William Gibson

Depending on her veteran brother's benefits in a city where jobs outside the drug trade are rare, Flynne assists her brother's latest beta-test tech assignment only to uncover an elaborate murder scheme. By the best-selling author of Zero History. 100,000 first printing.

The Peripheral

Flynne Fisher lives in rural near-future America where jobs are scarce and veterans from the wars are finding it hard to recover. She scrapes a living doing some freelance online game-playing, participating in some pretty weird stuff. Wilf Netherton lives in London, seventy-some years later, on the far side of decades of slow-motion apocalypse. Things though are good for the haves, and there aren't many have-nots left. Flynne and Wilf are about to meet one another. Her world will be altered utterly, and Wilf's, for all its decadence and power, will learn that some of these third-world types from the distant past can be real badass.

里森

“I’m in the future that would result from my not being there. But since I am, it isn’t your future. Here.”

The New York Times bestselling author of Neuromancer and Agency presents a fast-paced sci-fi thriller that takes a terrifying look into the future... 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.

Edward Steel

Aidan Dysart

Read this again recently and it still holds up. I think this is one of Gibson's best works. So great

Gibson doing his thing again. Great premise and ideas. And always losing me in the 3rd act somewhere but the conclusion brings me back.  

Truman M Halladay

Some of Gibson’s most readable and entertaining fiction. Complete with the “science,” the lyrical lexicon (though without the complete semantic disintegration into prose poems common in his 80s salubrious juxtaposition interfacing eggs of unstable crystal at the corner of the black fur boiling at the Hilton lobby…), the ever-present though less prominent Baudrillardian search for authenticity; clandestine machinations of organizations whose inner workings are never fully exposed, and an uncharacteristically rural “Hillbilly Elegy”-esque iteration on “high tech, low life.”

Maggie Delano

This book simultaneously felt both too short and too long. I felt like there was much more to explore as far as digitally connected worlds go, but that not much happened in the actual book itself. 

(view spoiler)[The climax of the book didn't come until very close to the end, and I found the final few chapters/ending pretty contrived. (hide spoiler)]

Lance Willett

Terrific. Believable. Scarily good. Gibson is back to his Neuromancer roots with a new twist on time travel and parallel universes, by essentially "third-worlding" the present day and contrasting it with a post-apocalyptic future. Highly recommended.

zilver 

3.5 | my first gibson, and a difficult one to review. i think it's necessary to divvy up my rating, because it's a 5-star read in terms of concept and world building, which deserves to be said. it fell short for me both in terms of actual story and character (would give it 3 stars for both of those, maybe). 

my dad - a real gibson aficionado - tells me this way of building a strange and new and only (very) partially recognisable world, and dropping you into it without a warning or an explanation is a very gibson-y thing to do. i can't confirm or deny that, of course, it being my first gibson, but i can tell it's something he does well. both the world he crafts are fascinating and vast and distinct and both clearly a result of our world, and entirely strange from it. it's hard work, reading this book and trying to keep up with it. i think that's why i enjoyed the middle part the most - i'd worked through the first chunk and finally gotten to a place where i felt a bit more settled in the story and the characters. where i could read a page and was able to place every weird concept without too much trouble (only to be uprooted again during the last chunk, of course). 

i'm a very character-focused reader. if the characters and their relationships and development are good and interesting, i'll forgive a lot of things. on the other hand, however, if i feel like those things aren't that well developed, i'll always feel there's something distinct lacking in this story. i felt not real connection to any of the characters. i didn't feel like any of them had a real arc throughout the book. i really liked the parts where we got descriptions of wilf and lowbeer and ash's complicated relationship with their future - how they hated it and appreciated it, how they wanted it to be different, how they longed for the past. but in the end, those things we learned about them and their thinking never really seemed to be developed further than those surface feelings. 

and the story... just left me confused, to be honest. maybe because i wasn't invested in it at all. very possible that that's entirely on me, but i had to read the wikipedia page to get a grasp of why half the story was happening and even that didn't really clear it up for me. again - may be me lacking the braincells, may be gibson dedicating so much to the world that he's missing some of the rest of what the book needed. 

in the end i'm left feeling like i put a lot of hard work into understanding a book and didn't really end up getting enough out of it to make that hard work feel entirely worth it. and i think now i need something that doesn't make my brain feel like my laptop's cpu when i'm playing sims with all the packs installed

Jon Austin

The best science fiction book I've read since Dune. Mr. Gibson builds not one but two worlds in one novel and does it beautifully. 

Bryan Alexander

Reading a new William Gibson novel is both delightful and exciting. He delights with the cool, sardonic yet imaginative visions of the present and future. He excites with his uncanny glimpses of the future, grounded in canny selections from our time.

The Peripheral offers another pleasure, that of Gibson trying something new. His recent brace of novels looked at the very near future, each following a normal linear path. His classic cyberpunk or Sprawl trilogy envisioned a medium-term future, also tending to thriller linearity.

