Toronto is the provincial capital of Ontario and the most populous city in Canada, with a population of 2,731,571 in 2016. Current to 2016, the Toronto census metropolitan area, of which the majority is within the Greater Toronto Area, held a population of 5,928,040, making it Canada's most populous CMA. Toronto is the anchor of an urban agglomeration, known as the Golden Horseshoe in Southern Ontario, located on the northwestern shore of Lake Ontario. A global city, Toronto is a centre of business, finance and culture, is recognized as one of the most multicultural and cosmopolitan cities in the world. People have travelled through and inhabited the Toronto area, situated on a broad sloping plateau interspersed with rivers, deep ravines, urban forest, for more than 10,000 years. After the broadly disputed Toronto Purchase, when the Mississauga surrendered the area to the British Crown, the British established the town of York in 1793 and designated it as the capital of Upper Canada. During the War of 1812, the town was the site of the Battle of York and suffered heavy damage by United States troops.
York was incorporated in 1834 as the city of Toronto. It was designated as the capital of the province of Ontario in 1867 during Canadian Confederation; the city proper has since expanded past its original borders through both annexation and amalgamation to its current area of 630.2 km2. The diverse population of Toronto reflects its current and historical role as an important destination for immigrants to Canada. More than 50 percent of residents belong to a visible minority population group, over 200 distinct ethnic origins are represented among its inhabitants. While the majority of Torontonians speak English as their primary language, over 160 languages are spoken in the city. Toronto is a prominent centre for music, motion picture production, television production, is home to the headquarters of Canada's major national broadcast networks and media outlets, its varied cultural institutions, which include numerous museums and galleries and public events, entertainment districts, national historic sites, sports activities, attract over 25 million tourists each year.
Toronto is known for its many skyscrapers and high-rise buildings, in particular the tallest free-standing structure in the Western Hemisphere, the CN Tower. The city is home to the Toronto Stock Exchange, the headquarters of Canada's five largest banks, the headquarters of many large Canadian and multinational corporations, its economy is diversified with strengths in technology, financial services, life sciences, arts, business services, environmental innovation, food services, tourism. When Europeans first arrived at the site of present-day Toronto, the vicinity was inhabited by the Iroquois, who had displaced the Wyandot people, occupants of the region for centuries before c. 1500. The name Toronto is derived from the Iroquoian word tkaronto, meaning "place where trees stand in the water"; this refers to the northern end of what is now Lake Simcoe, where the Huron had planted tree saplings to corral fish. However, the word "Toronto", meaning "plenty" appears in a 1632 French lexicon of the Huron language, an Iroquoian language.
It appears on French maps referring to various locations, including Georgian Bay, Lake Simcoe, several rivers. A portage route from Lake Ontario to Lake Huron running through this point, known as the Toronto Carrying-Place Trail, led to widespread use of the name. In the 1660s, the Iroquois established two villages within what is today Toronto, Ganatsekwyagon on the banks of the Rouge River and Teiaiagon on the banks of the Humber River. By 1701, the Mississauga had displaced the Iroquois, who abandoned the Toronto area at the end of the Beaver Wars, with most returning to their base in present-day New York. French traders abandoned it in 1759 during the Seven Years' War; the British defeated the French and their indigenous allies in the war, the area became part of the British colony of Quebec in 1763. During the American Revolutionary War, an influx of British settlers came here as United Empire Loyalists fled for the British-controlled lands north of Lake Ontario; the Crown granted them land to compensate for their losses in the Thirteen Colonies.
The new province of Upper Canada was being needed a capital. In 1787, the British Lord Dorchester arranged for the Toronto Purchase with the Mississauga of the New Credit First Nation, thereby securing more than a quarter of a million acres of land in the Toronto area. Dorchester intended the location to be named Toronto. In 1793, Governor John Graves Simcoe established the town of York on the Toronto Purchase lands, naming it after Prince Frederick, Duke of York and Albany. Simcoe decided to move the Upper Canada capital from Newark to York, believing that the new site would be less vulnerable to attack by the United States; the York garrison was constructed at the entrance of the town's natural harbour, sheltered by a long sand-bar peninsula. The town's settlement formed at the eastern end of the harbour behind the peninsula, near the present-day intersection of Parliament Street and Front Street. In 1813, as part of the War of 1812, the Battle of York ended in the town's capture and plunder by United States forces.
