William Gibson

Novelist

William Gibson was born in Conway, South Carolina, United States on March 17th, 1948 and is the Novelist. At the age of 75, William Gibson biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

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Date of Birth
March 17, 1948
Nationality
Canada, United States
Place of Birth
Conway, South Carolina, United States
Age
75 years old
Zodiac Sign
Pisces
Profession
Novelist, Science Fiction Writer, Screenwriter, Writer
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William Gibson Height, Weight, Eye Color and Hair Color

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William Gibson Religion, Education, and Hobbies
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Hobbies
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Education
University of British Columbia
William Gibson Spouse(s), Children, Affair, Parents, and Family
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William Gibson Career

Literary career

Gibson's early writings were mostly near-future tales about the human race's reliance on cybernetics and cyberspace (computer-simulated reality) technologies. In his first published short story "Fragments of a Human," his themes of hi-tech shanty towns, recorded or broadcast stimulation (later to be developed into the "sim-stim" package featured so heavily in Neuromancer), and dystopic intermingling of technology and humanity are already apparent. In the introduction of Gibson's short story collection Burning Chrome, his friend and fellow author Bruce Sterling described the former obsession as "Gibson's original one-two combination of lowlife and high technology."

Gibson's stories appeared in Omni and Universe 11, wherein his fiction developed a bleak, film noir feel. He deliberately distanced himself from science fiction (towards where he felt "an aesthetic revulsion"), to the extent that his greatest aim was to become "a minor cult figure, a sort of lesser Ballard." "People were just genuinely baffled" when Sterling began to publish the stories, he discovered. They literally couldn't parse the guy's paragraphs; the creative tropes he was inventing were completely beyond people's grasp."

Although Larry McCaffery has noted that these early short stories showcased glimpses of Gibson's ability, science fiction writer Darko Suvin has characterized them as "undoubtedly [cyberpunk's] best works," emphasizing the genre's "furthest horizon." Gibson's first book, Neuromancer, was inspired by the themes he created in the stories, the Sprawl setting of "Burning Chrome" and the person of Molly Millions from "Johnny Mnemonic" himself.

Terry Carr was commissioned by Terry Carr for the second series of Ace Science Fiction Specials, which was meant to exclusively feature debut novels. Gibson said he did not have a year to finish the novel, but felt the need to write a complete book was "four or five years away." After watching the first 20 minutes of Gibson's monumental cyberpunk film Blade Runner (1982), which was released before Gibson's writing a third of the story, he "figured [Neuromancer] was sunk, done for." From this remarkably fine film, almost everyone would assume I'd copped my mental appearance." He rewrote the first two-thirds of the book 12 times, afraid of losing the reader's interest and was promised to be "permanently shamed" following its publication; but what resulted was a major literary leap forward for a first-time novelist.

The neuromancer's emergence was not welcomed with enthusiasm, but it did spark a cultural nerve, becoming a goof-mouth hit. It was the first winner of the one-science fiction "triple crown" award, as well as the best paperback book award, with Nebula and Hugo Award as the year's best book and Philip K. Dick Award as the best paperback original, with more than 6.5 million copies sold worldwide.

"The archetypal cyberpunk work," Lawrence Person's "Notes Towards a Postcyberpunk Manifesto" (1998) named Neuromancer as "the first time to exacerbinate how innovative [Neuromancer] was when it first appeared." Larry McCaffery characterized the notion of the matrix in Neuromancer as a place where "digital dance with human consciousness is real and mechanized... multi-national information networks mutate and breed into new structures whose appearance and complexity are unimaginable, mystical, and above all nonhuman." Gibson later wrote about himself as an author, circa Neuromancer, "I'd buy him a drink but I don't know if I'd loan him any money," and referred to the book as "an adolescent's book." The success of Neuromancer was to blame for the 35-year-old Gibson's emergence from anonymity.

Although a large part of Gibson's fame has remained grounded in Neuromancer, his work has continued to evolve both conceptually and stylistically. He had intended to write The Log of the Mustang Sally, but then had to cancel on the deal with Arbor House due to the dustjacket art of their hardcover book Count Zero. Abandoning The Log of the Mustang Sally Gibson wrote Mona Lisa Overdrive (1988), which, in the words of Larry McCaffery, "turned off the lights" on cyberpunk literature. It was the culmination of his previous two books, which were set in the same universe with shared characters, completing the Sprawl trilogy. Gibson's reputation was solidified by the trilogy, with both later books winning Nebula and Hugo Award and Locus SF Award nominations.

