Neuromancer: 10th Anniversary Edition. William Gibson.
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition
Neuromancer: 10th Anniversary Edition

Neuromancer: 10th Anniversary Edition

New York: Ace Books, 1994. Hardcover; 278 numbed pages, 8vo, original ¼ black and purple paper boards, gilt lettering on the spine, white endpapers, $21.95 priced unclipped dust jacket. Jacket painting by Rick Berry with Darrel Anderson, jacket design by Finn Winterson.

10th Anniversary Edition; First Edition | First Printing. Stated: First Ace Hardcover Edition: July 1994, with full number line on the copyright page, 7/94 on the back inner flap

BOOK CONDITION: VERY GOOD; would be near fine but there is a 3 to 4mm tear to the top spine head otherwise; tight clean bright and unmarked | JACKET CONDITION: NEAR FINE; a bit of edge wear on the spine ends, front bottom corner (tiny) creased, slight edge wear to top edge, little rubbing, clean bright and unmarked, price intact- nice looking jacket.

NOTE: the first book that won the Hugo, the Nebula, and the Philip K. Dick Award; an unprecedented achievement---the science fiction triple crown.  New afterword by the author.

Book quotes: “Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...” | “´Wonderful´, the Flatline said,´I never did like to do anything simple when I could do it ass-backwards.´”

About the book:

The Matrix is a world within the world, a global consensus- hallucination, the representation of every byte of data in cyberspace . . .

Case had been the sharpest data-thief in the business, until vengeful former employers crippled his nervous system. But now a new and very mysterious employer recruits him for a last-chance run. The target: an unthinkably powerful artificial intelligence orbiting Earth in service of the sinister Tessier-Ashpool business clan. With a dead man riding shotgun and Molly, mirror-eyed street-samurai, to watch his back, Case embarks on an adventure that ups the ante on an entire genre of fiction.

Hotwired to the leading edges of art and technology, Neuromancer ranks with 1984 and Brave New World as one of the century's most potent visions of the future.

About the author:

William Ford Gibson (born March 17, 1948) is an American-Canadian speculative fiction writer and essayist widely credited with pioneering the science fiction subgenre known as cyberpunk. Beginning his writing career in the late 1970s, his early works were noir, near-future stories that explored the effects of technology, cybernetics, and computer networks on humans—a "combination of lowlife and high tech" and helped to create an iconography for the information age before the ubiquity of the Internet in the 1990s. Gibson notably coined the term "cyberspace" in his short story "Burning Chrome" (1982) and later popularized the concept in his acclaimed debut novel Neuromancer (1984). These early works have been credited with "renovating" science fiction literature after it had fallen largely into insignificance in the 1970s.

After expanding on Neuromancer with two more novels to complete the dystopic Sprawl trilogy, Gibson collaborated with Bruce Sterling on the alternate history novel The Difference Engine (1990), which became an important work of the science fiction subgenre steampunk. In the 1990s, Gibson composed the Bridge trilogy of novels, which explored the sociological developments of near-future urban environments, postindustrial society, and late capitalism. Following the turn of the century and the events of 9/11, Gibson emerged with a string of increasingly realist novels—Pattern Recognition (2003), Spook Country (2007), and Zero History (2010)—set in a roughly contemporary world. These works saw his name reach mainstream bestseller lists for the first time. His more recent novel, The Peripheral (2014), returned to a more overt engagement with technology and recognizable science fiction concerns.

In 1999, The Guardian described Gibson as "probably the most important novelist of the past two decades," while the Sydney Morning Herald called him the "noir prophet" of cyberpunk. Throughout his career, Gibson has written more than 20 short stories and 10 critically acclaimed novels (one in collaboration), contributed articles to several major publications, and collaborated extensively with performance artists, filmmakers, and musicians. His work has been cited as an influence across a variety of disciplines spanning academia, design, film, literature, music, cyberculture, and technology.

After considering pursuing a master's degree on the topic of hard science fiction novels as fascist literature, Gibson discontinued writing in the year that followed graduation and, as one critic put it, expanded his collection of punk records. During this period he worked at various jobs, including a three-year stint as teaching assistant on a film history course at his alma mater. Impatient at much of what he saw at a science fiction convention in Vancouver in 1980 or 1981, Gibson found a kindred spirit in fellow panelist, punk musician and author John Shirley. The two became immediate and lifelong friends. Shirley persuaded Gibson to sell his early short stories and to take writing seriously.

