Quotes by: William Gibson
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.
I'd always maintained that much of the anarchy and craziness of the early Internet had a lot to do with the fact that governments just hadn't realised it was there.
'Cyberspace' as a term is sort of over. It's over in the way that, after a certain time, people stopped using the suffix '-electro' to make things cool, because everything was electrical. 'Electro' was all over the early 20th century, and now it's gone. I think 'cyber' is sort of the same way.
Cyberspace is colonising what we used to think of as the real world. I think that our grandchildren will probably regard the distinction we make between what we call the real world and what they think of as simply the world as the quaintest and most incomprehensible thing about us.
Whenever I read a contemporary literary novel that describes the world we're living in, I wait for the science fiction tools to come out. Because they have to - the material demands it.
A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.
I'm happiest with people who've gotten furthest from traditional ideas of nationalism.
I'm interested in how people all over the world array themselves and go forth in the morning to do whatever they have to do to make a living.
If I write something set 60 years in the future, I am going to have to explain how humanity got there, and that's becoming quite a big job.
I'm quite good friends with the putative director, Vincenzo Natali, and I'm a big fan of his work, but beyond that, I don't like to talk about other people's work work-in-progress.
In a sense, if you're not getting it wrong really a lot when you're creating imaginary futures, then you're just not doing it enough. You're not creating enough imaginary futures.
I think the least important thing about science fiction for me is its predictive capacity.
I think with one exception I've never changed an opening sentence after a book was completed.
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.
I think that our future has lost that capital F we used to spell it with. The science fiction future of my childhood has had a capital F - it was assumed to be an American Future because America was the future. The Future was assumed to be inherently heroic, and a lot of other things, as well.
I'm a reluctant writer of non-fiction, in part because I don't really feel qualified.
In the early '80s, I happened to find myself in the vicinity of people who would work for Microsoft five years later.
In 1981, I was a futurist - or at least I was a guy who put on a futurist hat occasionally - and I wrote about the 21st century.
Science fiction writers aren't fortune tellers. Fortune tellers are fakes.
When I wrote 'Neuromancer', I had a list in my head of all the things the future was assumed to be which it would not be in the book I was about to write. In a sense, I intended 'Neuromancer', among other things, to be a critique of all the aspects of science fiction that no longer satisfied me.
If you've read a lot of vintage science fiction, as I have at one time or another in my life, you can't help but realise how wrong we get it. I have gotten it wrong more times than I've gotten it right. But I knew that when I started; I knew that before I wrote a word of science fiction.
I didn't have a manifesto. I had some discontent. It seemed to me that midcentury mainstream American science fiction had often been triumphalist and militaristic, a sort of folk propaganda for American exceptionalism.
The box was a universe, a poem, frozen on the boundaries of human experience.