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The Peripheral Hardcover – October 28, 2014
| William Gibson (Author) Find all the books, read about the author, and more. See search results for this author |
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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.
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.
Burton’s been moonlighting online, secretly working security in some game prototype, a virtual world that looks vaguely like London, but a lot weirder. He’s got Flynne taking over shifts, promised her the game’s not a shooter. Still, the crime she witnesses there is plenty bad.
Flynne and Wilf are about to meet one another. Her world will be altered utterly, irrevocably, and Wilf’s, for all its decadence and power, will learn that some of these third-world types from the past can be badass.
- Print length496 pages
- LanguageEnglish
- PublisherBerkley
- Publication dateOctober 28, 2014
- Dimensions6.3 x 1.5 x 9.3 inches
- ISBN-100399158448
- ISBN-13978-0399158445
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Editorial Reviews
Review
“From page one, The Peripheral ticks and sings with the same controlled, dark energy and effortless grace of language...Like the best of Gibson's early, groundbreaking work, it offers up the same kind of chewy, tactile future that you can taste and smell and feel on your skin; that you believe, immediately, like some impossible documentary, because the thing that Gibson has always been best at is offering up futures haunted by the past.”—NPR
More Praise for William Gibson
“His eye for the eerie in the everyday still lends events an otherworldly sheen.”—The New Yorker
“Like Pynchon and DeLillo, Gibson excels at pinpointing the hidden forces that shape our world.”—Details
“William Gibson can craft sentences of uncanny beauty, and is our great poet of crowds.”—San Francisco Chronicle Book Review
“Gibson’s radar is deftly tuned to the changes in the culture that many of us are missing.”—Milwaukee Journal Sentinel
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The Haptics
They didn’t think Flynne’s brother had PTSD, but that sometimes the haptics glitched him. They said it was like phantom limb, ghosts of the tattoos he’d worn in the war, put there to tell him when to run,
when to be still, when to do the bad-ass dance, which direction and
what range. So they allowed him some disability for that, and he lived in the trailer down by the creek. An alcoholic uncle lived there when they were little, veteran of some other war, their father’s older brother. She and Burton and Leon used it for a fort, the summer she was ten. Leon tried to take girls there, later on, but it smelled too bad. When Burton got his discharge, it was empty, except for the biggest wasp nest any of them had ever seen. Most valuable thing on their property, Leon said. Airstream, 1977. He showed her ones on eBay that looked like blunt rif le slugs, went for crazy money in any condition at all. The uncle had gooped this one over with white expansion foam, gone gray and dirty now, to stop it leaking and for insulation. Leon said that had saved it from pickers. She thought it looked like a big old grub, but with tunnels back through it to the windows.
Coming down the path, she saw stray crumbs of that foam, packed down hard in the dark earth. He had the trailer’s lights turned up, and closer, through a window, she partly saw him stand, turn, and on his spine and side the marks where they took the haptics off, like the skin was dusted with something dead-fish silver. They said they could get that off too, but he didn’t want to keep going back.
“Hey, Burton,” she called.
“Easy Ice,” he answered, her gamer tag, one hand bumping the door open, the other tugging a new white t-shirt down, over that chest the Corps gave him, covering the silvered patch above his navel, size and shape of a playing card.
Inside, the trailer was the color of Vaseline, LEDs buried in it, bed- ded in Hefty Mart amber. She’d helped him sweep it out, before he moved in. He hadn’t bothered to bring the shop vac down from the garage, just bombed the inside a good inch thick with this Chinese polymer, dried glassy and f lexible. You could see stubs of burnt matches down inside that, or the cork-patterned paper on the squashed filter of a legally sold cigarette, older than she was. She knew where to find a rusty jeweler’s screwdriver, and somewhere else a 2009 quarter.
Now he just got his stuff out before he hosed the inside, every week
or two, like washing out Tupperware. Leon said the polymer was curatorial, how you could peel it all out before you put your American classic up on eBay. Let it take the dirt with it.
Burton took her hand, squeezed, pulling her up and in.
“You going to Davisville?” she asked. “Leon’s picking me up.”
“Luke 4:5’s protesting there. Shaylene said.”
He shrugged, moving a lot of muscle but not by much.
“That was you, Burton. Last month. On the news. That funeral, in
Carolina.”
