Tag Archives: William Gibson

The franchise virus

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“The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder — its DNA — xerox it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines.”

— Snow Crash

I’ve lost count of how many times I’ve read this book but discover something new each time I pick it up. I like Stephenson’s female characters. Always smart and strong. Y.T. the skateboard courier in Snow Crash; Eliza in The Baroque Cycle; and Zula in REAMDE.

Same goes for William Gibson: Molly Millions (Neuromancer and Mona Lisa Overdrive); Angie Mitchell (Count Zero); Chevette Washington (Virtual Light and All Tomorrow’s Parties); Cayce Pollard (Pattern Recognition); Hollis Henry (Spook Country and Zero History); and Flynne Fisher (The Peripheral).

James Gleick interviews William Gibson

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This interview was recorded in 2014 and runs one hour and twenty minutes. If you are not a fan of Gibson’s novels you can skip this. If you are a fan but haven’t read The Peripheral, you should not watch this interview. The interview is notable in that Mr. Gleick doesn’t interrupt Mr. Gibson once. He lets him fully answer each question before asking the next one.

William Gibson Reimagines World After 2016 Election

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“Agency,” Mr. Gibson’s next novel, which Berkley will publish in January. The story unfolds in two timelines: San Francisco in 2017, in an alternate time track where Hillary Clinton won the election and Mr. Trump’s political ambitions were thwarted, and London in the 22nd century, after decades of cataclysmic events have killed 80 percent of humanity. In the present-day San Francisco setting, a shadowy start-up hires a young woman named Verity to test a new product: a “cross-platform personal avatar” that was developed by the military as a form of artificial intelligence. Meanwhile, characters in the distant future are interfering with the events unfolding in 2017, through technological time travel that allows them to send digital communications to the past.”

New York Times book review »

Does William Gibson know what’s ahead?

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“It’s the music of a disenfranchised, mostly white proletariat, barely hanging on in post-post-industrial America.” William Gibson’s All Tomorrow’s Parties was published in 1999 so the line above was written at least 17 years ago. More so than any other writer, I get the feeling Gibson somehow knows what’s ahead for us. Maybe he gave us a glimpse of that in The Peripheral. Perhaps that future is already here. I wish I could pick up the phone and call Mr. Gibson or Kevin Kelly or James Gleick or (insert name of really smart person here): “I’m sorry to bother you, but what do you think? Is everything going to be okay or not?”

William Gibson interview

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William Gibson fans will want to read this short interview by Business Insider. Mr. Gibson talks about ‘The Peripheral,’ the power of Twitter, and his next book set in today’s Silicon Valley.

“I am able to wake up, open Twitter, and sort of glance across the psychic state of the planet.”

What does a writer do when the world gets weirder faster than you can write about it?

“…he world is already that much weirder than it was when I started writing the book. You know the level of freakiness we have experienced in 2016 is so far off the charts, I am having to go back and crank up the weirdness in parts of the book I have already written.”

And it’s only August. Worried about the Middle East? Don’t be.

“And then I see NASA’s climate projection for the Middle East in 2050 or so, when they say none of it will be livable by human beings who don’t have space suits.”

The Jackpot

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William Gibson defines the Jackpot Years from The Peripheral [ m1k3y on Vimeo.]

“No comets crashing, nothing you could really call a nuclear war. Just everything else, tangled in the changing climate: droughts, water shortages, crop failures, honeybees gone like they almost were now, collapse of other keystone species, every last alpha predator gone, antibiotics doing even less than they already did, diseases that were never quite the one big pandemic but big enough to be historic events in themselves.”

The best thing about the present

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“The most fantastic thing about the present time is that we’re actually still here. In the early ’80s, people who knew what their situation was with the Cold War and nuclear armament didn’t necessarily expect that we’d make it this far. We’ve kind of lost that knowledge. Once the threat was gone, it was like we disremembered it as a species. It seldom comes up anymore, which is really odd.”

“The future will probably know more about what we’re actually doing than we do. Because if it stays history long enough, it doesn’t have to be secret anymore.”

From interview with William Gibson