The surrender of the town was negotiated by John Strachan. American soldiers destroyed much of the garrison and set fire to the parliament buildings during their five-day occupation; because of the sacking of York, British troops retaliated in the war with the Burning of Wa
A hardcover or hardback book is one bound with rigid protective covers. It has a sewn spine which allows the book to lie flat on a surface when opened. Following the ISBN sequence numbers, books of this type may be identified by the abbreviation Hbk. Hardcover books are printed on acid-free paper, they are much more durable than paperbacks, which have flexible damaged paper covers. Hardcover books are marginally more costly to manufacture. Hardcovers are protected by artistic dust jackets, but a "jacketless" alternative is becoming popular: these "paper-over-board" or "jacketless hardcover" bindings forgo the dust jacket in favor of printing the cover design directly onto the board binding. If brisk sales are anticipated, a hardcover edition of a book is released first, followed by a "trade" paperback edition the next year; some publishers publish paperback originals. For popular books these sales cycles may be extended, followed by a mass market paperback edition typeset in a more compact size and printed on shallower, less hardy paper.
This is intended to, in part, prolong the life of the immediate buying boom that occurs for some best sellers: After the attention to the book has subsided, a lower-cost version in the paperback, is released to sell further copies. In the past the release of a paperback edition was one year after the hardback, but by the early twenty-first century paperbacks were released six months after the hardback by some publishers, it is unusual for a book, first published in paperback to be followed by a hardback. An example is the novel The Judgment of Paris by Gore Vidal, which had its revised edition of 1961 first published in paperback, in hardcover. Hardcover books are sold at higher prices than comparable paperbacks. Books for the general public are printed in hardback only for authors who are expected to be successful, or as a precursor to the paperback to predict sale levels. Hardcovers consist of a page block, two boards, a cloth or heavy paper covering; the pages are sewn together and glued onto a flexible spine between the boards, it too is covered by the cloth.
A paper wrapper, or dust jacket, is put over the binding, folding over each horizontal end of the boards. Dust jackets serve to protect the underlying cover from wear. On the folded part, or flap, over the front cover is a blurb, or a summary of the book; the back flap is. Reviews are placed on the back of the jacket. Many modern bestselling hardcover books use a partial cloth cover, with cloth covered board on the spine only, only boards covering the rest of the book. Bookbinding Paperback
Generation X: Tales for an Accelerated Culture
Generation X: Tales for an Accelerated Culture, published by St. Martin's Press in 1991, is the first novel by Douglas Coupland; the novel popularized the term Generation X, is a framed narrative, in which a group of youths exchange heartfelt stories about themselves and fantastical stories of their creation. Coupland released the titled Generation A in September 2009. Generation X is a framed narrative, like Chaucer's The Canterbury Tales or The Decameron by Boccaccio; the framing story is that of three friends—Dag and the narrator, Andy—are living together in the Coachella Valley in southern California. The tales are told by the various characters in the novel, arranged into three parts; each chapter is separately titled rather than numbered, with titles such as "I Am Not a Target Market" and "Adventure Without Risk Is Disneyland". The novel was set circa 1990, in the then-rapidly growing and economic booming-turned-into-depressed communities of Palm Springs and the Inland Empire region; some characters were raised in Los Angeles and suburban Orange County.
The first part of the novel takes place over the course of a picnic. Andrew and Claire tell each other stories—some personal, others imagined—over the course of the day. Through these tales, the reader glimpses personalities; the initial group of characters is expanded in this section, which introduces stories from additional characters: Claire's boyfriend Tobias, Claire's friend and Dag's love interest Elvissa, Andy's brother Tyler, Andy's boss and neighbour and his wife, Mr. and Mrs. MacArthur; each character represents a cultural type. The frame is muted here, as the narrative draws back to reveal more of the main characters, while allowing for other characters' stories to be heard. In this section, the novel continues to pull back its focus, as Andy and Claire travel away from California. Again, the frame is enlarged to include additional characters. Claire travels to New York. Through the characters' personal and mental journeys, more tales are told and more of the characters' personal stories are revealed.
