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The Cyberspace Matrix, a synergistically linked computer network of databases that encompasses all information on Earth, has become home to sentient beings. But most of humanity remains unaware. Linda Lee. A drug addict and resident of Chiba City, she is the former girlfriend of Case, and instigates the initial series of events in the story with a lie about his employer's intention to kill him. Her death in Chiba City and later pseudo-resurrection by Neuromancer serves to elicit emotional depth in Case as he mourns her death and struggles with the guilt he feels at rejecting her love and abandoning her both in Chiba City and the simulated reality generated by Neuromancer. Marly, prior to the beginning of the story, operated a small art gallery in Paris. She became notorious as a result of the disgrace from attempting to sell a forged box assemblage that was supposedly a lost piece by the American sculptor Joseph Cornell. She was unaware that the piece was a fake, having been duped by her then-lover Alain, the gallery's co-owner, who had embezzled money from the gallery to finance the forgery. Unemployed and living with her friend Andrea, Marly receives a job offer from the immensely wealthy businessman Josef Virek. During her interview, conducted via a very advanced simstim link, Virek informs Marly that he has collected several remarkable box assemblages similar to those created by Cornell. Virek then hires Marly to find out who is producing the pieces, offering her unlimited financial support during the course of her search. a b Platt, Adam (September 16, 1993). "Cyberhero". The Talk of the Town. The New Yorker. p.24. Archived from the original on February 23, 1999 . Retrieved November 6, 2007.
The matrix has its roots in primitive arcade games. … Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts. … A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding. (Gibson 69.) Straylight Run". MTV.com. Archived from the original on October 1, 2007 . Retrieved September 9, 2007. Trench, Marianne and Peter von Brandenburg, producers. 1992. Cyberpunk. Mystic Fire Video: Intercon Productions. Inkpot Award". December 6, 2012. Archived from the original on January 29, 2017 . Retrieved October 23, 2020. a b c d e f Sale, Jonathan (June 19, 2003). "Passed/Failed: William Gibson, novelist and scriptwriter". The Independent. London: Independent News & Media . Retrieved March 12, 2009. [ dead link]
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Prucher, Jeff (2007). "cyberspace". Brave New Words: The Oxford Dictionary of Science Fiction. Oxford University Press. p.31. ISBN 978-0-19-530567-8. OCLC 76074298. While logged into cyberspace, Case glimpses Neuromancer standing in the distance with Linda Lee, and himself. He also hears inhuman laughter, which suggests that Pauley still lives. The sighting implies that Neuromancer created a copy of Case's consciousness, which now exists in cyberspace with those of Linda and Pauley. Wilf Netherton lives in London, seventy-some years later, on the far side of decades of slow-motion apocalypse. Things are pretty good now, for the haves, and there aren’t many have-nots left. Wilf, a high-powered publicist and celebrity-minder, fancies himself a romantic misfit, in a society where reaching into the past is just another hobby.
GPod Audio Books: Neuromancer by William Gibson". GreyLodge Podcast Publishing company. Archived from the original on May 15, 2006 . Retrieved April 9, 2007. Person, Lawrence (Winter/Spring 1998). "Notes Toward a Postcyberpunk Manifesto". Nova Express 4 (4) . http://features.slashdot.org/article.pl?sid=99/10/08/2123255 . Retrieved 2007-11-06. Gibson, William (January 17, 2003). "Oh Well, While I'm Here: Bladerunner". Archived from the original on September 26, 2007 . Retrieved January 21, 2008.
