One of the foremost aspects of today’s living is the fact that, as time goes on; people in Western grow increasingly less capable of exercising a full control over the surrounding post-industrial realities. In its turn, this explains why the motif of existential alienation appears to affect the lifestyles of more and more individuals in the West. It is needless to mention of course, that the earlier mentioned issue fits rather well within the methodological framework of the Massey Lectures, as such that are supposed to serve the purpose of enlightening listeners on the actual significance of discursively acute socio-political and cultural subject matters. Therefore, there is nothing particularly odd about the fact that the motif of alienation is being featured rather prominently, throughout the course of Douglas Coupland’s 2010 book Player One , which was initially introduced to the public in the form of one-hour lectures. Apparently, the author had a good reason to believe that, while exposed to his book, people would be able to gain an in-depth insight into what accounts for the most pressing challenges of Canadian post-modernity. This also explains why, contrary to the tradition of Massey lecturers providing the non-fiction analyses of contemporary issues, Coupland made a deliberate point in delivering his lectures in the format of a literary fiction. The reason for this is simple – the author’s adoption of the earlier mentioned format enabled him to expose the actual roots of contemporary Canadians’ existential inadequateness, without facing the accusations of his lectures being ‘politically incorrect’. The foremost discursive characteristic of Player One , is that the very context of how the featured characters of Karen, Luke and Rachel position themselves in life, implies their physical and cognitive ‘whiteness’. As such, these people are supposed to profess the so-called ‘Faustian’ (Western) existential values (Greenwood 53). After all, it was namely the White people’s endowment with the ‘Faustian’ mentality, which created dialectical preconditions for them to indulge in abstract philosophizing, and to consequently to be able act as the agents of a socio-cultural/technological progress. Nevertheless, even though that there are many scenes in Player One , where the book’s characters reflect upon the philosophical implications of the surrounding reality, they tend to do it in a manner that presupposes the concerned characters’ perceptual infantilism. For example, while looking at the sky, Karen comes up with the following mental-statement: “Wouldn’t it be great if stars turned black during the day – the sky covered with dots like pepper? A crescent moon is visible to the south. Imagine looking up at the moon and seeing it on fire!” (Coupland 12). This, of course, implies that, throughout the course of its life, Karen was never pressed to have her thoughts remaining meaningful at all times, as the main precondition for her to be able to attain a social prominence. Allegorically speaking, Karen was brought up in the ‘greenhouse’ environment of the political correct Canadian society, without having to apply any active effort into securing her