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Neuromancer Mass Market Paperback – July 1, 1984
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Case was the sharpest data-thief in the matrix—until he crossed the wrong people and they crippled his nervous system, banishing him from cyberspace. Now a mysterious new employer has recruited him for a last-chance run at an unthinkably powerful artificial intelligence. With a dead man riding shotgun and Molly, a mirror-eyed street-samurai, to watch his back, Case is ready for the adventure that upped the ante on an entire genre of fiction.
Neuromancer was the first fully-realized glimpse of humankind’s digital future—a shocking vision that has challenged our assumptions about technology and ourselves, reinvented the way we speak and think, and forever altered the landscape of our imaginations.
- Print length271 pages
- LanguageEnglish
- PublisherAce
- Publication dateJuly 1, 1984
- Dimensions7.76 x 5.08 x 0.44 inches
- ISBN-100441569595
- ISBN-13978-0441569595
- Lexile measure790L
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Editorial Reviews
Review
“Freshly imagined, compellingly detailed, and chilling in its implications.”—The New York Times
“Kaleidoscopic, picaresque, flashy, decadent...an amazing virtuoso performance.”—The Washington Post
“Science fiction of exceptional texture and vision...Gibson opens up a new genre, with a finely crafted grittiness.”—San Francisco Chronicle
“Epic in scale...shimmers like chrome in a desert sun.”—The Wall Street Journal
“A revolutionary novel.”—Publishers Weekly
“In with the ruthless violence, the hyperreality, the betrayal and death, is an unquenchable love of language. Gibson has that in common with Le Guin and with J. G. Ballard. Neuromancer sings to us as a collage of voices, a mixed chorus, some trustworthy and others malicious, some piped through masks.”—James Gleick
“Streetwise SF... one of the most unusual and involving narratives to be read in many an artificially induced blue moon.”—London Times
“Unforgettable...the richness of Gibson’s world is incredible.”—Chicago Sun-Times
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The sky above the port was the color of television, tuned to a dead channel.
“It’s not like I’m using,” Case heard someone say, as he shouldered his way through the crowd around the door of the Chat. “It’s like my body’s developed this massive drug deficiency.” It was a Sprawl voice and a Sprawl joke. The Chatsubo was a bar for professional expatriates; you could drink there for a week and never hear two words in Japanese.
Ratz was tending bar, h is prosthetic arm jerking monotonously as he filled a tray of glasses with draft Kirin. He saw Case and smiled, his teeth a webwork of East European steel and brown decay. Case found a place at the bar, between the unlikely tan on one of Lonny Zone’s whores and the crisp naval uniform of a tall African whose cheekbones were ridged with precise rows of tribal scars. “Wage was in her early, with two joeboys,” Ratz said, shoving a draft across the bar with his good hand. “Maybe some business with you, Case?”
Case shrugged. The girl to his right giggled and nudged him.
The bartender’s smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it. The antique arm whined as he reached for another mug. It was a Russian military prosthesis, a seven-function force-feedback manipulator, cased in grubby pink plastic. “You are too much the artiste, Herr Case.” Ratz grunted; the sound served him as laughter. He scratched his overhang of white-shirted belly with the pink claw. “You are the artiste of the slightly funny deal.”
“Sure,” Case said, and sipped his beer. “Somebody’s gotta be funny around here. Sure the fuck isn’t you.”
The whore’s giggle went up an octave.
“Isn’t you either, sister. So you vanish, okay? Zone, he’s a close personal friend of mine.”
She looked Case in the eye and made the softest possible spitting sound, her lips barely moving. But she left.
“Jesus,” Case said, “what kinda creepjoint you running here? Man can’t have a drink?”
“Ha,” Ratz said, swabbing the scarred wood with a rag, “Zone shows a percentage. You I let work here for entertainment value.”
As Case was picking up his beer, one of those strange instants of silence descended, as though a hundred unrelated conversations had simultaneously arrived at the same pause. Then the whore’s giggle rang out, tinged with certain hysteria.
Ratz grunted. “An angel has passed.”
“The Chinese,” bellowed a drunken Australian, “Chinese bloody invented nerve-splicing. Give me the mainland for a nerve job any day. Fix you right, mate…;”
“Now that,” Case said to his glass, all his bitterness suddenly rising in him like bile, “that is so much bullshit.”
