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The construction of the book and the subject matter of the poem within it share a metaphorical connection in the decay of memory. [35] [36] In this light, critic Peter Schwenger asserts that Agrippa can be understood as organized by two ideas: the death of Gibson's father, and the disappearance or absence of the book itself. [37]
The works of William Gibson encompass literature, journalism, acting, recitation, and performance art. Primarily renowned as a novelist and short fiction writer in the cyberpunk milieu, Gibson invented the metaphor of cyberspace in "Burning Chrome" (1982) and emerged from obscurity in 1984 with the publication of his debut novel Neuromancer.
Gibson's prose has been analyzed by a number of scholars, including a dedicated 2011 book, William Gibson: A Literary Companion. [121] Hailed by Steven Poole of The Guardian in 1999 as "probably the most important novelist of the past two decades" in terms of influence, [54] Gibson first achieved critical recognition with his debut novel ...
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The trilogy was commercially and critically successful. Steven Poole, writing in The Guardian, described "Neuromancer and the two novels which followed, Count Zero (1986) and the gorgeously titled Mona Lisa Overdrive (1988)" as making up "a fertile holy trinity, a sort of Chrome Koran (the name of one of Gibson's future rock bands) of ideas inviting endless reworkings".
Some appeared as forewords to books by other authors. Several speeches appear in written form for the first time. In "Disneyland with the Death Penalty", which originally appeared in a 1993 issue of Wired, Gibson reflects on the state of Singapore. Criticisms in the article resulted in the Singapore government banning Wired from the country. [3]
It's been nearly 60 years since William Shatner flew the unfriendly skies in "Nightmare at 20,000 Feet" — one of the most famous installments of Rod Serling's seminal horror series, The Twilight ...
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