So I went out into the night and the neon and let the crowd pull me along, walking blind, willing myself to be just a segment of that mass organism, just one more drifting chip of consciousness under the geodesics.
(Burning Chrome page 218)

Burning Chrome is a collection of ten short stories by William Gibson. They include his first published work, Fragments of a Hologram Rose, published in 1977, and then all the stories he wrote up till 1986.

In 1984 Gibson had published his debut novel, Neuromancer, set in a future world dominated by digital techologies, in which he made great use of the ideas of cyberspace and the matrix of digital information. What made it really distinctive, though, was how all this was viewed filtered through a film noir, street level culture which mixed the tough guy crime stories of Raymond Chandler with 1980s punk culture – in which this brave future was not supervised by Arthur C. Clarke-style, clean-suited technocrats, but was at the mercy of international corporations, Japanese yakuza gangs, ninja assassins, dealers selling all manner of futuristic drugs, holograms used for viewing savage knife fights or holoporn showing the obvious – in other words, a future seen from a street-level view of crime and rackets and dealers and pimps and whores, all summed up in the word, ‘the biz’. And all conveyed in an amphetamine-driven, drug-crazed, super-charged prose, dense with a dizzy combination of street slang and tech terms.

Neuromancer was followed by Count Zero and Mona Lisa Overdrive which, together, are now said to comprise Gibson’s ‘Sprawl’ trilogy, so-called because in this America of the future, the entire East Coast has become one vast, continuous urban sprawl.

The stories in this collection include several which share the Sprawl world, including one which actually features the female protagonist from Neuromancer, Molly (and where we learn her surname is the rather cartoonish Million – Molly Millions).

And then there are ‘the rest’, a miscellany of non-Sprawl science fiction stories, most of them set in the future, or a future, just not necessarily the Sprawl future.

Sprawl stories

Fragments of a Hologram Rose (1977) first published work

It’s very short (7 pages) and it is very fragmentary. We get the protagonist’s back story in scattered fragments. We have Hints of the Damaged Future, hints that Japanese business and culture was taking over America – the kit Parker uses to get into ASP is made by Japanese corporation, Sendai; more importantly, when a teenager his parents indenture him to a the US branch of a Japanese corporation, with its barracks and corporate hymns. He runs away. He flees to a California which has declared itself independent of the USA, under a chaotic ‘New Secessionist’ movement. Up to a point these can maybe be seen as extrapolations of trends Gibson saw in his own time.

The story already contains key themes, namely the protagonist, Parker, works on Apparent Sensory Perception (ASP) programmes. As in the Sprawl stories, you plug your brain into the player, play the tapes and you are there: the recording completely floods your sensorium.

And also, what I by now realise is another major theme, which is a surprisingly sentimental lost-love trope. The girls in Gibson (well, young women) are always slender as gazelles and tough as silicon razor nails. Sex is an olympic workout. His women can hold their own against gangsters and dealers. BUT, beneath this leather-jacketed veneer of modernity, the men are always loving and losing them, in a sentimental ‘I’m not going to cry’ tough guy way descended from Hemingway and Chandler.

Parker has woken at 3 in the morning (that’s another trope: it’s always the middle of the night, or the darkest hour before dawn) and is rummaging through her belongings and his memories. He finds the hologram of a rose which he unsentimentally flushes into the waste disposal unit. His last memory is watching her going off in a taxi leaving him standing there in the pouring rain. Sob.

Johnny Mnemonic (1981)

Super cool and fast moving, this concerns Johnny Mnemonic, so-named because memory banks (a hard drive) has been neurally inserted into his brain, so that he can store vast amounts of data which a) he doesn’t understand b) he cannot himself access.

The stored data are fed in through a modified series of microsurgical contraautism prostheses.’ (p.22)

Only clients with the password can access it. He is a storage facility or, as he himself puts it: ‘a nice meatball chock-full of implants.’

As so often the story features a meeting with a drug dealer, Ralfi, in a lowlife café. The dealer has brought a neural disruptor so, although Johnny has packed a sawnoff shotgun in an adidas bag, he is paralysed, while the dealer indicates that the hired muscle he’s brought, Lewis, is going to hurt him.

Enter a typically lean, mean, streetwise chick, who identifies herself as Molly Millions (‘She was wearing leather jeans the colour of dried blood’) and, as Lewis leans forward to hurt Johnny, flips her hand past his, somehow lacerating his wrist down to the artery. Lewis clutches it and runs off. We later learn Molly has four-centimetre-long razor retractable blades installed under her fingernails. (She has also had her eyballs replaced with digital lenses.) The neural disruptor goes off and Johnny is free.