The book's main character. Andy is a bartender, he is close friends with Claire. He is from Oregon. A former office worker, he now works with Andy at the bar, lives next door to him, he is obsessed with the possibility of a nuclear holocaust, is prone to occasional erratic behavior. Unlike the other characters, he is a Canadian, from Toronto. A friend of Andy and Dag that lives in a neighboring bungalow, she is from a large family connected by multiple divorces. She wants to live life as Andy and Dag are trying to, but struggles because of her relationship with Tobias, she is from California. Claire's a superficial yuppie, he finds the lifestyle of Andy and Claire to be interesting, but is unable to commit to it. Neither Andy nor Dag likes him, he is a foil to the other characters in the novel. Yuppies in the novel were thought to represent Orange County, the Inland Empire and L. A.. Claire's best friend, Dag's love interest, she finds herself trapped in the past, never quite catching up to the modern world.
The character represented the poverty and desolation of the Mojave and Sonoran deserts of California Palm Springs when spring breakers once partied there and where young gay couples moved en masse during the 1980s. Andy's little brother, five years younger than Andy; as the youngest child in a large family, he is somewhat spoiled, but secretly wishes he could live as Andy does. He is described as a "global teen" and bears great similarity to the main character in Coupland's second novel, Shampoo Planet, that shares his name and mannerisms. Coupland has presented different narratives concerning the origin of the title Generation X. In one version, the title came from the work of Paul Fussell. In Fussell's 1983 book Class, the term category X designated a part of America's social hierarchy rather than a generation; as Coupland explained in a 1995 interview, "In his final chapter, Fussell named an'X' category of people who wanted to hop off the merry-go-round of status and social climbing that so frames modern existence."
However, in a 1989 magazine article Coupland attributed the term Generation X to Billy Idol. Coupland felt. I just want to show society what people born after 1960 think about things... We're sick of stupid labels, we're sick of being marginalized in lousy jobs, we're tired of hearing about ourselves from others Later, Coupland described his novel as being about "the fringe of Generation Jones which became the mainstream of Generation X"; the characters are named after locations in Antarctica. In 1987, Coupland wrote an article for Vancouver Magazine in which he lamented the lack of realization for people within his own birth cohort. A year he received a $22,500 advance from St. Martin's Press to complete a handbook on the "generation" that he had outlined in the article. Coupland moved to the Mojave desert and the Coachella Valley in California to work on the book, which became a novel; this surprised the publishing company, who canceled the work, subsequently accepted by St. Martin's Press and published in March 1991.
The novel was a sleepe
Random House of Canada
Random House of Canada was the Canadian distributor for Random House, Inc. from 1944 until 2013. On July 1, 2013, it amalgamated with Penguin Canada to become Penguin Random House Canada. Random House of Canada was established in 1944 as the Canadian distributor of Random House Books. In 1986, Random House launched its Canadian publishing program, they have published work by some of the country's most distinguished and notable authors, including Margaret Atwood, Farley Mowat, Yann Martel, Mordecai Richler, Douglas Coupland, Michael Ondaatje. In 1998, Random House merged with Bantam Doubleday Dell. Due to this international merger, both companies' Canadian branches merged as well, publishing international titles in this country as well as maintaining their Canadian publishing program. In 2011 Random House of Canada became the sole owner of fellow Canadian publishing company McClelland & Stewart, having purchased the 75% it didn't own from the University of Toronto. In 2013, Random House's parent company, entered into a joint venture with Pearson PLC to form a new trade publishing company called Penguin Random House.
