Quote

There is always a point at which the terrorist ceases to manipulate the media gestalt. A point at which the violence may well escalate, but beyond which the terrorist has become symptomatic of the media gestalt itself. Terrorism as we ordinarily understand it is innately media-related.

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
Point
Manipulate
Understand
Terrorist
Become
Related
Symptomatic
May
Cease
Escalate
Wells
Terrorism
Gestalt
Well
Beyond
Innately
Always
Media
Ordinarily
Violence
Ceases

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Language is to the mind more than light is to the eye.
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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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To present a whole world that doesn’t exist and make it seem real, we have to more or less pretend we’re polymaths. That’s just the act of all good writing.
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We see in order to move we move in order to see.
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Enlightenment is being, and it grows it's end is serenity.
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Dreaming in public is an important part of our job description, as science writers, but there are bad dreams as well as good dreams. We're dreamers, you see, but we're also realists, of a sort.
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Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.
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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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Television has - particularly at the HBO level in the United States - become a completely new genre. Something like Deadwood or The Wire is a whole new thing - there was no equivalent to that medium before. It's like a new way of telling stories.
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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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As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.
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I don't think about the real future very much.
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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 grew up in southwestern Virginia. I was born in South Carolina, but only because my parents had a vacation cabin or something there on the beach. I was like a summer baby. But I did grow up in the South. I grew up in serious, serious Appalachia, in a very small town.
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I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.
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The future is there, Cayce hears herself say, looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.
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I started writing short fiction very briefly, as I imagine is the case for some novelists.
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That's one of my favorite things about Twitter: You can tweak your feed into a fabulous novelty engine. That's only one thing you can do with it, but it's one of the things I find most entertaining about it.
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Damien is a friend. Their boy-girl Lego doesn't click, he would say.
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Time is money, but also money is money.
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