Molly grabs his hand and runs him along to her hiding place, a disused part of the lofty ceiling of a vast mall made of geodesic domes, overseen by an outlandish gang named the Lo Teks who dance and perform on a high-wire dance floor they call the Killing Floor.

In case this is all too mundane, Gibson throws in the participation of a cybernetic dolphin, a relic from the war (you know, that war) which is kept in a rundown zoo, but features, among its other hi-tech devices, a SQUID, being a Superconducting Quantum Interference Detector, which they use to extract the data in Johnny’s head which caused Ralfi to come after him. They reward the dolphin, whose rather dull name is Jones, by shooting him up with heroin, yes, this cybernetic dolphin is a junkie.

They use Jones’s skills to extract and place the data in a construct which they leave on a shelf in the backroom of a gift shop.

And here is another classic element of the Sprawl world: the power of multinational corporations, the real rulers of the world, controllers of entire economies, and that most of these multinational corporations are Japanese.

The Yakuza is a true multinational, like ITT and Ono-Sendai. Fifty years before I was born the Yakuza had already absorbed the Triads, the Mafia, the Union Corse. (p.22)

Burning Chrome (1982)

A seminal story for several reasons.

1. It has all the familiar ingredients: Automatic Jack and Bobby Quine are two ex-soldiers (fought at the Battle of Kiev in the same failed war against Russia mentioned in Neuromancer). Jack, the narrator, is injured/wounded – his arm was lasered off while flying a microlight. Future technology gives him a replacement cybernetic arm, powered by nerves.
2. There’s a sexy chick, Rikki, who within a sentence of appearing in the story, is pulling a ‘frayed khaki cotton shirt’ over her pert, twenty-something breasts. Jack falls in love with her, then loses her.
3. Jack and Bobby are criminals who hack into business information in cyberspace for gain.

In terms of storytelling technique, it is classic Gibson in the way it’s based in a ‘present’, after the bank job, the heist, the caper – in which the narrator a) looks back on everything that’s happened b) dwells on falling in love with the woman and losing her – and intersperses this with chunks of exposition, which tell the actual story i.e. how Jack and Bobby enter cyberspace to break into the highly defended vaults of ‘Chrome’, a terrifyingly violent criminal who launders money for organised crime, as well as running a bar-cum-brothel, the House of Blue Lights.

Chrome: her pretty childface smooth as steel, with eyes that would have been at home on the bottom of some deep Atlantic trench, cold grey eyes that lived under terrible pressure. They said she cooked her own cancers for people who crossed her, rococo custom variations that took years to kill you. (p.196)

Same technique is used in New Rose Hotel, where the narrator is in a ‘present’, after a big criminal caper has taken place – looking back at both the build-up to the crime, and lamenting his abandonment by a sexy, feisty woman (Sandii). (She took the money and went off to Hollywood in hopes of becoming a ‘simstim’ star.)

But the most important aspect is that, by way of describing how Jack and Bobby steal all Chrome’s assets in cyberspace, it gives extended (and useful) explanations of key concepts in Gibson’s ‘Sprawl’ universe – cyberspace, the matrix and ice.

Bobby was a cowboy, and ice was the nature of his game, ice from ICE, Intrusion Countermeasures Electronics. The matrix is an abstract representation of the relationships between data systems. Legitimate programmers jack into their employers’ sector of the matrix and find themselves surrounded by bright geometries representing corporate data.

Towers and fields of it ranged in the colourless nonspace of the simulation matrix, the electronic consensus-hallucination that facilitates the handling and exchange of massive quantities of data. Legitimate programmers never see the walls of ice they operate behind, the walls of shadow that screen their operations from others, from industrial-espionage artists and hustlers like Bobby Quine.

And I can’t resist quoting the final paragraph in this sequence because it’s a classic example of how Gibson’s mastery of a certain type of speed-fuelled prose can turn what is, basically, the boring reality of criminals hacking into computers, into soaring prose poetry.

