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The Peripheral (The Jackpot Trilogy) Paperback – October 6, 2015
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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 length512 pages
- LanguageEnglish
- Publication dateOctober 6, 2015
- Dimensions5.45 x 1.11 x 8.19 inches
- ISBN-100425276236
- ISBN-13978-0425276235
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Editorial Reviews
Review
Praise for The Peripheral
“Spectacular, a piece of trenchant, far-future speculation that features all the eyeball kicks of Neuromancer and all the maturity and sly wit of Spook Country. It’s brilliant.”—Cory Doctorow
“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
“[Gibson is] revered not just as a unique and brilliantly talented SF novelist but a social and psychological visionary....[The Peripheral] creates a future that is astoundingly inventive and frighteningly plausible....A wonderful addition to a brilliant oeuvre.”—The Sunday Times (UK)
“Gibson's characters are intensely real, and Flynne is a clever, compelling, stereotype-defying, unhesitating protagonist who makes this novel a standout.”—Publishers Weekly
“The Peripheral is one of [Gibson's] most sophisticated attention-management machines, a culmination of his career, both a return to old themes and a step forward, and his most sustained experiment in helping us, even if only for a moment, see the world with new eyes.”—Los Angeles Review of Books
“No one writes better about the near future than Gibson.”—The Washington Post
“Like any really well-designed thrill ride of mystery tour (or sonnet or string quartet), as soon as you get off, you want to get right on for another go-round.”—Locus
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 he is a 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 Peripheral
By William Gibson
1.
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 rifle 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, bedded 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 flexible. 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 floors 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, flicked 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, HaptRec, 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, flense them of whatever invisible quanta of sebum, skin-flakes, atmospheric particulates, food residue, other.
“Soiled,” he pronounced, thickly, having briefly 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, reflexively 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 cancers, 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 printing 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, having 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 relationship 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 flat, 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 flight 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, counting her.
She bent her phone the way she liked it for gaming, thumbed HaptRec into the log-in window, entered the long-ass password. Flicked go. Nothing happened. Then the whole display popped, like the flash 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 distance, 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.
Product details
- Publisher : Berkley; Reprint edition (October 6, 2015)
- Language : English
- Paperback : 512 pages
- ISBN-10 : 0425276236
- ISBN-13 : 978-0425276235
- Item Weight : 15.2 ounces
- Dimensions : 5.45 x 1.11 x 8.19 inches
- Best Sellers Rank: #32,814 in Books (See Top 100 in Books)
- #177 in Cyberpunk Science Fiction (Books)
- #184 in Technothrillers (Books)
- #293 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 AmazonCustomers say
Customers find the book engaging and enjoyable to read. They praise the interesting plot with neat concepts and intriguing time travel ideas. The characters are described as rich, well-developed, and solid. Readers appreciate the author's intelligent and visionary style. Overall, the book is described as a fun and entertaining science fiction novel.
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Customers find the book engaging and enjoyable to read. They appreciate the wonderful characters and world. The narrative is described as captivating and interesting.
"...kind of made Gibson's stuff moody, haunting, and ultimately very fulfilling reading for me...." Read more
"...Honestly, the show was better than it’s source material...." Read more
"...Because the initial setup to Gibson’s story is itself so good that’s it’s better than most books out there. Now I’ve finished it, and if you..." Read more
"...I absolutely loved ANATHEM by Neal Stephenson, although I generally don't read his books because they are monstrous doorstops that I don't have time..." Read more
Customers find the plot interesting and cool. They describe the book as a remarkable science fiction novel that fits right in with the new TV show. The story is set in two timelines, the first a near future that intersects with a murder mystery. While some readers find the prose shallow and overly focused on certain concepts, they consider it a brilliant storyteller and well-written.
"...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..." Read more
"...The plot of this novel is extremely interesting, but the prose is very shallow and overly focused on details, very much a 20th century style of scifi..." Read more
"...The story is set in two timelines, the first a near future that intersects with a second some seventy years later, this one defined by an event..." Read more
"...The series lacks the depth of plot and while many characters are carried over, the plot deviates quite a bit...." Read more
Customers enjoy the well-developed characters. They find the protagonists solid and spiritually connected. The author handles the voices of different characters well, creating real people rather than mouthpieces. Readers appreciate Gibson's skill in describing nostalgia and setting. Overall, they praise Gibson's ability to create engaging characters and settings.
