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And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.

William Gibson

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William Gibson
Age: 76
Born: 1948
Born: March 17
Novelist
Science Fiction Writer
Screenwriter
Writer
Conway
South Carolina
William Ford Gibson
Humans
Blue
Remotely
Even
Longer
Exceedingly
Knew
Instinctive
Rich
Stared
Eyes
Soft
Eye
Directly
Money
Certainty
Mammalian
Human
Instant
Cyberpunk

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I very seldom compose anything in my head which later finds its way into text, except character names sometimes - I'm often very much inspired by things that I misunderstand.
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I started writing short fiction very briefly, as I imagine is the case for some novelists.
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I think that technologies are morally neutral until we apply them. It's only when we use them for good or for evil that they become good or evil.
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Time moves in one direction, memory in another.
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I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.
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Art Deco for me except in its most crazed and attenuated forms, it's jut a matter of taste.
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That's something that tends to happen with new technologies generally: The most interesting applications turn up on a battlefield, or in a gallery.
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His teeth sang in their individual sockets like tuning forks, each one pitch-perfect and clear as ethanol.
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I would like to design what people generally call streetwear. I'd like to dress skateboarders, or whatever the older equivalent of skateboarders are. I pay more attention to that stuff than anyone would ever imagine because I'm watching what the designers do.
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What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger.
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It's an American thing, but it's particularly a southern thing, and its romanticization is hyper-Southern. And it's still irresistible to me, even in middle age. There's something that pulls me to that, but at the same time, I have this increasing awareness of how banal it really is - that evil is inherently banal.
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This perpetual toggling between nothing being new, under the sun, and everything having very recently changed, absolutely, is perhaps the central driving tension of my work.
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The past is past, the future unformed. There is only the moment, and that is where he prefers to be.
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Generation X is dead. It has come to mean anyone aged 13 to 55 years old.
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Cyberspace is colonising what we used to think of as the real world. I think that our grandchildren will probably regard the distinction we make between what we call the real world and what they think of as simply the world as the quaintest and most incomprehensible thing about us.
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For me, the melancholy of the late XXth Century is walking late at night by the Mont Blanc pen store and seeing these things always strike me as simulacra of luxury items. They seem like fakes.
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When I was first writing about Japan, it was at the peak of the Bubble. Bubble popped, but they kept on going. Japanese street style feeds American iconics back into America in somewhat the way English rock once fed American blues back into America.
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In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
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I don't have to write about the future. For most people, the present is enough like the future to be pretty scary.
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Laney had recently noticed that the only people who had titles that clearly described their jobs had jobs he wouldn't have wanted.
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