Bobby was a cowboy. Bobby was a cracksman, a burglar, casing mankind’s extended electronic nervous system, rustling data and credit in the crowded matrix, monochrome nonspace where the only stars are dense concentrations of information, and high above it all burn corporate galaxies and the cold spiral arms of military systems. (p.197)

A bit later, the narrator tells us there are some 15 million legitimate console operators around the world, doing the daily trudgework of maintaining these vast castles of data. But we never meet them in Gibson’s stories. We only meet the lowlife, edgy, drug-fuelled hackers and hustlers.

On one level, Gibson is just the latest in a long line of American noir writers who make crime sound impossibly glamorous.

P.S.

Automatic Jack is referenced in the second of the Sprawl trilogy, Count Zero. In that novel Bobby the hacker has ended up in the 14th-floor nightclub owned by a dude named Jammer, and can’t take his eyes of the man’s cool new cyberspace deck, so Jammer hands Bobby a set of trodes:

He stood up, grabbed the handles on either side of the black console, and spun it round so it faced Bobby. ‘Go on. You’ll cream your jeans. Things ten years old and it’ll still wipe as son most anything. Guy name of Automatic Jack built it straight from scratch. He was Bobby Quine’s hardware artist once. The two of ’em burnt the Blue Lights together, but that was probably before you were born…’ (Count Zero, p.230)

Other stories

The Gernsback Continuum (1981)

The first-person narrator is hired to take photographs for a book of photo-journalism documenting the futuristic buildings of the 1930s, what the woman consultant to the project calls ‘American Streamlined Moderne’, what the publisher calls ‘raygun Gothic’, the book to be titled, The Airstream Futuropolis: The Tomorrow That Never Was.

To cut a long story short, on his cruises round provincial America looking for these architectural indicators of a future which never happened, he starts to hallucinate himself into the alternative future where they were built, soaring domes, spires and arcologies linked by high-level walkways, the sky full of flying silver vehicles, and on the ground around him tough-guy blonde 1930s men named Chuck, their arms around wasp-waisted plastic women of the future, both out of the old movies Metropolis and Shape of Things To Come.

Obviously – inevitably – this being Gibson, the narrator is popping various types of drug all the time and at first dismisses the visions as ‘amphetamine psychosis’. If this were J.G. Ballard the narrator’s mind would eventually disappear into this alternative universe, while their body remained here, catatonic.

But, throughout the story, he has been anchored in reality by constant phone calls to a colleague who spends his life writing up the weird beliefs of Americans – Elvis is alive on Mars, UFOs took my husband – and who is totally blasé about the narrator’s visions and, indeed, the opening sentence tells us that it was all an ‘episode’ which is now fading.

In other words, it doesn’t go for the full-on psychosis and so comes over as rather a conventional 1950s-type story.

The Belonging Kind (with John Shirley, 1981)

I wonder what collaboration brings for Gibson. He collaborates quite a lot. In this case the setting is very Gibson – a perpetual night-time of clubs and bars, back alleyways, littered with broken glass and graffiti, the shabby single room of a low-paid single man.

Coretti is a shabby, badly dressed ungainly loner. He goes to a bar. A notably attractive woman (they generally are: Gibson’s stories froth over with femmes fatales) lets him chat her up. When she leaves, he follows her and is thunderstruck when, half way across a night-time road, she changes shape: her dress changes, her hair changes, the shape of her body subtly alters. She becomes a different woman.

From a distance he watches her visit other bars, chatting friendly to other strange men, echoing their conversation, fitting right in. He becomes obsessed. He loses his day job, takes a cheaper labouring job, loses that, doesn’t eat, lives only to track her down.

Finally, in the early hours (the characteristic Gibson time of day) he finds her in a bar, chatting in her easygoing manner to a man. They leave and get into a cab, at the last minute Coretti flings himself inside, but the other two don’t even notice. And when she goes to pay the river Corettit is stunned to see her reach inside her own body, through a pink slit like a fish’s gill, to bring out wet notes which dry as she hands them over.

Coretti follows the couple up to a hotel room in which he is not that surprised to discover a dozen or so other people perching on beds, sofas, chairs. Motionless, their eyes covered by a thin filament of flesh. They are, he realises, roosting. They are some kind of alien life form which lives to blend in. Maybe they started off feeling normal, eating and drinking like other folk. Then got to realise they feel restless, outside, different. Stop eating. Exist off alcohol metabolised at bars, maybe…

He realises he is one of them. The story ends with Coretti, also, pulling wet money out of his gill, paying for whatever he needs, sitting passively in bars wearing whatever is required, whatever is required to fit right in.