"...been so expertly, specifically, and hauntingly able to describe the nostalgia of anachronistic characters and to chart the narratives of those..." Read more
"...developed and forgettable, and JN and spouse did a great job at developing those characters and a superior narrative out of the meager narrative..." Read more
"I found the book hard to get into and the many characters hard to follow. I'd left the book unfinished for more than a year for that reason...." Read more
"...and more women over the course of his career and deepened their characters to full realism, but his casts tend to the masculine regardless of gender...." Read more
Customers enjoy the book's time travel concepts and the linkages between the past and future. They find the book challenging with a mature examination of future worlds. The two separate time periods are credible, fascinating, and scary in their ways. The author plays with the idea of digital information transfer through time, which is crazy but works. They say it's about the best far future science fiction, leveraging modern concepts.
"...Some portions of the farther-future timeline are compelling, like the Medici, and gratifyingly unsettling, like the Pacific garbage-patch world and..." Read more
"...It's more about leveraging modern concepts--things we know and in some cases may not without a quick Google search--and using the analogy to fill in..." Read more
"...She's pragmatic, defining telepresence in very practical terms: getting a haircut...." Read more
"...Each insightful at a minimum and some of them outright prophetic, but none ever again quite so engrossing...." Read more
Customers find the book intelligent and challenging. They praise the author's vision and imagination. The characters and world-building are satisfying, and the book expands their minds.
"...a William Gibson science fiction novel. Gibson is unique, a true visionary, a major first poet and creator of both the cyberpunk genre and..." Read more
"...swept into the poetry of his wordsmithing and edginess of his entrancing creative vision...." Read more
"...all: you can enjoy each scene, and the characters and world-building are more than satisfying." Read more
"...Brilliant...compelling...well-written, every one of them. Each insightful at a minimum and some of them outright prophetic, but none ever again..." Read more
Customers like the style. They find the books original and visionary, with detailed characters that aren't too baroque. The artwork is described as classic Gibsonian images. Readers describe the book as a brilliant look at what could be and a masterpiece.
"...It's an interesting artistic decision, at odds with commercial success...." Read more
"...Gibson being Gibson, these characters are well-drawn, quirky, and authentic - although bewilderingly diverse...." Read more
"...The following eight science fiction books are, without par, so original and visionary that they easily win five stars using pretty much any applied..." Read more
"...A new classic, from arguably the best SF writer -- maybe the best writer, period -- of our generation." Read more
Customers have mixed opinions about the writing style. Some find it imaginative, well-written, and engaging with quirky characters. Others feel the prose is shallow and overly focused on details, making it a hard read at the beginning. There are also complaints about made-up language and incomplete sentences.
"...to Gibson from Samuel R. Delany, another unique stylist, writer of uncanny sentences, and one of the first presenters of the cyber trope of “jacking..." Read more
"...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)...." Read more
"...I'll tell you what - this is a really cool story with some really neat concepts...." Read more
"...If you enjoy reading his prose, always tight, imaginative, and multi-sensory, you feel as if you've been admitted into a fairly exclusive club --..." Read more
Customers have different views on the pacing. Some find the story engaging from the beginning, with a brilliant pace and rapid momentum buildup. Others feel the pacing is jarring at times, slow until 2/3 of the book, and not well-integrated into a cohesive whole.
"...away and the reader figures out the basics, the story moves along at a pretty good pace, and is a good read. The conclusion was, for me, satisfying...." Read more
"...that his characters in this book use make parts of it very difficult to stay with...." Read more
"..."The Peripheral" begins beautifully, rushing at you like a bull out of the gate...." Read more
"The show was coming out too slow for me and I hate waiting for the next episode. Don’t get me wrong, the show is good...." Read more
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Gibson reminds us why he is still relevant
Top reviews from the United States
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- Reviewed in the United States on January 14, 2015If you've never read Gibson before, this is NOT the place to start.
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.
