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There is a concept called “the Singularity” that is of special concern to science fiction authors. It is the moment when an artificial intelligence becomes so intelligent, so self-aware, that it no longer needs us to create more and better intelligences. When it begins to evolve independently, like a biological organism (I’m sure there is a more technical definition, but this is close enough for most science fiction, and close enough for William Gibson). That’s what Gibson was writing about in the Sprawl Trilogy. Wintermute and Neuromancer connecting to become this other thing; that moment is a Singularity. It sounds like it could all be good fun, but it can be unsettling. You’ve seen the unsettling version on television and in the movies. Think SkyNet, think The Matrix. That’s ultimately what was behind the whole of the Sprawl Trilogy. Recently I’ve been seeing the word used to describe something more… Continue Reading →

I’m curious as to why, in his first five solo novels (he drops the convention for All Tomorrow’s Parties, and it was largely irrelevant in The Difference Engine, the collaboration with Bruce Sterling that came between Mona Lisa Overdrive and Virtual Light), Gibson uses a phonetic spelling of the Japanese pronunciation of words borrowed from English. The Idoru of the title is a Japanese borrowing of the English word “idol,” and it’s not uncommon for Gibson to write “sarariman” when he means “salaryman.” Perhaps it’s to indicate that, while these words have been borrowed from English, the concept has been altered, formalized or radicalized enough, to the point where it’s no longer quite the same thing as it would be in English (a process that words go through quite regularly in the English language’s gluttonous drive to expand its lexicon). If that’s so, then why drop most of the terms… Continue Reading →

Berry Rydell is the most likable character in Gibson’s oeuvre. He’s not an innocent (he’s a cop who used lethal force without authorization, though he had good reason), but he’s somehow avoided becoming rough, or crude, or cynical. He’s Southern without being a Good Ol’ Boy, reminding me a bit of Timothy Olyphant in Justified or Deadwood, or of Ray Tatum in T.R. Pearson’s novels. Simple, even noble, somehow, without trying, without being ridiculous. Doing the right thing, mainly because in the long run it’s less complicated. This, of course, gets him into monumental amounts of trouble, just as it would in our world. He gets let go from the Knoxville police force almost as soon as he’s hired, loses his job as a rent-a-cop with IntenSecure because a hacker prank (which may have been orchestrated by a husband trying to catch his wife with the pool boy) manipulates him… Continue Reading →

For reasons unknown I am always confusing Mona Lisa Overdrive with one of the Bridge Trilogy novels, conflating some of its plot elements with bits of Idoru (most notably the portable AI known as Colin, and the nanotech assembler), which is odd, because Kumiko Yanaka and Chia Pet Mackenzie (yes, really) couldn’t be any more different as characters, but the confusion always stems from plot elements relating to them. Mona Lisa Overdrive didn’t get quite as good a critical reception as Neuromancer and Count Zero, and it’s not difficult to see why. It lacks the focus of the other two books, and the characters are not as central to the events as science fiction and fantasy generally demands. Instead, Bobby and Angie excepted, they nibble away at the edges, sometimes pushed around like pawns, and sometimes acting as channels for greater forces that are making moves in a game that… Continue Reading →

There are a couple of things about Count Zero that have never quite ticked over for me. It’s not that they don’t make sense, it’s more that they don’t make the right kind of sense to sustain my willing suspension of disbelief. The idea is that you can find anything in the Sprawl, and I suppose they fall under that umbrella, but Gibson doesn’t strike me as the kind of writer who does things just because he can. The first of those two things is the least significant, and that’s Bobby Newmark’s mother. Gibson’s narrators are always third person in his novels, so we never get the unfiltered personality of any of his characters, but it’s pretty clear that we see Bobby’s (Count Zero’s) mother the way he sees her, and two things are plain: she’s a lost cause, spending all her time drinking and jacked into serial simstims on… Continue Reading →

Were I asked (and I never have been), I would have to say that William Gibson is my favourite science fiction author, mostly likely my favourite “genre” author of all time, across all genres not labeled “literary”, though I think that after Pattern Recognition, anyone trying to keep his work in the science fiction ghetto is a fool. You’re going to want to read this post about genre classifications before we go any further. (A novel set in the “real world” now has to answer the question, “Which one?”) Trust me. Go now, I’ll wait. I don’t need to tell you that Neuromancer is the single most famous cyberpunk novel, not quite the first of its kind, but the one that changed everything. It’s been heavily criticized because at the time Gibson knew more or less nothing about computers, and so his depictions of computer technology and hacker culture, while… Continue Reading →