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A lot of the buildings [in Toronto] around Yonge and Bloor is the architectural equivalent of Kipper Ties and 8 collar points. It's ghastly and no amount of street-level retail glitz can lift it.

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
Levels
Lifts
Collar
Around
Ties
Ghastly
Points
Collars
Street
Retail
Streets
Toronto
Level
Equivalent
Amount
Buildings
Glitz
Building
Lift
Architectural

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We see in order to move we move in order to see.
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I'm a reluctant writer of non-fiction, in part because I don't really feel qualified.
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Friday, August 04, 2006 MONUMENT posted 8:31 AM Silver nitrous girls pointed into occult winds of porn and destiny.
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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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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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I was afraid to watch 'Blade Runner' in the theater because I was afraid the movie would be better than what I myself had been able to imagine. In a way, I was right to be afraid, because even the first few minutes were better.
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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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[I've gone to big stadium rock concerts at some artist's invitation], and eventually you find yourself in the room with the Radiant Being around whom all this is revolving. It's very bizarre, and it's quasi-religious, or possibly genuinely religious. Spooky. It's a spooky and interesting thing.
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I wanted to make room for antiheroes.
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All I knew about the word cyberspace when I coined it, was that it seemed like an effective buzzword. It seemed evocative and essentially meaningless. It was suggestive of something, but had no real semantic meaning, even for me, as I saw it emerge on the page.
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Time is money, but also money is money.
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I'm not a very intentional writer. I try to be as unintentional as possible. What I basically try to do is invite the zeitgeist in to tea.
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She walked on, comforted by the surf, by the one perpetual moment of beach-time, the now-and-always of it.
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I'm interested in people who become culturally fluent. And when I meet young people I'm often amazed they don't quite seem to have a sense of where they're from. They're like the citizens of the airport.
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I have friends who go [Tokyo] frequently on business, and it sounds interesting. I've heard that they have for the first time serious drug problems.
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Time moves in one direction, memory in another.
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I took Punk to be the detonation of some slow-fused projectile buried deep in society's flank a decade earlier, and I took it to be, somehow, a sign.
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When did it become necessary to explain what's so cool about Japan? Everyone was quite obsessed with it 15 years ago. I suppose it's the only Asian country that developed an imaginary entree to me. That's why I go back.
William Gibson
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Occasionally if I look back at something I've written I'll find one of those that I don't understand, but that's a bad thing - the unconscious has dealt me a bad hand.
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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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