He didn’t quite smile.
“You might’ve killed that boy.”
He shook his head, just a fraction, eyes narrowed. “Scares me, you do that shit.”
“You still walking point, for that lawyer in Tulsa?”
“He isn’t playing. Busy lawyering, I guess.” “You’re the best he had. Showed him that.” “Just a game.” Telling herself, more than him. “Might as well been getting himself a Marine.”
She thought she saw that thing the haptics did, then, that shiver, then gone.
“Need you to sub for me,” he said, like nothing had happened. “Five-hour shift. Fly a quadcopter.”
She looked past him to his display. Some Danish supermodel’s legs, retracting into some brand of car nobody she knew would ever drive, or likely even see on the road. “You’re on disability,” she said. “Aren’t supposed to work.”
He looked at her.
“Where’s the job?” she asked. “No idea.”
“Outsourced? VA’ll catch you.”
“Game,” he said. “Beta of some game.” “Shooter?”
“Nothing to shoot. Work a perimeter around three f loors of this tower, fifty-fifth to fifty-seventh. See what turns up.”
“What does?”
“Paparazzi.” He showed her the length of his index finger. “Little things. You get in their way. Edge ’em back. That’s all you do.”
“When?”
“Tonight. Get you set up before Leon comes.” “Supposed to help Shaylene, later.”
“Give you two fives.” He took his wallet from his jeans, edged out a pair of new bills, the little windows unscratched, holograms bright.
Folded, they went into the right front pocket of her cutoffs. “Turn the lights down,” she said, “hurts my eyes.”
He did, swinging his hand through the display, but then the place
looked like a seventeen-year-old boy’s bedroom. She reached over, f licked it up a little.
She sat in his chair. It was Chinese, reconfiguring to her height and weight as he pulled himself up an old metal stool, almost no paint left on it, waving a screen into view.
milagros coldiron sa
“What’s that?” she asked. “Who we’re working for.”
“How do they pay you?” “Hefty Pal.”
“You’ll get caught for sure.”
“Goes to an account of Leon’s,” he said. Leon’s Army service had been about the same time as Burton’s in the Marines, but Leon wasn’t due any disability. Wasn’t, their mother said, like he could claim to have caught the dumbfuck there. Not that Flynne had ever thought Leon was anything but sly, under it all, and lazy. “Need my log-in and the password. Hat trick.” How they both pronounced his tag, Hap- tRec, to keep it private. He took an envelope from his back pocket, unfolded and opened it. The paper looked thick, creamy.
“That from Fab?”
He drew out a long slip of the same paper, printed with what looked to be a full paragraph of characters and symbols. “You scan it, or type it outside that window, we’re out a job.”
She picked up the envelope, from where it lay on what she guessed had been a fold-down dining table. It was one of Shaylene’s top-shelf stationery items, kept literally on a top shelf. When letter orders came in from big companies, or lawyers, you went up there. She ran her thumb across the logo in the upper left corner. “Medellín?”
“Security firm.”
“You said it’s a game.”
“That’s ten thousand dollars, in your pocket.” “How long you been doing this?”
“Two weeks now. Sundays off.” “How much you get?”
“Twenty-five thousand per.”
“Make it twenty, then. Short notice and I’m stiffing Shaylene.” He gave her another two fives.
2.
Death Cookie
Netherton woke to Rainey’s sigil, pulsing behind his lids at the rate of a resting heartbeat. He opened his eyes. Knowing better than to move his head, he confirmed that he was in bed, alone. Both positive, under current circumstances. Slowly, he lifted his head from the pillow, until he could see that his clothes weren’t where he assumed he would have dropped them. Cleaners, he knew, would have come from their nest beneath the bed, to drag them away, f lense them of what- ever invisible quanta of sebum, skin-flakes, atmospheric particulates, food residue, other.
“Soiled,” he pronounced, thickly, having brief ly imagined such cleaners for the psyche, and let his head fall back.
Rainey’s sigil began to strobe, demandingly.
He sat up cautiously. Standing would be the real test. “Yes?” Strobing ceased. “Un petit problème,” Rainey said.
He closed his eyes, but then there was only her sigil. He opened
them.
“She’s your fucking problem, Wilf.”
He winced, the amount of pain this caused startling him. “Have you always had this puritanical streak? I hadn’t noticed.”