In 1977, facing first-time parenthood and an absolute lack of enthusiasm for anything like "career," I found myself dusting off my twelve-year-old's interest in science fiction. Simultaneously, weird noises were being heard from New York and London. I took Punk to be the detonation of some slow-fused projectile buried deep in society's flank a decade earlier, and I took it to be, somehow, a sign. And I began, then, to write.

—William Gibson, "Since 1948"
Through Shirley, Gibson came into contact with science fiction authors Bruce Sterling and Lewis Shiner; reading Gibson's work, they realised that it was, as Sterling put it, "breakthrough material" and that they needed to "put down our preconceptions and pick up on this guy from Vancouver; this [was] the way forward." Gibson met Sterling at a science fiction convention in Denver, Colorado in the autumn of 1981, where he read "Burning Chrome" – the first cyberspace short story – to an audience of four people, and later stated that Sterling "completely got it".

In October 1982, Gibson traveled to Austin, Texas for ArmadilloCon, at which he appeared with Shirley, Sterling and Shiner on a panel called "Behind the Mirrorshades: A Look at Punk SF", where Shiner noted "the sense of a movement solidified". After a weekend discussing rock and roll, MTV, Japan, fashion, drugs and politics, Gibson left the cadre for Vancouver, declaring half-jokingly that "a new axis has been formed." Sterling, Shiner, Shirley and Gibson, along with Rudy Rucker, went on to form the core of the radical cyberpunk literary movement.

Hailed by Steven Poole of The Guardian in 1999 as "probably the most important novelist of the past two decades" in terms of influence, Gibson first achieved critical recognition with his debut novel, Neuromancer. The novel won three major science fiction awards (the Nebula Award, the Philip K. Dick Award, and the Hugo Award), an unprecedented achievement described by the Mail & Guardian as "the sci-fi writer's version of winning the Goncourt, Booker and Pulitzer prizes in the same year". Neuromancer gained unprecedented critical and popular attention outside science fiction, as an "evocation of life in the late 1980s", although The Observer noted that "it took the New York Times 10 years" to mention the novel.

Gibson's work has received international attention from an audience that was not limited to science fiction aficionados as, in the words of Laura Miller, "readers found startlingly prophetic reflections of contemporary life in it’s fantastic and often outright paranoid scenarios." It is often situated by critics within the context of postindustrialism as, according to academic David Brande, a construction of "a mirror of existing large-scale techno-social relations", and as a narrative version of postmodern consumer culture. It is praised by critics for its depictions of late capitalism and its "rewriting of subjectivity, human consciousness and behaviour made newly problematic by technology." Tatiani Rapatzikou, writing in The Literary Encyclopedia, identifies Gibson as "one of North America's most highly acclaimed science fiction writers"


Sprawl trilogy:
Neuromancer (1984)
Count Zero (1986)
Mona Lisa Overdrive (1988)
The Difference Engine (1990; with Bruce Sterling)

Bridge trilogy:
Virtual Light (1993)
Idoru (1996)
All Tomorrow's Parties (1999)
Blue Ant trilogy (Hubertus Bigend):
Pattern Recognition (2003)
Spook Country (2007)
Zero History (2010)
The Peripheral (2014)

Short stories:
Burning Chrome (1986, preface by Bruce Sterling), collects Gibson's early short fiction, listed by original publication date:
Fragments of a Hologram Rose (1977, UnEarth 3)
Johnny Mnemonic (1981, Omni)
The Gernsback Continuum (1981, Universe 11)
Hinterlands (1981, Omni)
New Rose Hotel (1981, Omni)
The Belonging Kind, with John Shirley (1981, Shadows 4)
Burning Chrome (1982, Omni)
Red Star, Winter Orbit, with Bruce Sterling (1983, Omni)
The Winter Market (Nov 1985, Vancouver)
Dogfight, with Michael Swanwick (1985, Omni)
Skinner's Room (Nov 1991, Omni)


Agrippa (a book of the dead) (1992) – a poem and artist's book
Distrust That Particular Flavor (2012)

**Information gathered from places such as Wikipedia and GoodReads.**

Item #98

ISBN: 9780441000685

Price: $55.00

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