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The couple married and settled in Vancouver, British Columbia, in 1972, with Gibson looking after their first child while they lived off his wife's teaching salary. During the 1970s, Gibson made a substantial part of his living from scouring Salvation Army thrift stores for underpriced artifacts he would then up-market to specialist dealers. [25] Realizing that it was easier to sustain high college grades, and thus qualify for generous student financial aid, than to work, [16] he enrolled at the University of British Columbia (UBC), earning "a desultory bachelor's degree in English" [7] in 1977. [27] Through studying English literature, he was exposed to a wider range of fiction than he would have read otherwise; something he credits with giving him ideas inaccessible from within the culture of science fiction, including an awareness of postmodernity. [28] It was at UBC that he attended his first course on science fiction, taught by Susan Wood, at the end of which he was encouraged to write his first short story, " Fragments of a Hologram Rose". [9] Early writing and the evolution of cyberpunk [ edit ] Neuromancer is considered "the archetypal cyberpunk work". [16] Outside science fiction, it gained unprecedented critical and popular attention [1] as an "evocation of life in the late 1980s", [17] although The Observer noted that "it took the New York Times 10 years" to mention the novel. [18] By 2007 it had sold more than 6.5million copies worldwide. [12] a b c Poole, Steven (October 30, 1999). "Nearing the nodal". Books by genre. London: The Guardian. Archived from the original on January 8, 2008 . Retrieved November 3, 2007.
Gibson, William (July 30, 2009). "My poor old blog's just sitting there". WilliamGibsonBooks.com. Archived from the original on December 20, 2010 . Retrieved September 1, 2010. The novel has had significant linguistic influence, popularizing such terms as cyberspace and ICE ( Intrusion Countermeasures Electronics). Gibson himself coined the term "cyberspace" in his novelette " Burning Chrome", published in 1982 by Omni magazine, [19] but it was through its use in Neuromancer that it gained recognition to become the de facto term for the World Wide Web during the 1990s. [ citation needed] The portion of Neuromancer usually cited in this respect is:After expanding on the story in Neuromancer with two more novels ( Count Zero in 1986 and Mona Lisa Overdrive in 1988), thus completing the dystopic Sprawl trilogy, Gibson collaborated with Bruce Sterling on the alternate history novel The Difference Engine (1990), which became an important work of the science fiction subgenre known as steampunk. Gibson, William (September 4, 2003). "Neuromancer: The Timeline". Archived from the original on December 30, 2006 . Retrieved November 26, 2007. Watch William Gibson read from his brand new science fiction novel". io9. April 29, 2013. Archived from the original on October 22, 2015 . Retrieved April 8, 2014. Gibson, William (September–October 1993). "Disneyland with the Death Penalty". Wired. Vol.1, no.4. Archived from the original on October 1, 2008 . Retrieved September 23, 2008.
Yoke, Carl B.; Robinson, Carol, eds. (2007). The Cultural Influences of William Gibson, the "Father" of Cyberpunk Science Fiction. Lewiston, New York: Edwin Mellen Pr. ISBN 978-0-7734-5467-5. OCLC 173809083. Neuromancer was commissioned by Terry Carr for the second series of Ace Science Fiction Specials, which was intended to feature debut novels exclusively. Given a year to complete the work, [5] Gibson undertook the actual writing out of "blind animal panic" at the obligation to write an entire novel—a feat which he felt he was "four or five years away from". [1] After viewing the first 20 minutes of the landmark film Blade Runner (1982), which was released when Gibson had written a third of the novel, he "figured [ Neuromancer] was sunk, done for. Everyone would assume I'd copied my visual texture from this astonishingly fine-looking film." [6] He re-wrote the first two-thirds of the book 12 times, feared losing the reader's attention and was convinced that he would be "permanently shamed" following its publication; yet what resulted was seen as a major imaginative leap forward for a first-time novelist. [1] He added the final sentence of the novel at the last minute in a deliberate attempt to prevent himself from ever writing a sequel, but ended up doing precisely that with Count Zero (1986), a character-focused work set in the Sprawl alluded to in its predecessor. [7] Plot [ edit ] Cover of a Brazilian edition, depicting the "razorgirl" Molly Millions
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a b Garreau, Joel (September 6, 2007). "Through the Looking Glass". The Washington Post. Archived from the original on August 5, 2016 . Retrieved October 30, 2007. Gibson, William (1992). "Introduction to Agrippa: A Book of the Dead". Archived from the original on November 20, 2007 . Retrieved November 11, 2007.
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