As part of this venture Random House of Canada and Penguin Canada were amalgamated as Penguin Random House Canada. Random House of Canada, as a legal entity, is defunct. Anchor Canada, created in 2001, publishes trade paperback editions of many of Doubleday Canada's titles. In 2002, Anchor Canada published its first original trade paperback titled The Notebooks: Interviews and New Fiction from Contemporary Writers, they have continued to publish originals since. Some of these titles include The Fabulous Girls Guide to Decorum by Kim Izzo and Ceri Marsh, Lost in Mongolia by Colin Angus. Created in 2006 by Brad Martin President and CEO of Random House of Canada, Maya Mavjee Executive Vice-President of Doubleday Canada, Bond Street Books publishes international fiction and non-fiction; the imprint's most celebrated authors include Haruki Murakami, Jonathan Franzen, Kate Atkinson, Chris Cleave, Yaa Gyasi, David Wroblewski, Marlon James, Diane Setterfield, Ross King, Helen Simonson, Paula McLain, Anne Tyler, Sara Gruen, Rachel Joyce, Lorrie Moore, Chinua Achebe.
Established in the 1960s, Doubleday Canada publishes Canadian and international fiction and non-fiction titles from both new and established writers. Some of the imprint's most well-known Canadian authors include Nino Ricci, Michael Crummey, Alan Bradley, Michael Redhill, David Adams Richards, Camilla Gibb, M. G. Vassanji. Doubleday Canada is home to powerhouse international authors including Diana Gabaldon, Judy Blume, Justin Cronin, Paula Hawkins, Bill Bryson, Emily Giffin, Charles Duhigg, Lena Dunham. In 2010, the American company DB Media Distribution Inc. filed for bankruptcy. There was some confusion surrounding this incident, as DB Media Distribution Inc. owned and operated the named "Doubleday Book Club". When they filed for bankruptcy, some believed; this was discussed by Brad Martin, who stated, "We are saddened for those who worked there, but it has no direct connection to our business." Knopf Canada was established in 1991 as an editorially independent Canadian branch of Alfred A. Knopf.
The parent company, founded in New York in 1915, teamed up with Louise Dennys in order to launch the Canadian house. Dennys was the publisher of many major Canadian books, through her work at the Toronto publishing house Lester & Orpen Dennys; some of Knopf's award-winning Canadian titles include Barney's Version by Mordecai Richler, the paperback edition of The English Patient by Michael Ondaatje and Life of Pi by Yann Martel. One of the most-awarded books to be published by Knopf Canada is Fall On Your Knees by Ann-Marie MacDonald, the Canadian author's first novel, nominated for the Giller Prize in 1996, went on to win the 1997 Commonwealth Writers' Prize for best first book, the 1997 Canadian Authors Association Literary Award, the 1998 Canadian Booksellers Association Libris Award for best fiction book of the year. In order to support new Canadian writers, in 1996, Knopf Canada established a program called "The New Face of Fiction"; each year editors choose between 1 and 4 books and promote them through the campaign in order to bring some of Canada's most talented new authors to national and international attention.
The Random House Canada imprint has been publishing works by Canadian and international authors since 1986. One of their most well-known non-fiction titles is Shake Hands with the Devil by Lieutenant-General Roméo Dallaire, which won the 2003 Shaughnessy Cohen Prize for Political Writing and 2004 Governor General's Literary Award for non-fiction. In 2009, two Random House Canada publications were nominated for the Giller Prize: The Golden Mean by Annabel Lyon, as well as that year's winner, The Bishop's Man by Linden MacIntyre. MacIntyre's win represents the first Giller Prize awarded for a book published by the Random House Canada imprint. In early 2011, Random House Canada announced it will be publishing MacIntyre's new novel, titled Why Men Lie. Seal Books was founded in 1977, stemming from a partnership between Bantam Books and McClelland & Stewart; this imprint specializes in reprints of major fiction hardcover titles. However, Seal has always published original books. In the 1980s, there was a Seal Books First Novel Award.
Many Seal Books were published as Doubleday hardcovers. When Seal Books merged with Random House of Canada, they began publishing mass-market titles from Random House of Canada and Knopf Canada as well. Seal Books publishes work fr
A melodrama is a dramatic work in which the plot, sensational and designed to appeal to the emotions, takes precedence over detailed characterization. Characters are simply drawn, may appear stereotyped. Melodramas are set in the private sphere of the home, focus on morality and family issues and marriage with challenges from an outside source, such as a "temptress”, an aristocratic villain. In scholarly and historical musical contexts, melodramas are Victorian dramas in which orchestral music or song was used to accompany the action; the term is now applied to stage performances without incidental music, movies and radio broadcasts. In modern contexts, the term "melodrama" is pejorative, as it suggests that the work in question lacks subtlety, character development, or both. By extension, language or behaviour which resembles melodrama is called melodramatic; the term originated from the early 19th-century French word mélodrame. It is derived from Greek μέλος, melos, "song, strain", French drame, drama.
