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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
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Amount
Buildings
Glitz
Building
Lift
Architectural

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I only go to Japan when there's someone who can afford to bring me there, and consequently I may never go again!
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The future's here already. It's just unevenly distributed.
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I wanted to make room for antiheroes.
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Tim Powers is a brilliant writer.
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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.
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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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All my life I've encountered people who were obsessed with one particular class of object or experience, who were constantly pursuing that thing. Since I was a little kid, I hadn't afforded myself the opportunity, I guess, to have a hobby.
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I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.
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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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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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Time moves in one direction, memory in another.
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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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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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