The Sprawl trilogy was followed by the 1990 book The Difference Engine, an alternative history book written in collaboration with Bruce Sterling. The novel, set in a technologically advanced Victorian era in the United Kingdom, was a departure from the authors' cyberpunk roots. In 1991 and 1992, it was nominated for the Nebula Award for Best Novel and the John W. Campbell Memorial Award, and its success attracted attention to the nascent steampunk literary style in which it remains the most popular segment.

Virtual Light (1993), a "darkly comic urban detective story," is Gibson's second series, as well as All Tomorrow's Parties (1999). In the near future, the first and third books in the trilogy center on San Francisco will explore Gibson's recurring themes of technological, physical,, and spiritual transcendence in a more grounded, matter-of-fact fashion than his first trilogy. Gibson's villains change from multinational corporations and artificial intelligences of the Sprawl trilogy to mass media in the Bridge trilogy, according to Salon's Andrew Leonard, namely tabloid television and the cult of celebrity. According to one study, Virtual Light depicts an "end-stage capitalism" in which private industry and the profit motive are brought to their logical conclusion. The argument about the mass media as a natural evolution of capitalism is the first line of the major Situationist work The Society of the Spectacle. Leonard's analysis called Idoru a "return to form" for Gibson, while analyst Steven Poole said that All Tomorrow's Parties reflected his transition from "science-fiction hotshot" to a wry sociologist of the near future.

Gibson began to write in a more realistic style, with continuous stories as a result of All Tomorrow's Parties. Gibson has acknowledged that traditional science fiction is no longer feasible "in a world lacking coherent 'nows' to continue from," science fiction writer John Clute has characterized it as "SF for the new century." Pattern Recognition (2003), Spook Country (2007), and Zero History (2010) are set in the same modern universe, "more or less the same one we live in now" — Gibson's books appear on mainstream bestseller lists for the first time. The novels, as well as the setting, include Hubertus Bigend and Pamela Mainwaring, employees of the enigmatic marketing firm Blue Ant.

When asked on Twitter what this collection of books should be called ("The Bigend Trilogy"), it should be titled "The Bigend Trilogy."

The Blue Ant Cycle?

What?

"I like books," Gibson replied. The Bigend books are a collection of stories about humans. However, "Blue Ant" rather than "Big End" has now become the common descriptor. Gibson said he did not name his trilogies because "I want to see what people call them," and he introduced "the Blue Ant books" in a tweet in 2016.

The independent growth of annotating fans, PR-Otaku and Node Magazine, was devoted to Pattern Recognition and Spook Country respectively, which was a phenomenon peculiar to this period. These websites followed the references and story elements in the novels and collated the findings, effectively creating hypertext versions of the novels. Critic John Sutherland characterized this phenomenon as threatening to "completely change the way literary criticism is carried out."

About 100 pages into writing Pattern Recognition, Gibson felt obliged to re-write the main character's backstory, which had been previously rendered implausible by the September 11, 2001 attacks; he described it as "the oddest encounter I've ever had with a piece of fiction." "In some ways, the true start of the 21st century" was seen as a nodal point in history, "an experience out of culture," he said. He is one of the first novelists to use the attacks to fuel his writing. A analysis of cultural transitions in post-September 11 America, including a revivalist ethnoism and the "infantilization of society," became a prominent theme of Gibson's work, but "at the intersection of chaos and technology," he said.

On October 28, 2014, the Peripheral, William Gibson's first book in a new series of books, was published. In a short appearance at the New York Public Library on April 19, 2013, he briefly discussed the tale, as well as an excerpt from the book's first chapter entitled "The Gone Haptics." The tale takes place in two decades, one about thirty years into the future and the other more recent.

Its continuation, Agency, was announced on January 21, 2020 after being postponed from its original scheduled release date of December 2018. Gibson wrote in a New Yorker magazine article that both Trump's election and the scandal surrounding Cambridge Analytica had prompted him to rethink and revise the text.

Gibson posted a tweet on July 17, 2020: "I don't think I'm going to call Agent's sequel Jackpot at all," says the author. Not because of [Jackpot by Michael Mechanic], which I look forward to reading more about, but because the agency was originally called Tulpagotchi. I still love this book, but it may have been a different book."

Gibson's comedy/graphic book Archangel was released in 2017 in between The Peripheral and Agency. Both Archangel and The Peripheral are time travelers, but Gibson has confirmed that the two companies are not connected: they are not "same universe." The Splitter and Transcontinual virtuality are two different mechanisms (also different plot structures). Dark Horse Comics' Johnnie Christmas' interpretation of Gibson's Alien 3 script in five parts began last year, resulting in a hardcover collection being released in 2019.

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www.dailymail.co.uk, October 22, 2022
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www.dailymail.co.uk, October 22, 2022
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www.dailymail.co.uk, October 19, 2022
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