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a b Morgan, Richard. "Recommended Reading List". Archived from the original on April 11, 2010 . Retrieved July 4, 2010. Award Winners & Nominees". Worlds Without End. Archived from the original on February 25, 2012 . Retrieved April 30, 2009. Buwalda, Minne (2002-05-27). "Voyager". Mediamatic.net . http://www.mediamatic.net/article-5817-en.html . Retrieved 2008-06-11.
Gibson, William (August 15, 2005). "The Log of the Mustang Sally". Archived from the original on February 8, 2008 . Retrieved January 21, 2008.Gibson, William (2003-01-17). "Oh Well, While I'm Here: Bladerunner" . http://www.williamgibsonbooks.com/blog/2003_01_01_archive.asp#90199532 . Retrieved 2008-01-21. Lawrence Person in his "Notes Toward a Postcyberpunk Manifesto" (1998) identified Neuromancer as "the archetypal cyberpunk work", [15] and in 2005, Time included it in their list of the 100 best English-language novels written since 1923, opining that "[t]here is no way to overstate how radical [ Neuromancer] was when it first appeared." [13] Literary critic Larry McCaffery described the concept of the matrix in Neuromancer as a place where "data dance with human consciousness... human memory is literalized and mechanized... multi-national information systems mutate and breed into startling new structures whose beauty and complexity are unimaginable, mystical, and above all nonhuman." [4] Gibson later commented on himself as an author circa Neuromancer that "I'd buy him a drink, but I don't know if I'd loan him any money," and referred to the novel as "an adolescent's book". [22] The success of Neuromancer was to effect the 35-year-old Gibson's emergence from obscurity. [23] Adaptations [ ] 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.
Liu, Alan (June 30, 2004). The laws of cool: knowledge work and the culture of information. Chicago: University of Chicago Press. pp. 339–48. ISBN 978-0-226-48698-7. OCLC 53823956. Flynne Fisher lives down a country road, in a rural America where jobs are scarce, unless you count illegal drug manufacture, which she’s trying to avoid. Her brother Burton lives on money from the Veterans Administration, for neurological damage suffered in the Marines’ elite Haptic Recon unit. Flynne earns what she can by assembling product at the local 3D printshop. She made more as a combat scout in an online game, playing for a rich man, but she’s had to let the shooter games go. a b c d e Gibson, William (May 1994). "William Gibson Interviewed by Giuseppe Salza" (Interview). Cannes. Archived from the original on October 11, 2011 . Retrieved October 28, 2007.Award Winners & Nominees". Worlds Without End . http://www.worldswithoutend.com/books_year_index.asp?year=1984 . Retrieved 2009-07-17. Miller, Laura (2000). "Introduction". The Salon. Com Reader's Guide to Contemporary Authors. New York: Penguin Books. ISBN 978-0-14-028088-3. OCLC 43384794. Sci-Fi Writer, High-Tech Marketer on Awards Jury". Mediacaster. April 3, 2008. Archived from the original on January 28, 2013 . Retrieved April 21, 2008. Yellow Magic Orchestra – Technodon". Discogs. May 26, 1993. Archived from the original on February 25, 2008 . Retrieved January 10, 2008.
Frelik, Paweł (2012). "Review of William Gibson: A Literary Companion". Journal of the Fantastic in the Arts. 23 (3 (86)): 506–508. ISSN 0897-0521. JSTOR 24353095. 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. Cavallaro, Dani (2000). Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson. London: Athlone Press. ISBN 978-0-485-00607-0. OCLC 43751735. a b c d e f g h McCaffery, Larry. "An Interview with William Gibson" . Retrieved November 5, 2007. , reprinted in McCaffery 1991, pp.263–285Neuromancer was commissioned by Terry Carr for the second series of Ace Science Fiction Specials, which was intended to exclusively feature debut novels. Given a year to complete the work, [35] Gibson undertook the actual writing out of "blind animal terror" at the obligation to write an entire novel– a feat which he felt he was "four or five years away from". [16] After viewing the first 20 minutes of landmark cyberpunk 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 copped my visual texture from this astonishingly fine-looking film." [36] He re-wrote the first two-thirds of the book twelve times, feared losing the reader's attention and was convinced that he would be "permanently shamed" following its publication; yet what resulted was a major imaginative leap forward for a first-time novelist. [16]
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