Going, Going, Gone (novel)
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 First edition | |
| Author | Jack Womack |
|---|---|
| Language | English |
| Series | Dryco series |
| Genre | Speculative fiction, dystopian novel, alternate history novel |
| Publisher | Voyager Books |
Publication date | 2000 |
| Publication place | United States |
| Media type | Print (hardcover and paperback) |
| Pages | 218 pp |
| ISBN | 0-00-651105-8 |
| OCLC | 44969180 |
| 813/.54 21 | |
| LC Class | PS3573.O575 G65 2000 |
| Preceded by | Random Acts of Senseless Violence |
Going, Going, Gone is a 2000 alternate history novel by American writer Jack Womack.[1] As the sixth and final installment of his acclaimed Dryco series, the novel was the subject of much anticipation and speculation prior to its release,[2][3] and was critically well received.
Set in 1968 New York City in an alternate universe to the Dryco universe of the previous five iterations of the series,[4] Going, Going, Gone nevertheless disposes of several of the series' characters in its closing chapters.[3] Its protagonist is Walter Bullitt, an egocentric expert in psychoactive substances who freelances for various branches of the increasingly Nazi-influenced United States government spy apparatus.[3] Though he passes for white, Bullitt is in fact of African-American descent in a USA where, as revealed in previous novels in the Dryco series, the American Civil War never took place. As a result, racial relations in this version of the USA have been much more fraught, with almost all full-blooded African Americans interned and used as slave labor during World War II before being disposed of, and by 1968 even black music has been culturally marginalized.[3][4] Walter becomes subject to increasingly strange experiences,[1] hearing voices and seeing ghosts from a parallel New York almost a century more advanced than his.[4] Walter is taken to this alternative New York (the primary locale of the previous five Dryco novels) which, after flooding due to the Greenhouse effect, has been moved north, is populated by all races and features in its collection of futuristic wonders television, which never caught on in his world.[4] The novel ends with the two epistemic worlds converging into a New York which is, in the words of critic Paul Dukes a "morally better place than either of the two which composed it".[4]