“You’re a publicist,” she said. “She’s a celebrity. That’s interspecies.” His eyes, a size too large for their sockets, felt gritty. “She must be nearing the patch,” he said, ref lexively attempting to suggest that he was alert, in control, as opposed to disastrously and quite expectedly hungover.
“They’re almost above it now,” she said. “With your problem.”
“What’s she done?”
“One of her stylists,” she said, “is also, evidently, a tattooist.”
Again, the sigil dominated his private pain-filled dark. “She didn’t,” he said, opening his eyes. “She did?” “She did.”
“We had an extremely specific verbal on that.”
“Fix it,” she said. “Now. The world’s watching, Wilf. As much of it as we’ve been able to scrape together, anyway. Will Daedra West make peace with the patchers, they wonder? Should they decide to back our project, they ask? We want yes, and yes.”
“They ate the last two envoys,” he said. “Hallucinating in synch with a forest of code, convinced their visitors were shamanic spirit beasts. I spent three entire days, last month, having her briefed at the Connaught. Two anthropologists, three neoprimitivist curators. No tattoos. A brand-new, perfectly blank epidermis. Now this.”
“Talk her out of it, Wilf.”
He stood, experimentally. Hobbled, naked, into the bathroom. Urinated as loudly as possible. “Out of what, exactly?”
“Parafoiling in—”
“That’s been the plan—”
“In nothing but her new tattoos.” “Seriously? No.”
“Seriously,” she said.
“Their aesthetic, if you haven’t noticed, is about benign skin can- cers, supernumerary nipples. Conventional tattoos belong firmly among the iconics of the hegemon. It’s like wearing your cock ring to meet the pope, and making sure he sees it. Actually, it’s worse than that. What are they like?”
“Posthuman filth, according to you.” “The tattoos!”
“Something to do with the Gyre,” she said. “Abstract.”
“Cultural appropriation. Lovely. Couldn’t be worse. On her face? Neck?”
“No, fortunately. If you can talk her into the jumpsuit we’re print- ing on the moby, we may still have a project.”
He looked at the ceiling. Imagined it opening. Himself ascending. Into he knew not what.
“Then there’s the matter of our Saudi backing,” she said, “which is considerable. Visible tattoos would be a stretch, there. Nudity’s nonnegotiable.”
“They might take it as a signal of sexual availability,” he said, hav-
ing done so himself. “The Saudis?” “The patchers.”
“They might take it as her offer to be lunch,” she said. “Their last, either way. She’s a death cookie, Wilf, for the next week or so. Anyone so much as steals a kiss goes into anaphylactic shock. Something with her thumbnails, too, but we’re less clear about that.”
He wrapped his waist in a thick white towel. Considered the carafe of water on the marble countertop. His stomach spasmed.
“Lorenzo,” she said, as an unfamiliar sigil appeared, “Wilf Netherton has your feed, in London.”
He almost vomited, then, at the sudden input: bright saline light above the Garbage Patch, the sense of forward motion.
3.
Pushing Bugs
She managed to get off the phone with Shaylene without mentioning Burton. Shaylene had gone out with him a few times in high school, but she’d gotten more interested when he’d come back from the
Marines, with that chest and the stories around town about Haptic
Recon 1. Flynne figured Shaylene was basically doing what the rela- tionship shows called romanticizing pathology. Not that there was a whole lot better available locally.
She and Shaylene both worried about Burton getting in trouble over Luke 4:5, but that was about all they agreed on, when it came to him. Nobody liked Luke 4:5, but Burton had a bad thing about them. She had a feeling they were just convenient, but it still scared her. They’d started out as a church, or in a church, not liking anyone being gay or getting abortions or using birth control. Protesting military funerals, which was a thing. Basically they were just assholes, though, and took it as the measure of God’s satisfaction with them that everybody else thought they were assholes. For Burton, they were a way around whatever kept him in line the rest of the time.