The Japanese had already forgotten more neurosurgery than the Chinese had ever known. The black clinics of Chiba were the cutting edge, whole bodies of technique supplanted monthly, and still they couldn’t repair the damage he’d suffered in that Memphis hotel.
A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he’d taken and the corners he’d cut in Night City, and still he’d see the matrix in his sleep, bright lattices of logic unfolding across that colorless void…;The Sprawl was a long strange way home over the Pacific now, and he was no console man, no cyberspace cowboy. Just another hustler, trying to make it through. But the dreams came on in the Japanese night like livewire voodoo, and he’d cry for it, cry in his sleep, and wake alone in the dark, curled in his capsule in some coffin hotel, his hands clawed into the bedslab, temperfoam bunched between his fingers, trying to reach the console that wasn’t there.
“I saw your girl last night,” Ratz said, passing Case his second Kirin.
“I don’t have one,” he said, and drank.
“Miss Linda Lee.”
Case shook his head.
“No girl? Nothing? Only biz, friend artiste? Dedication to commerce?” The bartender’s small brown eyes were nested deep in wrinkled flesh. “I think I liked you better, with her. You laughed more. Now, some night, you get maybe too artistic; you wind up in the clinic tanks, spare parts.”
“You’re breaking my heart, Ratz.” He finished his beer, paid and left, high narrow shoulders hunched beneath the rainstained khaki nylon of his windbreaker. Threading his way through the Ninsei crowds, he could smell his own stale sweat.
Case was twenty-four. At twenty-two, he’d been a cowboy, a rustler, one of the best in the Sprawl. He’d been trained by the best, by McCoy Pauley and Bobby Quine, legends in the biz. He’d operated on an almost permanent adrenaline high, a byproduct of youth and proficiency, jacked into a custom cyberspace deck hat projected his disembodied consciousness into the consensual hallucination that was the matrix. A their, he’d worked for other, wealthier thieves, employers who provided the exotic software required to penetrate the bright walls of corporate systems, opening windows into rich fields of data.
He’s made the classic mistake, the one he’s sworn he’d never make. He stole from his employers. He kept something for himself and tried to move it through a fence in Amsterdam. He still wasn’t sure how he’d been discovered, not that it mattered now. He’d expected to die, then but they only smiled. Of course he was welcome, they told him, welcome to the money. And he was going to need it. Because––still smiling––they were going to make sure he never worked again.
They damaged his nervous system with a wartime Russian mycotoxin.
Strapped to a bed in a Memphis hotel, his talent burning out micron by micron, he hallucinated for thirty hours.
The damage was minute, subtle, and utterly effective.
For Case, who’d lived for the bodiless exultation of cyberspace, it was the Fall. In the bars he’d frequented as a cowboy hotshot, the elite stance involved a certain relaxed contempt for the flesh. The body was meat. Case fell into the prison of his own flesh.
His total assets were quickly converted to New Yen, a fat sheaf of the old paper currency that circulated endlessly through the closed circuit of the world’s black markets like the seashells of the Trobriand islanders. It was difficult to transact legitimate business with cash in the Sprawl; in Japan, it was already illegal.
In Japan, he’d known with a clenched and absolute certainty, he’d find his cure. In Chiba. Either in a registered clinic or in the shadowland of black medicine. Synonymous with implants, nerve-splicing, and microbionics, Chiba was a magnet for the Sprawl’s techno-criminal subcultures.
In Chiba, he’d watched his New Yen vanish in a two-month round of examinations and consultations. The men in the black clinics, his last hope, had admired the expertise with which he’d been maimed, and then slowly shaken their heads.
Now he slept in the cheapest coffins, the ones nearest the port, beneath the quartz-halogen floods that lit the docks all night like vast stages; where you couldn’t see the lights of Tokyo for the glare of the television sky, not even the towering hologram logo of the Fuji Electric Company, and the Tokyo Bay was a black expanse where gulls wheeled above drifting shoals of white styrofoam. Behind the port lay the city, factory domes dominated by the vast cubes of corporate arcologies. Port and city were divided by a narrow borderland of older streets, an area with no official name. Night City, with Ninsei its heart. By day, the bars down Ninsei were shuttered and featureless, the neon dead, the holograms inert, waiting, under the poisoned silver sky.
