I reviewed William Gibson's novel "Agency" for today's LA Times

My latest LA Times review is for William Gibson's new novel Agency, sequel to his outstanding 2014 novel "The Peripheral," which marked his return to explicitly futuristic science fiction after his amazing and audacious "Pattern Recognition" novels, which treated the recent past as though it was a speculative future setting. Read the rest

William Gibson talks about scrapping and rewriting a novel after the 2016 Trump election

Agency is the sequel to William Gibson's tour-de-force 2014 novel "The Peripheral"; as previously discussed, Gibson had to scrap large sections of the novel and rewrite it after Donald Trump won the 2016 US presidential election. Agency is out later this month (I have a review pending for publication date) and Gibson has conducted a long interview with Sam Leith about the process by which the book came to be -- and almost wasn't. Read the rest

William Gibson profiled in The New Yorker

In the December 9, 2019 issue of The New Yorker, Joshua Rothman profiles one of the most influential authors in recent decades, William Gibson.

Gibson doesn’t have a name for his method; he knows only that it isn’t about prediction. It proceeds, instead, from a deep engagement with the present. When Gibson was starting to write, in the late nineteen-seventies, he watched kids playing games in video arcades and noticed how they ducked and twisted, as though they were on the other side of the screen. The Sony Walkman had just been introduced, so he bought one; he lived in Vancouver, and when he explored the city at night, listening to Joy Division, he felt as though the music were being transmitted directly into his brain, where it could merge with his perceptions of skyscrapers and slums. His wife, Deborah, was a graduate student in linguistics who taught E.S.L. He listened to her young Japanese students talk about Vancouver as though it were a backwater; Tokyo must really be something, he thought. He remembered a weeping ambulance driver in a bar, saying, “She flatlined.” On a legal pad, Gibson tried inventing words to describe the space behind the screen; he crossed out “infospace” and “dataspace” before coming up with “cyberspace.” He didn’t know what it might be, but it sounded cool, like something a person might explore even though it was dangerous.

(Image: William Gibson by Frédéric Poirot , CC-BY) Read the rest

The New Yorker's profile of William Gibson: "Droll, chilled out, and scarily articulate"

I first met Bill Gibson in 1999 when I was profiling him for the Globe and Mail as part of a review of his book "All Tomorrow's Parties." Since then, we've become friends and colleagues, and I genuinely treasure every chance I get to sit down with him, because he's both fantastically clever and incredibly nice. Read the rest

William Gibson's The Peripheral is on sale today as a Kindle edition

William Gibson's 2014 novel, The Peripheral, is on sale today as a Kindle edition for just [amazon_link asins='B00INIXKV2' template='PriceLink' store='boingboing' marketplace='US' link_id='9835af59-5fe0-42c3-8cce-17d9fbc444ae'].

Book description:

Flynne Fisher lives down a country road, in a rural America where jobs are scarce, unless you count illegal drug manufacture, which she’s trying to avoid. Her brother Burton lives on money from the Veterans Administration, for neurological damage suffered in the Marines’ elite Haptic Recon unit. Flynne earns what she can by assembling product at the local 3D printshop. She made more as a combat scout in an online game, playing for a rich man, but she’s had to let the shooter games go.

Wilf Netherton lives in London, seventy-some years later, on the far side of decades of slow-motion apocalypse. Things are pretty good now, for the haves, and there aren’t many have-nots left. Wilf, a high-powered publicist and celebrity-minder, fancies himself a romantic misfit, in a society where reaching into the past is just another hobby.

Burton’s been moonlighting online, secretly working security in some game prototype, a virtual world that looks vaguely like London, but a lot weirder. He’s got Flynne taking over shifts, promised her the game’s not a shooter. Still, the crime she witnesses there is plenty bad.

Flynne and Wilf are about to meet one another. Her world will be altered utterly, irrevocably, and Wilf’s, for all its decadence and power, will learn that some of these third-world types from the past can be badass.

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William Gibson, danah boyd and Oakland Privacy will all receive this year's EFF's Pioneer Award

The Electronic Frontier Foundation has announced the winners of this year's Pioneer Award (rechristened the "Barlow" in honor of EFF co-founder John Perry Barlow: sf writer William Gibson, anthropologist danah boyd, and activists Oakland Privacy. Read the rest

The chemistry of Neuromancer

At Chemistry Blog, Nick Uhlig explores the chemistry of William Gibson's classic novel Neuromancer.

Apart from inventing the term “cyberspace” and predicting virtual reality long before it became commonplace, Neuromancer also contains some interesting tidbits of chemistry. Being a chemist myself, specifically one in the pharma industry, these little nuggets of scientific prose jump out at me, and quite pleasantly Gibson (for the most part) does a good job of using them appropriately. I wanted to examine the pharmaceutical elements of the book, which are almost entirely used by Case and Peter Riviera, its two biggest junkies.

Only the finest Brazilian Dex for me.

Photo: Cory Doctorow (CC BY-SA 2.0) | Artist: James Warhola Read the rest

Watch the short film adaptation of William Gibson's "The Gernsback Continuum"

NSFW: Tomorrow Calling (1993) is a short film adaptation for television of William Gibson's 1981 short story "The Gernsback Continuum," from the seminal cyberpunk anthology Mirrorshades (1986), edited by Bruce Sterling, and Gibson's own Burning Chrome (1986) collection. Directed by Tim Leandro, Tomorrow Calling was first shown on Channel 4 in the UK.

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William Gibson on individual privacy, governmental secrecy and the future of history

In a thoughtful New York Times editorial, science fiction giant William Gibson mediates on the difference between the privacy that individuals have and deserve, the privacy that governments assert ("What does it mean, in an ostensible democracy, for the state to keep secrets from its citizens?"), and what this will mean for the historians of the future. Read the rest

William Gibson: how I wrote Neuromancer

In The Guardian, William Gibson describes his experience writing his first novel, Neuromancer.

I was 34, a first-time parent, married, a recent university graduate with a BA in English literature. I had published a few (very few) short stories in Omni, a glossy magazine from the publisher of Penthouse. Omni paid around $(removed),000 for a short story, a princely sum (particularly when compared with science fiction magazines – digest-sized, the traditional pulps – which paid perhaps a 10th, if that). Omni left me no choice but to write more.

Their first cheque cashed, I’d purchased the cheapest possible ticket to New York, intent on meeting the mysterious human whose editorial decision had resulted in such a windfall. The late Robert Sheckley, a droll and affable man, and a writer whose fiction I admired, took me out to lunch on the Omni tab and gave me two pieces of sage advice: I should never, under any circumstances, sign a multi-book contract, and neither should I “buy that big old house”. I have managed to follow the first to the letter.

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Your cyberpunk games are dangerous

How roleplaying games and fantasy fiction confounded the FBI, confronted the law, and led to a more open web

Johnny Mnemonic and the perfect cyberpunk movie it wasn't

Before The Matrix, there was this, starring Beat Takeshi and Keanu Reeves. Cyberpunk's truest vision lurks not in gnostic fantasy but in the cheap mediocrity of corporate power.

William Gibson Interview

Illo: Rob Beschizza. Photo: Frederic Poirot

Author William Gibson discusses Victorians, John Shirley and the early days of his career. A longer version of this interview appeared in the 197th issue of Paris Review Read the rest