She leaned forward now, to squint under the table for the black nylon case he kept his tomahawk in. Wouldn’t want him going up to Davisville with that. He called it an axe, not a tomahawk, but an axe was something you chopped wood with. She reached under, hooked it out, relieved to feel the weight. Didn’t need to open it, but she did. Case was widest at the top, allowing for the part you’d have chopped wood with. More like the blade of a chisel, but hawk-billed. Where the back of an axe would’ve been f lat, like the face of a hammer, it was spiked, like a miniature of the blade but curved the other way. Either one thick as your little finger, but ground to edges you wouldn’t feel as you cut yourself. Handle was graceful, a little recurved, the wood soaked in something that made it tougher, springy. The maker had a forge in Tennessee, and everyone in Haptic Recon 1 got one. It looked used. Careful of her fingers, she closed the case and put it back under the table.
She swung her phone through the display, checking Badger’s map of the county. Shaylene’s badge was in Forever Fab, an anxious segment of purple in its emo ring. Nobody looked to be up to much, which wasn’t exactly a surprise. Madison and Janice were gaming, Sukhoi Flankers, vintage f light sims being Madison’s main earner. They both had their rings beige, for bored shitless, but then they always had them that way. Made four people she knew working tonight, count- ing her.
She bent her phone the way she liked it for gaming, thumbed Hap-tRec into the log-in window, entered the long-ass password. Flicked go. Nothing happened. Then the whole display popped, like the f lash of a camera in an old movie, silvered like the marks of the haptics. She blinked.
And then she was rising, out of what Burton said would be a launch bay in the roof of a van. Like she was in an elevator. No control yet. And all around her, and he hadn’t told her this, were whispers, urgent as they were faint, like a cloud of invisible fairy police dispatchers.
And this other evening light, rainy, rose and silver, and to her left a river the color of cold lead. Dark tumble of city, towers in the dis- tance, few lights.
Camera down giving her the white rectangle of the van, shrinking in the street below. Camera up, the building towered away forever, a cliff the size of the world.
4.
Something So Deeply Earned
Lorenzo, Rainey’s cameraperson, with the professional’s deliberate gaze, steady and unhurried, found Daedra through windows overlooking the moby’s uppermost forward deck.
Netherton wouldn’t have admitted it to Rainey, or indeed to anyone, but he did regret the involvement. He’d let himself be swept up, into someone else’s far more durable, more brutally simple concept of self.
He saw her now, or rather Lorenzo did, in her sheepskin f lying jacket, sunglasses, nothing more. Noted, wishing he hadn’t, a mons freshly mohawked since he’d last encountered it. The tattoos, he guessed, were stylized representations of the currents that fed and maintained the North Pacific Gyre. Raw and shiny, beneath some silicone-based unguent. Makeup would have calculated that to a nicety.
Part of a window slid aside. Lorenzo stepped out. “I have Wilf Netherton,” Netherton heard him say. Then Lorenzo’s sigil vanished, Daedra’s replacing it.
Her hands came up, clutched the lapels of her open jacket. “Wilf. How are you?”
“Glad to see you,” he said.
She smiled, displaying teeth whose form and placement might well have been decided by committee. She tugged the jacket closer, fists sternum-high. “You’re angry, about the tattoos,” she said.
“We did agree, that you wouldn’t do that.”
“I have to do what I love, Wilf. I wasn’t loving not doing it.”
“I’d be the last to question your process,” he said, channeling in- tense annoyance into what he hoped would pass for sincerity, if not understanding. It was a peculiar alchemy of his, the ability to do that, though now the hangover was in the way. “Do you remember Annie, the brightest of our neoprimitivist curators?”
Her eyes narrowed. “The cute one?”
“Yes,” he said, though he hadn’t particularly thought so. “We’d a drink together, Annie and I, after that final session at the Connaught, when you’d had to go.”
“What about her?”
“She’d been dumbstruck with admiration, I realized. It all came out, once you were gone. Her devastation at having been too overawed to speak with you, about your art.”
“She’s an artist?”
“Academic. Mad for everything you’ve done, since her early teens. Subscriber to the full set of miniatures, which she literally can’t afford. Listening to her, I understood your career as if for the first time.”
Her head tilted, hair swung. The jacket must have opened as she raised one hand to remove the sunglasses, but Lorenzo wasn’t hav- ing any.
Netherton’s eyes widened, preparing to pitch something he hadn’t yet invented, none of what he’d said so far having been true. Then he remembered that she couldn’t see him. That she was looking at someone called Lorenzo, on the upper deck of a moby, halfway around the world. “She’d particularly wanted to convey an idea she’d had, as the result of meeting you in person. About a new sense of timing in your work. She sees timing as the key to your maturation as an artist.”
