns lesbian; a sinister Asian man-smuggler who's only interested in 'making people happy'; an autistic teamleader who turns heroine addict and thus finds happiness; a dyke called freedom (no capital f) who turns into a bimbo called Kimberly; Coupland himself as Deus ex machina; and an outing to China thrown in for good measure. Coincidences abound and the point of all the frantic plot twists remains a mystery. Unless the point is the deconstruction of the novel as such.

There are several good laughs in JPod, and you won't be bored. The book however lacks the memorable observations and oneliners found in other, better Coupland works, such as Generation X. JPod is simply too facile - it takes a little more than quoting computerbabble, product packages, and internet-vernacular to be a chronicler of our times. This far-fetched story with its barrage of embedded puzzles rather felt like the (supposedly) intellectual counterpart to The Da Vinci Code. There is also a degree of arrogance I found somewhat off-putting. Coupland doesn't mind making his readers pay for 41 pages (!) covered with decimals of pi. Other pages are filled with chinese characters; the 8,363 prime numbers between 10,000 and 100,000; brand names; listings of product ingredients, and what not. All, of course, printed with the mandatory typograhical quirks that are the bane of novels these days. This book may feel heavy when you pick it up, but rest assured that most of it is fluff.

My advice? Sample before buying. If you are a first-time Coupland reader, there are much better places to start.

More depressing than disappointing, if that's even possible.
I have been a huge Coupland fan since I ran across a copy of Life After God at a Coles close-out sale in 1995. He used to write in a way that touched something deep and personal in me, yet which felt universal at the same time. I didn't mind that he was speaking for my generation (though I'm slightly younger than dictionary-definition "generation x"), because he did it so deftly and accurately. I have gone out of my way to see him read on pretty much every occasion that he's come to Toronto since 1995, and he definitely influenced not just my own writing, art, etc., but my own consciousness; my feelings of awareness and connectedness to my extended peer group.

Since...hmm...well, Miss Wyoming was maybe the beginning of the slide, but *definitely* since All Families are Psychotic, Coupland has basically been performing the literary equivalent of a face-first downhill slide. He's almost completely stopped caring about any of his characters' inner lives. He's stopped bothering to develop his characters' personalities or relationships with each other. The larger themes he used to explore so well - defining and exploring personal responsibility and morality in a postmodern world, lonliness and isolation, searching for meaning as a generation raised without religion - are completely gone.

I'm all for artists' development over time. I think it's great when a band like REM or an artist like Elvis Costello keeps looking inside themselves to see what's next, what's interesting for them to pursue. But I HATE when artists get lazy and start using the bare-bones premises of their style to churn out predictable, empty and vapid copies based on work that once showed sincerity and ingenuity.

I am the age of the characters in jPod AND someone who has been personally influenced by Coupland in my own development, and I have to say that I honestly couldn't relate to ANYTHING about ANY of them. That's partly because they were so 2-D, but also because they were all spoke with the exact same voice, and were completely blase about everything. I don't know anyone like that.

They had no conflicts, they cared about nothing, they were affected by nothing, and, in the end, they were absolutely unchanged in any way. Who writes like this? Who writes a novel that is longer than 400 pages like this?

Their relationships with each other were utterly ridiculous and meaningless.

Coupland re-uses his "pages of random text" schtick, which was Daniel's attempt to give his computer a subconscious in Microserfs and is completely decontextualized here.

And, most nauseating of all, he writes himself into the book as an over-the-top omniscient villain type character. I had to choke back bile each time.

An utterly, completely repulsive novel.

Not what I had hoped, but funny nonetherless
Let me start by saying Microserfs is one of my all-time favorite novels, and I was thrilled to find he was revisiting that world. Did I like the book? Yes and no. I am going to re-read M-Serfs soon for time 6 or 7 so I can compare. I don't think there's going to be much competition, though. M-Serfs will continue to be one of my favorite novels of all time, and jPod will just be an amusing book I read. That's my initial thought. I'll have to let it marinate for awhile. Some thoughts:

1. This book does not make one want to be a programmer the way the first one did, though it sounds like an amusing lifestyle. What it does do, though, is make one want to Blog. May have to start something again just to practice rambling online.

2. The narrator seems disliked by many of those around him. That wasn't the case with M-serfs. I can't point to much, although a couple of events are harsh, but there seems to be a general tone of derision when they talk about him. Maybe DC was trying to touch on the general self-centered paranoia felt by all of us? Tough to say. But the "things work out well in the end" last few pages don't go with the tone of the rest of the book; it's almost as if DC even felt that the tone was too harsh and tried to fix it. Of course, he makes a joke about the irony of ending the story on a happy note.

3. The story's strength comes from its characters, who are wonderfully bizarre, though often cardboard. It also comes from the humorous lines throughout.

4. I would say that DC wasn't going for a major life lesson, either, except perhaps about accepting yourself and being who you are. There're several characters that experience major lifestyle changes for the better when their personality shifts. Refreshingly unpreachy compared to everything from Girlfriend in a Coma forward.

5. The pages of numbers and random words made me feel cheated.

6. Coupland's self-references did not strike me as ironic. They did not feel ultra-post-modern. They weren't even clever or funny. Just doggone annoying!

I'd give it 2.5 stars if I could.