Melodrama originated in the 5th century BC. The relationship of melodrama to realism is complex; the protagonists of melodramatic works may either be ordinary people who are caught up in extraordinary events, or exaggerated and unrealistic characters. Peter Brooks writes that melodrama, in its high emotions and dramatic rhetoric, represents a "victory over repression." According to Singer, late Victorian and Edwardian melodrama combined a conscious focus on realism in stage sets and props with "anti-realism" in character and plot. Melodrama in this period strove for "credible accuracy in the depiction of incredible, extraordinary" scenes. Novelist Wilkie Collins is noted for his attention to accuracy in detail in his works, no matter how sensational the plot. Melodramas put most of their attention on the victim and a struggle between good and evil choices, such as a man being encouraged to leave his family by an "evil temptress". Other stock characters are the "fallen woman", the single mother, the orphan and the male, struggling with the impacts of the modern world.
The melodrama examines family and social issues in the context of a private home, with its intended audience being the female spectator. Melodrama looks back at ideal, nostalgic eras, emphasizing "forbidden longings". Melodramas are rooted in medieval morality plays; the melodrama approach was revived in the 18th and 19th-century French romantic drama and the sentimental novels that were popular in both England and France. These dramas and novels focused on moral codes in regards to family life and marriage, they can be seen as a reflection of the issues brought up by the French Revolution, the industrial revolution and the shift to modernization. Many melodramas were about a middle-class young woman who experienced unwanted sexual advances from an aristocratic miscreant, with the sexual assault being a metaphor for class conflict; the melodrama reflected post-industrial revolution anxieties of the middle class, who were afraid of both aristocratic power brokers and the impoverished working class "mob".
Beginning in the 18th century, melodrama was a technique of combining spoken recitation with short pieces of accompanying music. In such works and spoken dialogue alternated, although the music was sometimes used to accompany pantomime; the earliest known examples are scenes in J. E. Eberlin's Latin school play Sigismundus; the first full melodrama was Jean-Jacques Rousseau's Pygmalion, the text of, written in 1762 but was first staged in Lyon in 1770. The overture and an Andante were composed by Rousseau, but the bulk of the music was composed by Horace Coignet. A different musical setting of Rousseau's Pygmalion by Anton Schweitzer was performed in Weimar in 1772, Goethe wrote of it approvingly in Dichtung und Wahrheit. Pygmalion is a monodrama, written for one actor; some 30 other monodramas were produced in Germany in the fourth quarter of the 18th century. When two actors have involved the term duodrama may be used. Georg Benda was successful with his duodramas Ariadne auf Naxos and Medea.
The sensational success of Benda's melodramas led Mozart to use two long melodramatic monologues in his opera Zaide. Other and better-known examples of the melodramatic style in operas are the grave-digging scene in Beethoven's Fidelio and the incantation scene in Weber's Der Freischütz. After the English Restoration of Charles II in 1660, most British theatres were prohibited from performing "serious" drama, but were permitted to show comedy or plays with music. Charles II issued letters patent to permit only two London theatre companies to perform "serious" drama; these were the Theatre Royal, Drury Lane and Lisle's Tennis Court in Lincoln's Inn Fields, the latter of which moved to the Theatre Royal, Covent Garden in 1720. The two patent theatres closed in the summer months. To fill the gap, the Theatre Royal, Haymarket became a third patent theatre in London in 1766. Further letters patent were granted to one theatre in each of several other English towns and cities. To get around the restriction, other theatres presented dramas that were underscored with music and, borrowing the French term, called it melodrama.