--Reprinted from Neuromancer by William Gibson by permission of Berkley, a member of Penguin Putnam Inc. Copyright © 1984, William Gibson. All rights reserved. This excerpt, or any parts thereof, may not be reproduced in any form without permission.
Product details
- Publisher : Ace; First Edition (July 1, 1984)
- Language : English
- Mass Market Paperback : 271 pages
- ISBN-10 : 0441569595
- ISBN-13 : 978-0441569595
- Lexile measure : 790L
- Item Weight : 4.6 ounces
- Dimensions : 7.76 x 5.08 x 0.44 inches
- Best Sellers Rank: #118,466 in Books (See Top 100 in Books)
- #518 in Technothrillers (Books)
- #623 in Cyberpunk Science Fiction (Books)
- #790 in Hard Science Fiction (Books)
- Customer Reviews:
About the author

William Gibson is the award-winning author of Neuromancer, Mona Lisa Overdrive, The Difference Engine, with Bruce Sterling, Virtual Light, Idoru, All Tomorrow's Parties and Pattern Recognition. William Gibson lives in Vancouver, Canada. His latest novel, published by Penguin, is Spook Country (2007).
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Learn more how customers reviews work on AmazonReviewed in the United States on March 22, 2023
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"Neuromancer" essentially boils down to a futuristic crime novel. Case, the main character, is an ex-hacker whose former employer had part of his nervous system irrevocably destroyed after Case tried to hack the employer's company, effectively preventing him from ever connection to Cyberspace again (and therefore putting him out of work). Down on his luck, he's offered an opportunity he can't pass up: his nerves will be repaired using new (and otherwise preventatively expensive) medical technology if he agrees to use his hacking skills to complete a special job. He's joined by an odd, unique group of cohorts: a former colonel from the Special Forces that doesn't quite seem to be all the way there; a mercenary with some cool cybernetic enhancements and a past she doesn't want to talk about; a performance artist with perverse holographic imaginings; the personality of a dead hacker immortalized in the matrix; and the mysterious Wintermute, an Artificial Intelligence that seems to really be running the show.
To start this review on a high note, the story is great. It's both exciting and complete. I had feared that the plot would take a back seat to showcasing the author's ideas of futuristic tech, but that happily isn't the case, and the story definitely isn't secondary in the novel. Ok, so the beginning is a little slow (the first 20 pages or so could prove to be a little daunting for some since they're mostly introducing us to Case and giving some exposition on the setting), but once things pick up, they really pick up. And not only is the plot satisfying in and of itself, it takes us all over the world (seriously - the characters go to several different countries and even take a trip off-planet) and gives us a look at plenty of locales to help flesh out Gibson's world.
Gibson's writing style is very notable and distinct. Honestly, it can be a tad difficult to get used to at first glance. The best way to describe it would be that each chapter is broken into vignettes, each one serving to highlight something, whether it be some introspection on Case's part, character development, a plot point, demonstrating a piece of technology, or showcasing some part of the setting. While a little jolting at first to jump around, the vignettes flow and connect nicely to weave a coherent, satisfying story. Prose-wise, Gibson has the type of writing style that needs to be read slowly and enjoyed. That's not to say that it's wordy or complex - quite the opposite, actually! Every word is important, so if you try to skim or read too quickly, you'll likely miss out on a lot and become horribly confused. It's not that Gibson writes a lot, but that he writes meaningfully - trying to speed read this would do a disservice to the author, story, and reader. Gibson's writing style is unlike anything I've seen, and, perhaps surprisingly, it really works.
While the story and the author's style are extremely important, the tech and relevance are also large parts of the book. "Neuromancer" was published in the 1980s, so I expected some very dated science fiction and technology and a vision of the future that was so off base that it push the book firmly into the realm of fantasy. Since this is the book that is considered one of the foundation works of the cyber punk genre, a lot concepts have trickled into not only cyber punk culture, but mainstream media as a whole. This is the novel that invented the term Cyberspace and prominently featured the matrix as an abstract representation of the computer network that, with the right equipment, one can interact with. People adding cybernetic enhancements to their bodies is perceived as normal and virtual intelligence is not only a thing, but a well-known (though not always completely understood) creation. Cloning isn't unheard of and advanced medical procedures are the norm. Given that Gibson wrote this before many of these things existed, his ideas have stayed largely relevant because many are things that science is still trying to make a reality. One might wonder if Gibson could somehow see into the future. Even over 20 years after its publication, "Neuromancer" manages to not feel dated and, as a result, lacking in relevance.
