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The titular Bridge, pre-quake. The first book of the Bridge trilogy is set in an imaginary 2006, with the subsequent books set a few years later. [1] The books deal with the race to control the beginnings of cyberspace technology and are set on the United States' West coast in a post-earthquake California (divided into the separate states of NoCal and SoCal), as well as a post-earthquake Tokyo ...
The Great Dismal is the fourth studio album by American shoegaze band Nothing.It is the only album to feature bassist Aaron Heard (also a member of Jesus Piece), the first to feature Doyle Martin (also a member of Cloakroom) on guitar and backing vocals, and the last with longtime drummer Kyle Kimball.
James Blair, the commissary of the Virginia Colony, described the cause of rebellion as following in his letter to Bishop of London, Edmund Gibson: "There was a general rumor among them that they were to be set free. And when they saw nothing of it they grew angry and saucy, and met in the night time in great numbers, and talked of rising." [2] [3]
The Great Dismal Swamp National Wildlife Refuge was officially established by the U.S. Congress through the Dismal Swamp Act of 1974. The refuge consists of almost 107,000 acres (430 km 2 ) of forested wetlands , [ 22 ] including the 3,100-acre (13 km 2 ) Lake Drummond at its center.
Even Jaggers' title-spawning announcement of Pip's "great expectations" has been erased in favor of "I'll teach you first to be a rat, then a snake, then a vulture, then with blood dripping from ...
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 scholar Tatiani G. Rapatzikou has commented, in Gothic Motifs in the Fiction of William Gibson, on the origin of the notion of cyberspace: Gibson's vision, generated by the monopolising appearance of the terminal image and presented in his creation of the cyberspace matrix, came to him when he saw teenagers playing in video arcades.
However, beginning in the late eighties, he has regularly penned non-fiction pieces for various publications. Gibson credits his agent for the idea of a collection; according to the writer, the book was intended to bridge the gap between Zero History (2010), his then-most recent novel, and his next work of fiction. [1]