I love the idea of science fiction turning its lens on the present, of finding the same frisson of futuristic speculation in looking around at the contemporary world. Gibson's insights on the subject are laser-focused, as his commentary on film adaptations of literature and several other subjects.
TVP: But having said that, isn't it a bit uncanny that all of the dystopian texts of science-fiction appear to be aiming at the present that we're experiencing right now?Link (via Futurismic)
WG: Well, I would find that spookier if I had been believing all along that those sort of dystopian themes in science fiction were about some sort of vision of the future. I think they were actually like being perceived in the past when that stuff was being written. 1984 is a powerful book precisely because Orwell didn't have to make a lot of shit up. He had Nazi Germany and the Soviet Union under Stalin as models for what he was doing. He only had to dress it up a little bit, sort of pile it up in a certain way to say, "this is the future." But the reason it's powerful is that it resonates of history. It doesn't resonate back from the future, it resonates out of modern history. And the power with which it resonates is directly contingent on the sort of point-for-point mimesis, like sort of point-for-point realism, in terms of what we know happened.
I write books. My latest is a YA science fiction novel called Homeland (it's the sequel to Little Brother). More books: Rapture of the Nerds (a novel, with Charlie Stross); With a Little Help (short stories); and The Great Big Beautiful Tomorrow (novella and nonfic). I speak all over the place and I tweet and tumble, too.