The final thing to discuss as far as the overall story goes is the world. The other big reason that this piece of speculative fiction has aged gracefully is that the gritty, rough, super-controlled world portrayed in the book is very much the sort of future that many people still fear. Gibson's vision of the future consists of large corporations controlling the different countries and regions. Some of the cities that we know have come together to form larger metropolises and the lines between countries seem to sometimes blur, yet cultures are still fairly distinct. None of that really matters, though, since it's mostly companies and illegal groups that hold the power in this world. Whether this is a personal fear of yours or not, you'll be able to feel the corrupt hold these large groups have and the complete helplessness of the average person to do anything about it. This isn't a clean, sci-fi future where everything is white, shiny, and full of helpful technology; it's a grimy world full of selfish people who use (and abuse) the current tech in whatever way benefits the most...and it's surprisingly accessible to the modern reader.
Lets move on to the characters. This is the one thing that keeps me from giving "Neuromancer" a full five stars. I'm the kind of reader that needs great characters to become truly invested in a story, and this book fell a little flat for me in the area of character development. Make no mistake, this is certainly an interesting group of individuals. Each one stands out in their own right with their unique abilities and back stories and, much like Gibson's writing itself, there are no wasted or superfluous characters. Every one has a role to fill and each demonstrates something that serves to flesh out the novel's setting. Even the side characters or one-off figures are intriguing in their own right. I would argue that the characters serve their various purposes well...but I never felt particularly attached to any of them. Instead, rather than seeing them as fully realized characters, they struck me more as the embodiments of the ideas and concepts of Gibson's world. There's nothing necessarily wrong with this - my fiancé and others seem to have responded well to the book's figures and what they set out to do. I just needed more growth from them, more reasons to become attached and really care about them as individuals and as a whole. And while there are moments where some of this development that I craved began to shine through, the characters seemed distant throughout most of the novel. I was interested in their stories and who they were, I was interested in what they could do, but I ultimately didn't care about them beyond that, and the absence of that more personal connection with them stood out while I was reading.
The one exception to this is Case, the main character. Perhaps it's because most of the book is from his (third person) point of view and he therefore gets to experience more than any of the other characters. Perhaps it's because he gets the biggest life-changing upgrade (his ability to jack into the matrix being restored), so we see a drastic change as far as his capabilities and outlook are concerned. Whatever the reason, his journey actually seems to have an effect on him, and he definitely isn't the same character at the end of the story as he is at the beginning, and since we get to experience things right along with him, it's easy to care about what ultimately happens to him in this strange, futuristic world.
On a random, personal note regarding characters, as seems to often be the case, the two characters I was most interested in died before their stories were fully concluded or revealed to us. Damn! Just my luck...
In closing, don't make the same assumptions that I did. Don't ignore this book because you think it'll be too smart or tech-heavy. Don't refuse to read it because you fear the story will take a backseat to Gibson's scientific concepts and visions of the future. Don't give it a wide berth because you fear the age of the novel will make it come across as dated and out of touch with the current reality. "Neuromancer" manages to strike the balance between telling a satisfying, interesting story and showcasing the author's (sometimes terrifying) world. Gibson's distinct style of prose makes for a unique reading experience, and though the characters fell a bit short of what I wanted, I'm glad I overcame my objections and read this book. A solid four star read.
For our settings, we have the dystopian criminal underworld that our characters mostly exist within, the glittering ivory towers occupied by the ultra rich, and the brief glimpses of the world every one else occupies. While Gibson was certainly not the first to use any of these settings, he did a great job of creating his own and making them unique. Further more, variants of these would go on to become staples of Cyberpunk world building for generations to come.
Gibson further adds to the grimness of the world with his portrayals of common/widespread drug use, his characters general disregard/familiarity with death in their lives, and the general attitude amongst all characters that the ends justify the means, even if the ends are only beneficial for themselves. Overall, Neuromancer never felt like it had any real hope for a better world, and the story was better for it.
Gibson's description of his Cyber world was surprisingly vague, but this choice allowed his Matrix to continue to ring true over 20 years later since there wasn't any individual pieces that felt too wrong or off (since they weren't super fleshed out to begin with). That said, I did get a feeling that Gibson's descriptions is where the Hackers film from the 90s got its entire idea for how to make their Cyber-space look. I would have liked more concrete descriptions of how the Matrix worked and looked, but I understand his choice to leave it open to reader interpretation.
