The dweller can see and hear everything around the kentuki but can issue no sound other than a wordless cry. Each kentuki has two users: the keeper, who owns the toy, and the dweller, a volunteer assigned at random who controls it remotely, via software interface, from elsewhere in the world. Consider it half Furby, half Tamagotchi, an adorable automaton that requires attention - but then add Chatroulette to the mix. In “Little Eyes,” surveillance takes the form of a device called the kentuki, a toylike, mechanical pet, available for $279 in 12 varieties fashioned after the animals of the Chinese zodiac. We accept it, ignore it, forget that it’s happening. Our relationship to surveillance is more complicated than we imagine. I think people knew exactly what they were slow-dancing to in 1983 Sting and I were the ones doing the misinterpreting. It was only while reading Samanta Schweblin’s dark, quick, strangely joyful new novel, “Little Eyes,” that I realized my feelings about the song had changed - or, rather, my feelings about its fans. Weren’t they paying attention? The song’s protagonist wasn’t a lover he was a creep. “It’s about jealousy and surveillance and ownership.”Ī teenager at the time, I read these words with grim satisfaction, disdaining the fools who read tender devotion in those disturbing lyrics. But “I think it’s a nasty little song, really rather evil,” Sting said.
“I’ll be watching you.” Fans seemed to understand the song as a romantic anthem. The song is about obsessive love: “You belong to me,” he croons over a lugubrious, pulsing, comfortingly familiar G-major chord progression. In a 1983 interview, Sting complained that the Police’s hit “ Every Breath You Take” had been woefully misinterpreted.
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