- Reviewed in the United States on April 1, 2023It took me a while to get into this. I started after seeing the show on Amazon. Honestly, the show was better than it’s source material. The characters here are very thinly developed and forgettable, and JN and spouse did a great job at developing those characters and a superior narrative out of the meager narrative bones of this story. The only exception is Ainsley Lowbeer, by far the most interesting character in this story. The plot of this novel is extremely interesting, but the prose is very shallow and overly focused on details, very much a 20th century style of scifi. The details are often tedious and don’t serve to further the story. Thing like describing how a character walks through a room or gets from place to place, which don’t even provide any kind of contextual color to highlight the strangeness of the environment. This is one of the reasons I have always found it so difficult to read Gibson. Also, the narration for the audiobook was TERRIBLE. For a relatively high profile author, you’d think they’d shell out for a voice actor a bit less monotone. Anyways, I made it through, and will probably read the next one.
- Reviewed in the United States on July 19, 2015I’m less than a hundred pages into The Peripheral, a book I’ve been looking forward to for a long time: a William Gibson science fiction novel.
Gibson is unique, a true visionary, a major first poet and creator of both the cyberpunk genre and the term “cyberspace.” His visions have been co-opted by both Madison Avenue and Hollywood in the same way that the visuals of J.G. Ballard’s childhood memories of China fleshed out his Empire of the Sun, to then pass through Spielberg’s film adaptation and out into our advertising visuals and all other graphic media. And like the late Ballard (an admitted influence), Gibson can write arresting sentences and deliver authentic strangeness. His metaphors, descriptions, and observations are often quoted and often hard to forget.
(It must be noted that cyberpunk is largely dead due to substance of its inherent truth – the human-technology interface and its results – having been absorbed into everything, much like sugar in American food. The author has said, “It seems to me that we all live today in a sort of partial condition of ‘Internetness,’ and daily less partially.”)
Gibson’s last two novels were set in modern times, yet the poetic sensibility serving his concepts made the here-and-now feel creepy, surreal, and lacking in innocence. The Peripheral, on the other hand, is solid science fiction, where much is unfamiliar.
The story is set in two timelines, the first a near future that intersects with a second some seventy years later, this one defined by an event called the jackpot, a world-changing convergence of slow-growing global maladies. The first timeline’s characters are siblings living in a depressed rural town in the American South where the main economy is drugs. Burton is a Marine specialist with a PTS-like disorder; his sister Flynne is a professional gamer hiring out to others, but with an acquired distaste for “shooters.” Burton is hired by a faceless entity to Beta test a virtual security game, but farms the job out for two nights to his skilled sister who witnesses a horrific murder in the environment. “It’s just a game,” she says. It’s not.
Flynne is greatly disturbed by the violence she witnesses, as a mentally healthy person should be. This makes her unusual, if not as a sympathetic viewpoint character, but in the gaming world, centered largely as it is around testosteronic endeavors that desensitize its players to killing.
Inhabiting the second timeline are a wealthy Russian layabout, his private security team, a performance artist (for lack of a better description), her publicist, her sister, and an elderly policewoman, one of whom had originally hired Burton. This timeline is uncrowded and, oddly, historically unconnected to the first. I shouldn’t say more because as of this writing I haven’t yet finished the book.
So why would I write a review now? Because the initial setup to Gibson’s story is itself so good that’s it’s better than most books out there.
Now I’ve finished it, and if you’re interested in where our civilization is very likely going – or if you just like to read – you should try this book.
The novel isn’t an easy read at first. SF writers generally drop you into their worlds without explaining the furniture in a direct manner; doing so is awkward. Instead you figure it out, and how long that takes depends on the author’s mercy and how experienced you are with the genre; for example, connecting the author’s “fab” to “fabricating” (as from a 3D printer) will possibly help you understand, and a “moby” high in the clouds would probably be a dirigible, right? But connecting “stub” to “a new and divergent branch of time” is impossible until the author feels like helping you. Commenting on this learning curve, Gibson says in a Jonathan Sturgeon interview, “I knew that some readers would be unwilling to put up with it.” He also knows “that a certain kind of reader, one with a second cultural level of acquired skills, would be right at home.” And let’s remember that this big book with its huge concepts is part murder mystery, however bizarre or complex, so being left in the dark is essential to its enjoyment.