The Theatres Act 1843 allowed all the theatres to play drama. In t
Matriarchy is a social system in which females hold the primary power positions in roles of political leadership, moral authority, social privilege and control of property at the specific exclusion of males — at least to a large degree. While those definitions apply in general English, definitions specific to the disciplines of anthropology and feminism differ in some respects. Most anthropologists hold that there are no known anthropological societies that are unambiguously matriarchal, but some authors believe exceptions may exist or may have. Matriarchies may be confused with matrilineal and matrifocal societies. A few people consider any non-patriarchal system to be matriarchal, thus including genderally equalitarian systems, but most academics exclude them from matriarchies defined. In 19th-century Western scholarship, the hypothesis of matriarchy representing an early prehistoric, stage of human development gained popularity. Possibilities of so-called primitive societies were cited and the hypothesis survived into the 20th century, including in the context of second-wave feminism.
This hypothesis was criticized by some authors such as Cynthia Eller in The Myth of Matriarchal Prehistory and remains as a unsolved question to this day. Some older myths describe matriarchies. Several modern feminists have advocated for matriarchy now or in the future and it has appeared in feminist literature. In several theologies, matriarchy has been portrayed as negative. According to the Oxford English Dictionary, matriarchy is a "form of social organization in which the mother or oldest female is the head of the family, descent and relationship are reckoned through the female line. A popular definition, according to James Peoples and Garrick Bailey, is "female dominance". Within the academic discipline of cultural anthropology, according to the OED, matriarchy is a "culture or community in which such a system prevails" or a "family, organization, etc. dominated by a woman or women." In general anthropology, according to William A. Haviland, matriarchy is "rule by women". A matriarchy is a society in which females mothers, have the central roles of political leadership, moral authority, control of property, but does not include a society, led by a female for nonmatriarchal reasons or an occupation in which females predominate without reference to matriarchy, such as prostitution or women's auxiliaries of organizations run by men.
According to Lawrence A. Kuzner in 1997, A. R. Radcliffe-Brown argued in 1924 that the definitions of matriarchy and patriarchy had "logical and empirical failings.... were too vague to be scientifically useful". Most academics exclude egalitarian nonpatriarchal systems from matriarchies more defined. According to Heide Göttner-Abendroth, a reluctance to accept the existence of matriarchies might be based on a specific culturally biased notion of how to define matriarchy: because in a patriarchy men rule over women, a matriarchy has been conceptualized as women ruling over men, while she believed that matriarchies are egalitarian; the word matriarchy, for a society politically led by females mothers, who control property, is interpreted to mean the genderal opposite of patriarchy, but it is not an opposite. According to Peoples and Bailey, the view of anthropologist Peggy Reeves Sanday is that matriarchies are not a mirror form of patriarchies but rather that a matriarchy "emphasizes maternal meanings where'maternal symbols are linked to social practices influencing the lives of both sexes and where women play a central role in these practices'".
Journalist Margot Adler wrote, "literally... means government by mothers, or more broadly and power in the hands of women." Barbara Love and Elizabeth Shanklin wrote, "by'matriarchy,' we mean a non-alienated society: a society in which women, those who produce the next generation, define motherhood, determine the conditions of motherhood, determine the environment in which the next generation is reared." According to Cynthia Eller, "'matriarchy' can be thought of... as a shorthand description for any society in which women's power is equal or superior to men's and in which the culture centers around values and life events described as'feminine.'" Eller wrote that the idea of matriarchy rests on two pillars and modern social criticism. The notion of matriarchy was meant to describe something like a utopia placed in the past in order to legitimate contemporary social criticism. With respect to a prehistoric matriarchal Golden Age, according to Barbara Epstein, "matriarchy... means a social system organized around matriliny and goddess worship in which women have positions of power."
According to Adler, in the Marxist tradition, it refers to a pre-class society "where women and men share in production and power."According to Adler, "a number of feminists note that few definitions of the word, despite its literal meaning, include any concept of power, they suggest that centuries of oppression have made it impossible for women to conceive of themselves with such power."Matriarchy has been presented as negative, in contrast to patriarchy as natural and inevitable for society, thus that matriarchy is hopeless. Love and Shanklin wrote: When we hear the word "matriarchy", we are conditioned to a number of responses: that matriarchy refers to the past and that matriarchies have never existed.
