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This article explores theories of home, homesickness, and identity instability as they occur in William Gibson’s Blue Ant trilogy, which consists of three novels: Pattern Recognition (2003), Spook Country (2007), and Zero History (2010). In order to clarify this collision and underscore the importance of cultural and aesthetic codes of uneven globalization, this article offers a character study focused through the place-based intensities of global homesickness. Each character has a strained relationship with home: Cayce Pollard only feels at home while reading and writing in an online film forum; Hollis Henry wonders if she might be considered homeless, even though she lives in boutique hotels and apartments; and Hubertus Bigend’s multiple homes consist of temporary offices, apartments, hotels, and planes.



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