Lorenzo refocused. Suddenly it was as if Netherton were centimeters from her lips. He recalled their peculiarly brisk nonanimal tang. “Timing?” she asked, flatly.
“I wish I’d recorded her. Impossible to paraphrase.” What had he said previously? “That you’re more secure, now? That you’ve always been brave, fearless really, but that this new confidence is something else again. Something, she put it, so deeply earned. I’d planned on discussing her ideas with you over dinner, that last time, but it didn’t turn out to be that sort of evening.”
Her head was perfectly still, eyes unblinking. He imagined her ego swimming up behind them, to peer at him suspiciously, something eel-like, larval, transparently boned. He had its full attention. “If things had gone differently,” he heard himself say, “I don’t think we’d be having this conversation.”
“Why not?”
“Because Annie would tell you that the entrance you’re considering is the result of a retrograde impulse, something dating from the start of your career. Not informed by that new sense of timing.”
She was staring at him, or rather at whoever Lorenzo was. And
then she smiled. Ref lexive pleasure of the thing behind her eyes.
Rainey’s sigil privacy-dimmed. “I’d want to have your baby now,”
she said, from Toronto, “except I know it would always lie.”
Product details
- Publisher : Berkley; First Edition (October 28, 2014)
- Language : English
- Hardcover : 496 pages
- ISBN-10 : 0399158448
- ISBN-13 : 978-0399158445
- Item Weight : 1.6 pounds
- Dimensions : 6.3 x 1.5 x 9.3 inches
- Best Sellers Rank: #231,100 in Books (See Top 100 in Books)
- #1,017 in Technothrillers (Books)
- #1,328 in Hard Science Fiction (Books)
- #1,394 in Cyberpunk Science Fiction (Books)
- Customer Reviews:
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About the author

William Gibson was born in the United States in 1948. In 1972 he moved to Vancouver, Canada, after four years spent in Toronto. He is married with two children.
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I remember the first time I read Neuromancer. Jeeze, like 30 years ago now. Reading Neuromancer and its often dense, cinematic prose often made me with for a glossary with the book, like there had been when I read my older brother's late 60s paperback copy of Anthony Burgess' A Clockwork Orange. But Burgess' was using Anglicized Russian as British English slang in that book -- you really needed the glossary.
For Gibson, everything is written in English, so you get no glossary. You have to figure out the meanings of new/invented/esoteric terms from the context of the prose. Now, it's got it's confusing, hallucinatory aspects that make it akin to reading Burroughs sometimes (but without all the drugs and homosexual sex). But Burroughs' stuff also was frustrating to read because of the cut-up, disjointed narrative style. Gibson's stuff is far more tightly plotted and less hallucinatory.
Figuring out the meanings of terms from the prose and context is less an issue in this novel than in some of Gibson's previous novels (like The Sprawl trilogy novels). But it is definitely much more of an issue here than it was with in the last three "Bigend" trillogy novels combined.
I did not have a problem figuring out terms/actions from the context with this novel. For people who are already aware of topics as disparate but technologically reliant as social media's geolocation capabilities, social media mood indication/tracking, advancements in 3D printing, and concepts such as string/mbrane theories of physics (in a PBS TV kind of way) and possible parellel multiple universes, this book should not be difficult to read.
For everyone else, yeah... it will be a problem.
I recently had a friend -- who hadn't re-read any of Gibson's first 3-6 novels since she originally read them, 30-ish years ago -- complain about 3 things with respect to this book. I, however, recently re-acquired ALL of his books in ebook format, after having lost paperback and hardcover copies over the years. So I was in a unique position to respond to her arguments.
First, she said the first 100 pages of The Peripheral were unnecessarily dense. My response to that was: no, not really, unless you've forgotten how he *used* to write. Because this is not a new style for him -- it's more a return to form.
Second, she objected to the fact that under all the scifi trappings, it's "just a murder mystery." Well, you could say any of his previous novels had, "under the trappings," some fairly routine pulp-ish or noir-ish plots. Criminal pulled in/tempted by just "one last job." Corporate espionage and extraction of human workers who represent intellectual capital to these corporations. That kind of thing.
In my opinion, there are two mysteries in this novel: the murder mystery (which is the obvious mystery) and the underlying, shadow mystery, which is revealed in dribs and drabs until very near the end: the myster of The Jackpot -- what it is, how it happened, who it affected.