Hinterlands (1981)

A strange and disturbing story about a strange and disturbing phenomenon. At some in our future a Russian spaceship, an Alyut 6, en route to Mars, simply disappears. Two years later it reappears, its pilot, Lieutenant Colonel Olga Tovyevski, out of her mind. Several other ships disappear at the same location. It becomes clear it’s the departure point of some kind of Highway, which is what Americans call it, while the French call it the subway and the Russians the river.

Over the years an entire space station is set up to a) despatch probes and individuals through the Highway b) ready to receive them back. The success rate is low. Of those who return 20% are dead on arrival, 70% are mad, gone, lost – only 10% or so alive and capable of speech or communication, although often badly damaged.

Why keep on doing it? Because the second or third returnee came back with metal into which was coded information including a cure for cancer. After that humanity had to continue sending people into this…. thing… junkyard? curio shop, whatever it is.

The narrative follows the protagonist, Toby, preparing to greet a new returnee, Leni Hofmannstahl. The space station has an entire area nicknamed ‘Heaven’, which is full of grass and plants and the sound of trickling water, built on the advice of psychotherapists to provide the most calming environment possible for returnees, though it rarely works.

And, being Gibson, there is a psychic element, an interference with minds, which is that the greeter (himself) mind melds with a ‘controller’, becoming one via a device nicknamed a ‘bone-phone’ i.e. an implant in his brain.

Toby’s controller, Hiro, has genned up on Leni’s entire profile, knows her inside out, while Toby is carrying the entire arsenal of drugs know to humans to try and calm Leni. But when he enters the probe, now safely docked in ‘Heaven’, Toby immediately sees that she is ‘gone’. And in a very florid way. She is pinned in her pilot’s chair and, somehow, has persuaded the ship’s onboard medical unit to flay her right arm and pin it to the plastic work surface, skin unwrapped, nerves and tendons revealed, expertly dissected. She bled to death.

That night Toby is in bed with his squeeze, Charmian. We learn that they have been recruited from the ‘rejects’, the astronauts who bob around in a probe in the right area but, for reasons unknown, are not chosen, are not taken, who feel the crushing weight of rejection, often try to commit suicide, their brains are rewritten, ‘kinked’, adjusted, and then they are used as ‘surrogates’, almost-rans, half way towards the returnees, who an operator using the ‘bone-phone’ can meld and control. The price they pay. Clutching his woman in the dark, crying, empty drug wrappers clenched in his fist.

Red Star, Winter Orbit (co-written with Bruce Sterling, 1983)

A Russian space station – Kosmograd – has been orbiting earth for decades (since the turn of the century, apparently). It is armed, so there’s a squad of six soldiers and a KGB officer aboard.

The narrative describes the rebellion of the twenty or so civilian cosmonauts aboard the station, led by Korolev, himself badly injured in some kind of ‘blow-out’ twenty years previously, against the KGB man Yefremov, when they intercept Kremlin order that the station is to be abandoned and its orbit left to decay till it burns up in the earth’s atmosphere.

As so often, half the interest of the story is the ‘hints’ it drops of the fictional future. In this future the Russians have won. The Treaty of Vienna gave them control of the entire Earths oil supply, then there was some kind of nuclear meltdown in Kansas, with the result that, for three decades, America has been ‘gradually sliding into isolationism and industrial decline.’ (p.110) In some kind of attempt to gain extra power they have resorted to sending enormous balloons up into the outer atmosphere to collect energy.

And yet the story reveals that the Soviets themselves have failed. There was some kind of attempt to do mining on the moon, which failed. And we learn that Korolev, the protagonist – Colonel Yuri Vasilevich Korolev – had been the first man on Mars, back in the day. Now, as the KGB try to organise abandoning the Kosmograd, he is set to become the last man in space. Gloomily, Yefremov tells Korolev that the entire human endeavour to ‘escape’ into space has failed.

Kosmograd was a dream, Colonel. A dream that failed. Like space. We have no need to be here. We have an entire world to put in order. (p.107)

New Rose Hotel (1984)

In the early hours it starts to rain and the protagonist lies in bed in his cheap hotel going back over recent events trying to figure out where it all went wrong and how the chick he thought he’d clicked with, got away. That’s the classic shape of a Gibson Sprawl story.

This one is interesting because it expands on the basic Gibson idea that the future will be controlled by vast multinational conglomerates, and competition won’t be so much for resources as for knowledge.

Although the protagonist takes his time piecing together the sequence of events which brought him to this cheap hotel, by the end of the story the plot is clear.

