(as encountered while staying in a hotel room last night)
Faint harmonics, tiny inaudible voices rattling across some orbital link, and then a sound like the wind.
—William Gibson, Neuromancer, pp. 98
Cohen introduced us and explained that Dialta was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called “American Streamlined Moderne.” Cohen called it “raygun Gothic.” Their working title was “The Airstream Futuropolis: The Tomorrow That Never Was.”
—The Gernsback Continuum W. Gibson, 1981
But then again I am somewhat the opposite of Alan Moore, in that I regard screen adaptations of my work with little more than simple childlike curiosity.
—William Gibson on the Neuromancer film
Cyberpunk author William Gibson has a cameo appearance as himself. When the author of Neuromancer is introduced as the man who invented the term “Cyberspace”, he remarks, “and they’ve never let me forget it.”
—Wild Palms Wikipedia page.
I finished Spook Country the other night on the plane. I was surprised to find Johan Kugelberg among the closing Thank You list.
Curious about the connection between the two, I did a bit of googling. William Gibson once wrote about Skip Spence for one of Kugelberg’s frequent outlets, Ugly Things. In addition, they both contributed to the Velvet Underground 40th anniversary book, c/o The Velvet Underground, New York, NY.
I hoped that I had somehow missed a mention of a band off of Kugelberg’s (in)famous top 100 DIY records list, but I don’t think so. There is mention of a fictional (or ridiculously obscure) 60’s garage band called the Mopars that the musician-cum-journalist once did a feature on for a fictional New York music shop in-house magazine…
But there are moments when—depending on what neighborhood I’m in, or what city I’m in, or what channel on television I’m watching—my eyes get really wide and I go, “Chandler wasn’t even close. This shit is truly dire.”
—–william gibson in the avclub interview