Ironically, the biggest mystery -- communication between people of one near future multiverse, and the people of a far future multiverse -- is simply set up as a given. (If anything in this novel is a deus ex machina, I suppose that is). So the mystery is never explained.
Third and last, she objected to what she felt was a Disney-ish happy ending. But, I argued, virtually all of Gibson's otherwise highly dystopian visions of the future end similarly: the bad guys don't entirely win, and the good guys don't entirely lose. Which is, I guess, just another way of saying the bad guys kind of lose, and the good guys kind of win. But one senses that the struggle and lives of the characters continue after you finish the book, and nothing feels too deus ex machina (except, in this novel, maybe some of the givens).
Let me put it this way: If you already know and pretty much love Gibson's previous stuff, I don't think this will disappoint.
If, however, Gibson's writing (especially the early stuff) put you off, then you'll probably hate this novel, too.
I loved it. Gibson has always been so expertly, specifically, and hauntingly able to describe the nostalgia of anachronistic characters and to chart the narratives of those people whose changing personal circumstances have left them with uncertain footing in either a not entirely friendly world, or an outright hostile one, as they try to secure some piece of stability and/or security for themselves amid an often constantly changing landscape. He's always written relatable and often quite compelling heroines, the vast majority of whom were not stereotypical scifi babes.
He has also always extrapolated from current and historical sociopolitical and economical trends -- especially with respect to technological innovation -- to provide a glimpse of the growing, ever-sharpening class divisions that our world has rapidly devolved into. Much of what he presented as mere backstory or incidental detail in his Sprawl trilogy novels (and even in later workrs) has come to pass. He obviously has class politics, and to me, Gibson seems to be one of those ex-working class intellectuals who never lost touch with the fact that -- had he never become successful as a writer -- he'd probably would have worked some kind of blue collar or civil servant/wage slave type job his whole life, because that's what he was headed for.
So he has remarkable sympathy for those square-peg-round-hole drones who get caught up in things larger than themselves, especially those who've had a taste of "the good life" and then otherwise blew it, lost it, or had it somehow snatched away. Yet he never comes across as overtly or explicity adhering to any 'ism;' he never comes across from that kind of tiresome first-raised pro-blue-collar/almost anti-intellectual pride, either. That's probably because, for many of his protagonists, it's their intellect, their brainy skills, that got them out of whatever backwater, wrong-side-of-town situation they were originally born into.
The way he writes his dystopian futures -- which are all merely extrapolations of things that are already true now -- "it is what it is." There's no agenda-pushing by Gibson, it's just a very dry recitation of the surrounding details that gradually weave into a whole where you see how the poor get poorer and the rich get richer, and you come to realize that is what we all would observe ourselves about our current world, if we were only paying attention.
So when one of his underdog protagonists finally achieves some level of security, you feel like it's been really earned... and much of the time, those underdogs are trying to pull another person or two or more up with them, or sometimes, enlighten an entire group even as they merely pursue their own trajectory.
It's that warmth and strange optimism amid all the doomy gloomy dystopia that has always kind of made Gibson's stuff moody, haunting, and ultimately very fulfilling reading for me.
These are some of the things I've always really admired about him.
There were some clever, new ideas that made up for some of the characters being shallower than I was used to from Gibson. Overall it was definitely worth reading.
Top reviews from other countries
484 pages of this. Alongside a rather more readable Empty Hearts – it is going to Help the Aged.
The novel opens in near-future rural America, where protagonist Flynne Fisher agrees to take over her brother’s job one night, working as security in a new video game. When she witnesses a particularly gruesome murder on the second night she begins to question whether it’s just a game or something more.
Meanwhile, in a post-apocalyptic 22nd Century, publicist Wilf Netherton loses his job after a disastrous assignment and finds himself getting drawn into the mystery surrounding the disappearance of a socialite he has links to.
Connecting these two seemingly disparate stories is the continua, a never-explained link between Wilf’s ‘present’ and various points in the ‘past’. Through the use of a mysterious server that’s believed to exist somewhere in China, the denizens of the 22nd Century are able to reach back in to the past, but in doing so they create stubs, new timelines separate and distinct from their own which continue forward at the same rate of temporal progress.
