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I'd always maintained that much of the anarchy and craziness of the early internet had a lot to do with the fact that governments just hadn't realised it was there.

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
Always
Governments
Hadn
Early
Internet
Fact
Craziness
Facts
Maintained
Government
Realised
Much
Anarchy

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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 think science fiction gives us a wonderful toolkit to disassemble and reexamine this kind of incomprehensible, constantly changing present that we live in, that we often live in quite uncomfortably.
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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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What strikes me about Toronto is that Toronto's great misfortune was to have too much money in the late 70s and early 80s, and consequently, it built in the style of those periods, which is hideous.
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The experience of celebrity is gradually being democratized.
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I think the least important thing about science fiction for me is its predictive capacity.
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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.
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I find it interesting to see people - mostly people who are younger than I am - going to considerable trouble to try to reproduce things from an era that was far more physical, from a less virtual day.
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I can see television much more easily than I can see features, because the economy and politics of making big, big features seems to me to be narrowing even from what it was.
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A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.
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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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I assume that - because you can get degrees in journalism from very reputable universities - I assume that people can be trained to be journalists. I've never been entirely certain that anyone can be trained to be a novelist in the same way.
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Some very considerable part of the gestural language of public places that had once belonged to cigarettes now belonged to phones.
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The future has already arrived. It's just not evenly distributed yet.
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I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.
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I was once really close to sitting down and having a conversation with a shadowy young woman who is reputed have become a millionaire by investing in Beanie Babies. She was someone that a couple people claimed to know, she seemed to exist, but she remained shadowy.
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My dream scenario would be that you could go into a bookshop, examine copies of every book in print that they're able to offer, then for a fee have them produce in a minute or two a beautiful finished copy in a dust jacket that you would pay for and take home.
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The street has its own use for things.
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Fiction is an illusion wrought with many small, conventionally symbolic marks, triggering visions in the minds of others
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Hollis thought he looked like William Burroughs, minus the bohemian substrate (or perhaps the methadone). Like someone who'd be invited quail shooting with the vice-president, though too careful to get himself shot.
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