The narrator is an expert at kidnapping the scientists whose inventions fuel the vast multinationals. He is hired by a man named Fox (‘point man in the skull wars, a middleman for corporate crossovers’) to work alongside another freelancer named Sandii to kidnap a genius named Hiroshi Yomuri from Maas Biolabs GmbH who had him, and hand him over to another corporate client, Hosaka.

Imagine an alien, Fox once said, who’s come here to identify the planet’s dominant for of intelligence. The alien has a look, then chooses. What do you think he picks? I probably shrugged. The zaibatsus, Fox said, the multinationals. The blood of a zaibatsu is information, not people. The structure is independent of the individual lives that comprise it. Corporation as life form. (p.129)

Anyway, Sandii, the narrator and Fox put together the kidnap and, sure enough, Yomuri disappears from a street in Vienna, popping up again in the secure facility the narrator has arranged for him in Marrakesh. Our chaps notice a number of other top Hosaka scientists flying in to confer with him. Then – disaster.

Sandii has double crossed them. She was paid by Mass to carry out the kidnapping, but had installed a diskette at the new hideaway which released some kind of Meningococcal infection. It killed Hiroshi and all the other Hosaka researchers. Score Maas. Hosaka’s anger knows no limits. He and Fox immediately go on the run, but he sees Fox get thrown off the balcony of a shopping mall, falling to the ground and breaking his back.

Now the narrator is holed up in the cheapest, obscurest hotel he can find, trying to cover his tracks, knowing assassins are on his trail and going over it all in his mind, wishing Sandii was still with him, wishing she still loved him, wishing she was holding his hand.

The Winter Market (1986)

The narrator, Casey, is another young buck at home in the louche worlds of sex and drugs and rock’n’roll. He goes on eight-hour-long bender when he learns that a recording star he’s been working for has died. But this is more complex than it seems.

We are in the future and people can record and edit other people’s experiences using ‘neuroelectronics’ – accessing and experiencing levels of consciousness which most people can only access in dreams, dream experiences. These can then be edited to create what are in effects ‘albums’, full of ‘tracks’, which recreate – which let you experience – other people’s lives, thoughts and feelings.

The narrator is a kind of ‘record producer’ of this kind of content, and the story looks back, soulfully and sadly, on his working relationship with a particularly fucked-up woman he met in a bar, Lise, who is only able to move because her withered body is fitted into a carbon exo-skeleton.

She is an epitome of the doomed artist, but in a leather jacket and addicted to speed (or ‘wizz’, as Gibson calls it.) Breaking his own rule, Casey, shares a circuit with her i.e. jacks into her consciousness, and emerges seconds later weeping with shock at the huge awesome night-time infinitely sad depths of it.

So he uses some studio downtime to make a rough recording of her, plays it to his boss who is stunned, who passes it up to a record company who snap it up and send out smooth-talking, suited PR people (all a riff on a 1980s view of the record biz), give her a contract, Casey is given a promotion and bonus to edit her stuff together into the classic album which becomes known as Kings of Sleep.

But she is a doomed artist, doomed, man, too sensitive for this world and so we learn that she has ‘crossed over’, used neuroelectronics to transfer her entire mental activity into a construct, an AI, a ROM stored in some corporate headquarters. Her body is cremated. Casey is gutted.

His story is told via conversations with his good friend Rubin, an internationally famous artist who makes art works out of the sea of junk by then surrounding 21st century society.

there’s drugs, there’s heavy drinking, there’s finding yourself in no-hope bars in the early hours, watching the other losers, there’s future tech – it’s a whole world, a Gestalt, the Sprawl scenario.

The relentless leather jacket, rock chick, mainline drugs, 12 hour drinking binges, late-night bars, rock’n’roll  altered states milieu remind me of a favourite track by Jesus and Mary Chain, Coast to Coast from 1989.

Here I come, here I come
On a road
Under a sky
Coast to coast

Dogfight (co-written with Michael Swanwick, 1985)

Another lowlife on the run, this time it’s Deke, a career thief, caught and kicked out of Washington DC, put on a greyhound out of town, fantasises about travelling forever, maybe down to the warzone in Florida (sic) he gets out at a 20 minute stopover station, stumbles on gamers playing a 3-D fighter game based on First World War biplanes zapping each other – Fokkers & Spads – and is entranced.