It’s an unusual approach to the time-travel trope, and raises a lot of questions about how much of the story is real or imagined within the context of the narrative. The fact that the alleged Chinese server McGuffin that allows contact with the stubs is deliberately kept vague and mysterious even to the denizens of Wilf’s timeline suggests that there’s a lot more going on under the hood of this novel than you realise, and while that could be true of pretty much any novel by Gibson, here the layers of obfuscation feel positively abyssal in depth.
As ever, Gibson’s writing here is superlative. The way he weaves the two distinct narratives together is damn near perfect, though he does leave a lot of threads hanging throughout the book. Even by the end of the story, when everything’s been brought together in an adrenaline inducing climax and it’s been revealed who has in fact done it, there are still a lot of questions left unanswered. That this is the first in a new series is in no doubt, but where his earlier works were more-or-less independent of each other, you can’t help but get the impression this new trilogy is going to prove to be very interconnected by the turn of the last page of the final book.
All in all it’s fair to say Gibson hasn’t lost any of his talent for telling stories. This is cyberpunk for the post-cyberpunk world, and definitely worth a read if you’re a fan of the genre.
It is written as two parallel related stories, pretty much sticking to alternate chapters for each. Gibson fans will be familiar with him juggling three or even four story threads, but here he restricts himself to just the two.
Every book by William Gibson that I've read has a dense style which frequently has me flipping back a couple of pages to try to understand what happened or even who said what. I have come to enjoy that style but, in the first few chapters of The Peripheral, it isn't just hard to follow, there isn't actually enough information present to follow who's who and what is going on. Maybe a deliberate choice, but it could be the cause of those reviews declaring it "unreadable". Once about three or four chapters in you'll have more of a handle on who and what, and the book becomes more compelling.
The book has the typical street-wise close-lipped characters that Gibson loves to write but, on two or three occasions throughout, someone will just "spill the beans" in an uncharacteristic display of eloquence. This inconsistency in character, or at least the sudden manner in which it happens, was quite jarring. For this reason and the overly challenging beginning, I have knocked off one star.
Having grasped the narrative well enough to be able to embrace all the characters, the story becomes enthralling, engaging and highly entertaining.
One of the things I love about Gibson is his ability to change his writing style. While I've found the shift to be a challenge on occasion, bearing with it has always proved to be rewarding and The Peripheral was no exception.
Looking forward to my next incursion into the wondrous worlds that Gibson introduces.
“The Peripheral” is a hybrid cyberpunk/time travel story told from two (mostly) alternating third-person-limited points of view looking at each other from either end of an unspecified period of future history.
The content is pure William Gibson fan service and almost criticism-proof. You knew what to expect when you bought your ticket, so for the most part you just have to put up and shut up.
It’s a chaotic exercise in nano tech, stealth tech, cyber-displaced consciousness, guns-and-ammo fetishism, and Black Ops mumbo jumbo. There’s probably only one character – an actual cop – who isn’t a creatively dysfunctional but, like, toterly kewl, loner.
It takes a while to get going, but once all the pieces are on the board and your reading ear tunes in to the slightly forced writing style it hops along enjoyably enough.
The real weakness is in the structure.
The plot is a bad day for air traffic control at Deus Ex Machina Airlines.
It’s told in a a hundred-odd, pointlessly tiny, supposedly smartly titled, chapters.
One of the reasons it’s slow to start is because it’s trying to get away with delivering two future worlds at either end of a “look but don’t touch” Google Hangout, without info-dumps, and just ends up being oblique.
One of the pair of PoV voices has a yoof-full, edgy, broken “street” quality that’s not entirely successful, partly because it’s trying to leverage the benefits of first and third person and ends up neither fish nor fowl, and partly because that voice bleeds inappropriately all over the other PoV who isn’t either yoof or “street”.
There’s a climax without a real nailed-down conclusion. Despite striking down upon the eventually revealed panto villain with great vengeance and furious anger, at least one key dark side character escapes with just a stern telling off. When I reached the last couple of chapters and had to keep being careful not to tap the “buy the next-in-series” banner in the Kindle app, I realised with a sinking heart that it’s because it’s not the standalone I thought it was.
All that said, if it comes up again at a 99p deal, there are way worse ways to send yourself to sleep for a week.