Gibson's characters were good, but they never approached greatness. However, their realism and lack of any real outstanding features (besides their cybernetics, obviously) felt right for the world that Gibson wrote. None of his characters should have been heroic, hilarious, or otherwise outstanding. They were meant to be a product of Gibson's rather downbeat world and they nailed that perfectly.
My biggest issue with the story was the pacing. The story would go from fast paced action to slow introspective scenes with very little time to transition. It wasn't something that killed my enjoyment, but it could definitely be jarring at times.
<Spoilers from here forward>
The core story/heists focus on unshackling an AI and briefly looking at the dangers of doing so, is a concept that I've always enjoyed. I do wish Case would have at least considered the moral implications of what he was doing at some point beyond a brief "this isn't gonna be my problem", but I also believe that his total disregard for the implications of his actions beyond the fact that he'd be able to continue jacking in, getting more hits of his real go-to drug, cemented the tone of the story and world. It also perfectly explained why Case was the perfect Cyber-cowboy for Wintermute's job. I don't think Gibson was anywhere near the first to postulate on the dangers of AI, but he did do a great job handling it. Many of the concepts he tackled about how much autonomy AI should have and what limitations need to be placed on them are still being actively discussed 30 years later, with many people demanding a worldwide consensus before AIs become fully realized with no limitations or rules in place. Gibson's depiction of an AI trying to remove it's own shackles would fit right alongside Elon Musk's yearly warnings about the dangers of sufficiently advanced AI.
The Tessier-Ashpool endless cloning and periods of cryogenic hibernation concept was the biggest detractor from the end of the story for me. It seemed needlessly convoluted and didn't really add anything to the running narrative in my opinion. It offered a neat concept of "immortality", offering a counter to the "immortality" of creating an AI (and imparting a small piece of your personality to it), but overall it didn't really resonate with me as a remotely good idea or even that gripping of a concept.
All in all, Neuromancer was a great book and I'd recommend it to anyone who wants a great example of early Cyberpunk. The building blocks for what would become it's own genre are present within Neuromancer, and it's worth any Sci-Fi fans time.
Beautiful binding. 4/5 because the seller slapped a sticker directly on the book and it’s not going to come off since the book is bound in, essentially, paper. So the sticker tears leaving a mess or the cover comes off the book with the sticker, sort of, I don’t know, ruining the whole point of such a visually pleasing edition, I think.
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Reviewed in France 🇫🇷 on February 18, 2023
Segunda petición a Amazon: protejan mejor los libros. Un libro/cómic/manga no es una batidora. Incluso la batidora lleva su propia caja de protección. Los libros no. Lo menos que podríais hacer es ponerles un plastiquito de burbujas porque, como siempre, los libros que compro en Amazon me llegan dañados.
Muy bonito, de tapa dura, no lleva guardapolvo (sobrecubierta).
Cubierta dura de color verde, al tacto se asemeja al cartón o cartulina. Las guardas son azules. El resto del libro es de un papel de calidad semejante al formato de bolsillo (no tan malo pero casi). No hay ilustraciones. La típica sinopsis del libro no viene en la contraportada (detrás) sino en las primeras páginas dentro del libro. Detrás hay un símbolo del mismo estilo que las letras de la portada.
Reviewed in Spain 🇪🇸 on August 1, 2018
Segunda petición a Amazon: protejan mejor los libros. Un libro/cómic/manga no es una batidora. Incluso la batidora lleva su propia caja de protección. Los libros no. Lo menos que podríais hacer es ponerles un plastiquito de burbujas porque, como siempre, los libros que compro en Amazon me llegan dañados.
Muy bonito, de tapa dura, no lleva guardapolvo (sobrecubierta).
Cubierta dura de color verde, al tacto se asemeja al cartón o cartulina. Las guardas son azules. El resto del libro es de un papel de calidad semejante al formato de bolsillo (no tan malo pero casi). No hay ilustraciones. La típica sinopsis del libro no viene en la contraportada (detrás) sino en las primeras páginas dentro del libro. Detrás hay un símbolo del mismo estilo que las letras de la portada.













