Agency - William Gibson

 

The 2020 follow-up to The Peripheral (2014), Agency is the second of Gibson's 'Jackpot' novels - set after the oligarchs have hit the jackpot and destroyed democracy.  In this very near future, the first autonomous artificial reality laminar is about to be launched.  But first it must be tested, and ace app tester Verity gets the gig.  Only Eunice isn't a game.  She is very much weapons grade AR and soon sets about building herself a network of branch plants through which she accesses wealth and technology, all for the public good.  And anybody or anything that operates in the public interest obviously has to be stopped.

By this time cyber technology has enabled the present to communicate and interact with the past, but only the recent past - times sufficiently technological advanced to answer back.  And in this case we are talking 2017 and an alternate past in which Trump didn't win the 2016 election.  The problem is, as this alternative indicates, is that if you interfere even slightly with your own past you don't change your history, you create an alternative, a time branch or 'stub'.  The present has got a handle on this - people whose role is to protect the past, but of course the perception of what's worth protecting and what should be interfered with is subjective.

Anyway, the hunt for Verity and Eunice spreads across several stubs, which means a lot of layers and a lot of characters, most of whom (I'm guessing) featured in The Peripheral.  We don't always get enough back story for us to engage - I couldn't give two hoots about Wilf and Rainey and baby Thomas in cosplay London, but Connor, the gung-ho drone pilot, is great fun.  Fortunately Verity is interesting enough, and Eunice has been given a sassy African-American avatar that keeps us amused.

It's a complex story in a complex narrative.  The core idea is dazzling and confronts the challenge of time-travel literature head-on and, by and large, successfully.  I get bored, however, with super-rich superstars like Stets and his super-cool artist girlfriend.  Somebody wants to blow them up, be my guest - which rather undercuts the tension at the end.

For all my reservations, Gibson remains miles ahead of the pack and always worth reading.

Virtual Light - William Gibson

 Virtual Light is the first of the 'Bridge' trilogy.  The second is Idoru, which I am yet to read, the third All Tomorrow's Parties reviewed below (October 31 2018).

We begin with Berry Rydell, trained as a cop in Knoxville but dismissed after 13 weeks for blowing away a nutjob who he thought had kidnapped a kid.  He moved to LA to work as rent-a-cop but again makes a mistake and has to be let go.  However his extreme driving skills have been noted and his supervisor recommends him for a driving job for the parent company up in what remains of San Francisco after the inevitable earthquake.  The job is to drive a senior recovery agent who has injured his leg skateboarding.  The agent - wonderfully named Warbaby - is after a bike courier called Chevette Washington who appears to have stolen a highly significant pair of virtual light glasses.  She might also have given the original courier a Cuban necktie, but the glasses are what matter.

But it is Berry who tracks Chevette down to the Gold Gate bridge where many of the dispossessed have built a shanty city of their own, where she is something of a live-in nurse for one of the original bridge settlers, Skinner, the subject of a sociological research paper by Japanese student Yamazaki.  Berry saves Chevette from Warbaby and his crew of Russian cops.  The chase is on and sparks fly.

Gibson is my absolute favourite writer, creator of wonderful characters and the hardest-boiled prose this side of James Ellroy.  Virtual Light is one of his best, far better than Mona Lisa Overdrive and every bit as good as All Tomorrow's Parties.

Mona Lisa Overdrive - William Gibson

This is the third of the original cyberspace novels. It supposes, I suspect, a certain level of familiarity with what went before. I don’t have it, but I nevertheless really enjoyed the book. I like everything by Gibson. I must have read half-a-dozen and haven’t found one yet that falls significantly below standard.

Mona Lisa Overdrive is about the stars of cyberspace, which we of course have had for the last ten to fifteen years. In reality that Gibson didn’t suspect, reality stars don’t become vastly wealthy (Kardashians excepted), they just slip away. The crossover into ‘real’ life isn’t as seamless as many expected. However, our main female protagonist, Mona, is a teenage prostitute who gets sold and chemically adjusted because she looks so much like the big cyber star, Angie Mitchell, has just completed rehab but is somewhat tarnished, so the big idea of those gangsters who control such things, is to stage her kidnap and then seemingly recover the much more malleable Mona to take her place.

Meanwhile the world goes to rack and ruin on a tsunami of drugs. The Yakuza in Japan have a major office in London to which the head Yakuza sends his dozy daughter Kumiko with a virtual friend for company. There are machinations. Hardcore devotees of cyberspace are doggedly working on the questions of what it looks like. Some extremists are hard-wired in. A bunch of these cluster at Dog Solitude, where Slick builds killer monster robots and there’s an apocalyptic battle.

It’s all great fun, beautifully written, prescient, thought-provoking. Gibson is a genius.

All Tomorrow's Parties - William Gibson

All Tomorrow's Parties - a title always guaranteed to snag the attention of a Velvets' fan like me - is the third part of Gibson's late-90s Bridge Trilogy. The others are Virtual Light and Idoru. I haven't read either of those but I'm certainly going to now.


I love Gibson and I loved this book. The bridge in question is the Golden Gate, which has been taken over by interstitial settlers since the long overdue earthquake made it unsafe for vehicles in the early 21st century. People there live in small re-purposed containers and sell stuff to tourists. Meanwhile in Tokyo, Colin Laney lives in very similar conditions in a subway station. There he immerses himself in the net in search of nodal points and his idoru Rei Toei, a seductive holograph. Laney sends ex-cop Rydell to collect the projector carrying Rei Toei. Rydell's next port of call is the bridge where he encounters his former girlfriend Chevette, also returning to the bridge where she lived with a previous lover.


From there on in, it's the beginning of the end of the world as bridge-dwellers have come to know it. I won't reveal any more because the plotting is so wonderfully tight. The dialogue is sharp, the prose sizzles with cyperpunk connectivity. Nobody but nobody does it better than Gibson, the Elmore Leonard or Stephen King of near-contemporary dystopia.

The Difference Engine - William Gibson and Bruce Sterling

What we have here is a collaboration between two founding fathers of cyberpunk, an alternate history in which Babbage's proto-computer has changed the world, notably Britain. The Tories under the Duke of Wellington tried to hold off the Radicals until Wellington was assassinated and the Rads took over. Byron is Prime Minister, his daughter Ada is effectively First Lady, and the House of Lords has become an appointed senate of savants. Steam carriages prowl the streets and the greatest, most popular form of communication is by way of punched cards. Vast bodies of data are stored and minutely analysed. The Victorians of 1855-56 even have their own version of fake news - eye-catching headlines on big screens with no real fact or analysis behind them. Which is pretty damn impressive for a book published in 1991.


It fascinated me. I loved the game of style played by the authors in which we have a series of five more or less standalone 'iterations' and conclude with a 'modus' of pseudo documents. We have a series of protagonists who come and go, some taking up more space than others. We have the Rad prostitute Sybil Gerard, who becomes involved with the speaking tour of ousted 'Texian' president Sam Houston; then there is Edward Mallory, discoverer of the Wisconsin Brontosaurus. He falls in with Laurence Oliphant, a sort of effete James Bond with connections in the very highest circles in Britain, the US and, for some reason, Japan.


These are fascinating characters. The world they inhabit is vividly realised down to the tiniest detail. The warnings to the modern reader are manifold. The problem is, though, I haven't the faintest idea what the book was about. What is its theme? What exactly are our heroes trying to achieve? And what do they actually achieve?


I'm not at all sure these things actually matter. They didn't in any way spoil my enjoyment. I suppose in a way there's a similarity to Murakami's 1Q84. Essentially, this is the world I have created for you; this is what these people do in it; make of that what you will.