JPod is a novel by Douglas Coupland published by Random House of Canada in 2006. Set in 2005, the book explores the strange and unconventional everyday life of the main character, Ethan Jarlewski, his team of video game programmers whose last names all begin with the letter'J'. JPod was adopted as a CBC television series co-created by Michael MacLennan, it premiered on January 8, 2008, ran until its cancellation on March 7, 2008, leaving the series with a permanent cliffhanger. The first thirteen episodes of the series aired in the United States on The CW Television Network. JPod is an avant-garde novel of six young adults, whose last names all begin with the letter'J' and who are assigned to the same cubicle pod by someone in human resources through a computer glitch, working at Neotronic Arts, a fictional Burnaby-based video game company. Ethan Jarlewski is the novel's main character and narrator, who spends more time involved with his work than with his dysfunctional family, his stay-at-home mother runs a successful marijuana grow-op which allows his father to abandon his career and work as a futile movie extra.
Ethan's realtor brother Greg involves himself with Asian crime lord Kam Fong who serves as the plot's crux of character connection. The JPod staff are required to insert a turtle character based on Jeff Probst into the skateboard game that they are developing as'BoardX'; the marketing manager, Steven Lefkowitz, mandates the turtle's addition to the game because he is trying to please his son during a custody battle. JPod is drastically challenged and changed when Steve goes missing and the new executive replacement declares that the game will be changed yet again. Upper management decides to change Jeff the turtle for an adventurous prince who rides a magic carpet; the game is renamed "SpriteQuest". The JPodders, upset that they would not be able to finish their game, decide to sabotage SpriteQuest by inserting a deranged Ronald McDonald, they do this by creating a secret level where Ronald works malevolence, thus creating, in their opinion, a culturally-suitable game for the target market. Ethan begins to date the newest addition to JPod and their relationship grows as she discovers that most of the members of the team, including herself, are mildly autistic.
Kaitlin develops a hugging machine after researching how autistic people enjoy the sensation of pressure from non-living things on their skin. Douglas Coupland, as a character, is inserted into the novel when Ethan visits China to bring a heroin-addicted Steve back to Canada; this Google-version of Douglas Coupland bumps into Ethan and manages to weave himself into the narrator's life. JPod finds itself in a digital world where technology is everything and the human mind is incapable of focusing on just one task. BookShorts. Microserfs. Publisher's Weekly called JPod "Microserfs 2.0". Both novels centre around a group of eccentric young programming professionals. Both books are narrated by a young male. Both of these characters write the novel manuscript on a laptop, both novels feature random product names and messages in varying font size. In Microserfs, Daniel types in these random messages in an attempt to tap into his computer's subconscious, while in JPod, the messages reflect the stream of messages, consciousness, that computer users experience every day.
The narrator in both novels begins and maintains a relationship with a female co-worker. Both novels deal with lifestyle in the modern age of technology. In addition, the characters in both novels are introduced by the narrator through a piece of pop culture: in Microserfs, Daniel lists his co-workers’ dream categories in a game of Jeopardy! and in JPod, Ethan asks his co-workers to design an eBay page for themselves. Both novels touch on autism. In Microserfs, Daniel says that he thinks that all tech people are autistic, in JPod, Kaitlin describes all of her co-workers and her boss as mildly autistic. On an interesting side note, hugging machines as described in the novel have been developed to help those with autism. Sitcoms; the style of humor is similar to that of sitcoms, of Arrested Development. The humor originates from character flaws; the characters themselves do not have much depth, their flaws are exaggerated for comic effect. For example, John Doe is obsessed with being an'average person' and many of his actions result from this singular character trait.
Terry. Coupland was writing both Terry and JPod and Coupland was quoted in the Jerusalem Post saying that all of his "more noble character traits went into. There was a tar-pit of ooze left over. JPod was it." This helps to explain the malicious version of Douglas Coupland. Epistolary novels. Therefore, JPod can be considered an epistolary novel, although much of the novel is standard narrative format. Self-insertion. Other examples of this technique appear in The Canterbury Tal