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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.

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
Think
Stuff
Grandchildren
Thinking
Art
Someday
Find
Appreciation
Look
Held
Wells
Although
Come
Perhaps
Deco
Well
Sort
Toronto
Looks
Quite
Creepy

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We're living in a future that's weirder than anybody except possibly.
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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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Why shouldn't we give our teachers a license to obtain software, all software, any software, for nothing? Does anyone demand a licensing fee, each time a child is taught the alphabet?
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Some people dote on contemplating disasters.
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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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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.
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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 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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I've become convinced that nostalgia is a fundamentally unhealthy modality. When you see it, it's usually attached to something else that's really, seriously bad. I don't traffic in nostalgia. We're becoming a global culture.
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You must learn to overcome your very natural and appropriate revulsion for your own work.
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One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy
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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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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 monitor many frequencies. We listen always. Came a voice, out of the babel of tongues, speaking to us. It played us a mighty dub.
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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.
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When you want to know how things really work, study them when they're coming apart.
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I think the least important thing about science fiction for me is its predictive capacity.
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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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Language is to the mind more than light is to the eye.
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I think that I've always written about things that are very personal, but initially, I coded everything.
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