Gibson has populated his work with more and more women over the course of his career and deepened their characters to full realism, but his casts tend to the masculine regardless of gender. Judging by their responses, these women, while seemingly bestowed with all the feminine depth that can be extended to a reader, move through his plotting under a shadow of noir that darkens all his work and thus mutes most overt emotion. The richness is indeed there but, as in the work of so many male authors, it’s off the page. A Gibson world can be outright brutal, or at the least, tense with a strangeness rendered in incredible tactile detail, and although his women survive in these worlds, they do so seemingly at the expense of the maternal instinct.
As a visionary, I see a line that extends to Gibson from Samuel R. Delany, another unique stylist, writer of uncanny sentences, and one of the first presenters of the cyber trope of “jacking in” (interfacing a human nervous system with technology). Delany, no stranger to poetry himself, originally came up with a reality, in his Towers series, lived by people unknowingly dreaming in boxes, a concept of course ripped by the Matrix series of blockbuster films forty years later. And although both writers made their mark, Delany’s profound literary influence on the genre is overshadowed by Gibson’s on modern culture as a whole, exploding as it did in the mid-eighties from Neuromancer, his first novel. (Whose virtual reality dataspace was called the Matrix …) It was the right book at the right time, with it’s iconic first sentence: “The sky above the port was the color of television, tuned to a dead channel.”
Noir indeed.
I don’t remember if Gibson’s collar was turned up in the author photo for that book, but it is for this one.
Top reviews from other countries
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Cliente AmazonReviewed in Spain on November 7, 20245.0 out of 5 stars Excelente
Um excelente livro do mestre do cyberpunk em formato softcover
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HorzaReviewed in France on May 31, 20245.0 out of 5 stars Très bon
Tout à fait à la hauteur des autres romans de cet auteur que j’apprécie beaucoup.
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C. R. CarloReviewed in Italy on March 28, 20245.0 out of 5 stars Bellissimo. Gibson è sempre una garanzia.
Al di là del bellissimo libro, c'è il solito problema dell'uso di neologismi che solo dopo un po' si riescono a decifrare.
La lettura in lingua originale dà più sapore alla storia.
Raccomandatissimo!
dot dot dotReviewed in the United Kingdom on November 23, 20225.0 out of 5 stars Nothing like the current TV show
I love sci-fi and I love William Gibson. I'm not sure how I missed this book when it was published in 2014, but here we are: a tv show brought it to my attention.
If you're new to Gibson's books, then whoa, you're in for a ride. He's quite hardcore punk sci-fi and unapologetically doesn't explain things to the reader - you'll eventually pick things up by nuance. Or not.
If you've chosen to read this book because of the tv show, then you should know that the book is about 75% completely different from the show (at least up to episode 6). While the show is mostly about Flynne, her brother, Netherton and Nuland, the book's main heroes are Lowbeer (who's not even in the show until episode 6), Conner, Flynne, Netherton and to some extent Macon.
So, it's best to treat the tv show and the book as two separate entities who just happen to share a few characters and some events in the same locations. There's no point comparing them because they're both good, just in different ways.
So, is the book any good? If, like me, you're a Gibson fan, then yes, it's absolutely brilliant. He drops the reader into worlds, ideas, concepts and morals that are fresh and so perfectly described but barely explained, that it really feels as though you're exploring it alongside Flynne and Conner. If you dislike ambiguity, then it could be a bit frustrating.
I'm having a hard time understanding the motivations for all the characters (unlike the tv show where some of them are just power-hungry and bad); and occasionally the internal logic doesn't make sense: how is Wilf an alcoholic in a world where all medical problems are fixed instantly by a Medici device? How exactly are the people in the future able to connect to the past? A 'secret Chinese server' is right up there with 'Somehow he came back' when it comes to plastering over gaping plotholes.
Overall it's a great read; mind bending and creative. It works well as a companion-piece to the tv series as well.
Lintula HannuReviewed in Sweden on November 10, 20225.0 out of 5 stars wellwritten scifi drama
Gibson does what he does best and that is high octane cyberadventure that makes the reader enjoy the whole adventure






