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Transformation of the Mormon Culture Region

and HR excesses of media firms in the late 1990s, and concluding with a review of the industry’s decay from 1999 to 2000. Ultimately, the author suggests any attempts to revitalize the place and industry once known as Silicon Alley ended on 11 September 2001. While the story itself is worth telling, the strength of the book is in Indergaard’s attempt—albeit incomplete—to reconsider creativity and to reframe the dominant narratives on the Internet bubble. Like other contributions to the Cultural Spaces series edited by Sharon Zukin, Silicon Alley positions individuals within very specific cultural and capital institutions to unlock the symbolic andmaterial landscape of a place and community of ‘‘boho’’ entrepreneurs that came to define not only a localized district within the city (south of 41st Street)—but also the new postindustrial promise of New York as the new media sector expanded its scale and scope and firms began to spring up around the city’s five boroughs. But, the heart of the book is the author’s attempt to unpack the economic and cultural imperatives of creativity. Whereas most accounts of the new economy primarily emphasize creativity, Indergaard couples the driving forces of creativity in the case of Silicon Alley with the highly localized and sometimes serendipitous nature of Wall Street and Manhattan venture capitalists. These structures and the personalities of venture capitalists and the Silicon Alley creative elite collided to produce both the place and the industry. Likewise, the actors and their milieu contributed to the development of an industry-specific business model that was ultimately unsustainable in place and over time. At the close of the book, the author employs an interesting stylistic device to present and (re)present the work’s principal contribution on the sustainability of creative economics. In contrast to traditional geographic works, Indergaard—a sociologist—presents an imagined community of flexible social and production spaces known as ‘‘Open City’’ (p. 174) that would be both an incubator and, eventually, a platform for economic development and marketable place-commodity. The author contends that Open City has the potential of a place that supports the creative fusion of Silicon Alley through the creation of a designated space and network of publicand private-sector actors that would ‘‘provide a mix of public authority and resources to frame the space for the desired range of activities (e.g., reserve areas for small firms and low income residents, regulate the corporate presence) and then give up as much control as possible’’ (p. 177). He later asserts that the cultivation, maturation, and preservation of critical creatives vis-à-vis the Open City testifies to the well-being of a community and ultimately translates into sustainable systems of cultural production like the mostly defunct Silicon Alley. Indeed, Indergaard forcefully forwards the assertions of Richard Florida’s (1999) The Rise of the Creative Class as a model for growth and proposes an Open City framework (essentially a public-private partnership) to achieve it. The author’s bold vision is audacious. Some readers might conclude it is Pollyanna-ish. Nonetheless, lessons drawn from Silicon Alley and the proposed Open City are thought provoking. Moreover, the book’s accessible style, flexible e-language, and dizzying references to pop culture (i.e., Forrest Gump, MTV, The Matrix, Star Wars, and so on) and phrases, such as ‘‘Don’t Drink the Kool-Aide,’’ will make it an easy, interesting, and effective addition to a variety of graduate seminars ranging from industrial to cultural geography. Likewise, the text’s price and style would make an interesting new economy read in an undergraduate course on economic geography. In the end, though, Indergaard’s account of Silicon Alley amounts to a refreshing look at a culture of production that dominated the time-space economy of the 1990s and underscores how people and structure interact to produce economic and cultural spaces. For geographers, Silicon Alley’s creative style and formidable imagination may also inspire us to rethink the utility of time-space geography and structuration.