He walks back to a shopping mall and steals the (commercially available) game and the kit to play it on, scams himself into a cheap hotel (ain’t no other kind in Gibsonland), unwraps, plugs in and plays it.

Bit later he tries to sell part of the kit to a girl down the hall, Nance Bettendorf, but she freaks him out with 3-D images she can project (in this case, of a rat). She has a ‘brainblock’ put on her by her parents who both work (which is, in this dystopian future, very ‘greedy’ of them) a chastity block, so no sex for Deke, then, although she wears skimpy clothes which ride up to show here crimson panties.

She’s a student (again, apparently, a rare thing in this future) and is completing a virtual reality assignment. Having rich parents, she can afford all the right kit:

‘Image facilitator. Here’s my fast-wipe module. This is a brainmap one-to-one function analyser.’ She sang off the names like a litany. ‘Quantum flicker stabiliser. Program splicer. An image assembler…’ (p.175)

These to oddballs, outsiders, loners, sort of knock up a rapport. Deke stays with her while he practices his skills at the game, his aim being to take on the dude he saw in the Greyhound station and make some money. When Nance tells him she has some ‘hype’, a mind-focusing drug, Deke has no scruples about attacking her to steal it – and seeing as she has panic attacks if anyone touches her, his assault-cum-rape is as cruel as can be.

Having prepared for weeks, Deke walks back into the Greyhound rest room ready to take on all the gamers, until the legendary Tiny Montgomery walks in. Well chugs in in his wheelchair. (Tiny Montgomery is, incidentally, a character in a song by Bob Dylan written in Woodstock and part of the Basement Tapes which, incidentally, came to mind when I reviewed the early work of New York photographer Diane Arbus.)

So the story climaxes in a 3-D battle of First World War planes controlled by the minds of the champion, Tiny, and the challenger, Deke. During the extended description of the interactions of synapse, drugs, nerves and technology, it becomes clear that both Deke and Tiny are drug-addled, screwed-up veterans of American wars in South America, Chile, Bolivia, both – seemingly – shot down and damaged, before ending up on the underside of Yank society, hanging round Greyhound stations with the other vets and losers.

As the first full flush of victory, and the drug, begins to wear off, Deke realises all the other liggers disapprove of the way he’s destroyed Tiny. Flying the digital planes was all Tiny had keeping him together. Having lost, he is crushed. Plus Deke remembers having ruined Nance’s life, to steal the drug which meant so much to him. The story ends in a mood of complete desolation.

Pattern recognition

The characteristic protagonists are men, young men – 22, 24, 28.

They take drugs – amphetamine, cocaine, and a variety of invented future drugs such as ‘hype’. A lot of the characters hang out in bars and drink to excess.

Old or young, they are often damaged – like Korosov with his shattered body, or Automatic Jack with his prosthetic arm, or Tiny Montgomery stuck in his wheelchair, or Lise with some degenerative disease which requires her to be supported by an exoskeleton. Or psychologically damaged like the receivers Toby and Charmian, or Deke and Tiny, the war veterans.

Most of the stories feature a young woman, generally thin, great figure, great boobs, but able to hold her own on the street, epitomised by Molly with the razor nails, or the mystery alien woman in The Belonging Kind, Sandii, and Rikki.

Generally, the young, lowlife, criminal male protagonist carries a torch for this cyberbabe. Generally, she leaves and breaks his heart and he spends a lot of time raking over the reasons why. Some of the stories are written more or less as letters, directly addressing this woman, who leaves, dumps, drops the writer: e.g. Rikki at the end of Burning Chrome, or Sandii in New Rose Hotel, or Lise in The Winter Market.

The male protagonists are generally criminals, most often computer hackers – Jack and Bobby the hackers in Chrome, Johnny Mnemonic who runs off with someone else’s data, Deke the thief, the kidnapping (corporate extraction) experts in New Rose Hotel – and the stories recurrent focus is on lowlife, criminal milieus, gangs, drug dealers, ninjas, assassins, all written up in fabulously street-smart, tech-savvy, turbo-charged prose.

Other William Gibson reviews

• Neuromancer (1984)
• Burning Chrome (short stories, 1986)
• Count Zero (1986)
• Mona Lisa Overdrive (1988)
• The Difference Engine (1990; with Bruce Sterling)
• Virtual Light (1993)
• Idoru (1996)
• All Tomorrow’s Parties (1999)
• Pattern Recognition (2003)
• Spook Country (2007)
• Zero History (2010)