But in The Peripheral we see a very different conceit and narrative structure. This novel relies on two timelines, one in the near-to-medium term future, and one almost a century away. At first we follow these in parallel, trying to infer connections. Then we learn that the further-along future has discovered a form of time travel - well, information exchange with the past, to be precise. The far-future signals the closer-to-us future, and has a proposition. Or two. Then more, which aren't propositions but assassinations.

This dual-track time-travel-ish idea owes much to Gregory Benford's 1980 novel 
  Timescape
. Other parallels appear; see spoiler section below.

The future-near-to-us characters are also the more sympathetic. They focus on a young, poor Southern woman, Flynn Fisher, and her family. They live in a postwar backwater, where the economy barely exists apart from illegal drug manufacture. Flynn helps her vet brother, Burton, with an online job and witnesses what seems to be a strange murder. In the future-farther-away we see a PR flack, Wilf Netherton, working with a Russian crime family and their staff. Wilf has made an unspecified bad move, and is trying to improve his situation. 

To say more will spoil things, so in this paragraph I'll try to sum up what happens next. (view spoiler)[One agency in the far-off future is manipulating the past for its own reasons, and hires the Fishers as proxies. Another far-off-future group hires others to kill the Fisher family. Ainsley Lowbeer, a London cop, or something like that, appears in the far-future, with unusual connections to the Fishers' time. Flynn and Burton are able to interact with their far-future employers via telepresence robots, the titular peripherals. Wilf explains the Jackpot to Flynn, describing a series of interconnected, overlapping crises that killed the majority of humans:
droughts, water shortages, crop failures, honeybees gone like they almost were now, collapse of other keystone species, every last alpha predator gone, antibiotics doing even less than they already did, diseases that were never quite the one big pandemic but just big enough to be historic events in themselves...
 Flynn also learns that by intervening in her time, the far-future team has effectively broken off her world from the stream of time, creating a "stub" which can't affect their future, and avoiding neatly some classic time travel problems.

The plot ratchets up slowly and steadily to climax in a party, where multiple schemes intersect. Some, not all, is revealed, and the Fishers end up alive, very rich, and with a powerful edge on their present. Wilf somehow survives, and ends up in a relationship. This is too brisk and cursory a summary, but will do for now. (hide spoiler)]

I mentioned earlier that The Peripheral has links to Benford's Timescape. There are more, but they, too, are spoilericious. (view spoiler)[Benford's future world is facing an existential crisis, due to events occurring in the past, so they reach out to communicate with the past to get them to change their ways. Gibson's far-future has already experienced the Jackpot, but some of the survivors want to change the past to mitigate the experience. I dimly recall Benford's future coming to an end, somehow, and the past branching off into a new, better world. This recalls Flynn's world cutting its way into a different, hopefully non-Jackpotted world. (hide spoiler)]

One of the pleasures of reading William Gibson is tracking his experimental words and phrases. These are concentrated projections of a possible future. Let me list some that caught my eye: klepts, artisanal AIs, battle-ready solicitors, court-certified recall, the viz, hate Kegels, autonomic bleedover, continua enthusiasts, drop bears, period trains, neo-primitivist curators, quasi-biological megavolume carbon collectors, heritage diseases, directed swarm weapons, a synthetic bullshit implant, surprise funeral, mofo-ettes, and a neurologer's shop. One near-future treat is the "freshly printed salty caramel cronut".

Some of today's words mutate in these two futures. For example, poor folks don't cook, but build drugs. "Homes" refers not to homies or residences, but to Homeland Security. A very bad crisis happened between now and 2025 or so. People afterwards refer to it as the Jackpot.

Some of the language is simply cute. One character has her name changed slightly, and refers to it as "amputating the last letter of her name." Another speaks of "cleaning up the afterbirth of Christmas ornaments". The Fisher family shops at a Hefty Mart.

In a sense The Peripheral is Gibson's gloomiest novel. Like the recent film Interstellar, this story begins in a bad situation then gets worse. The Fishers are poor and ill (the brother has seizures, the mother seriously ailing) in a society that clearly doesn't care for them at all. Their story reads like something from a late 19th-century Southern backwater, or like today's worst countryside. Characters have little help for the future. What we learn about the Jackpot not only makes things horrible, but sets up a future that's inhumane. Across all of these times looms the specter of vast economic inequality, of a society caring only for the <1%.

There is a powerful sense that the far-future is a kind of 1% taken to an extreme: a lonely elite, casually breaking off temporal worlds as a hobby, easily committing murders. Our lack of information about the world around London's far-future elite disturbs me, the more I think of it. Conversely, the far-future world is situated in such total surveillance that they see our/Flynn's sense of surveillance as charmingly antique.

How does this gloomy novel end, then? Ah, spoilerizing: (view spoiler)[it's a happy ending, pretty much, although we don't learn enough about what happens in the future. We - well, the Fisher stub - get to avoid the Jackpot. Whew!

But Gibson doesn't want us to relax. Note his comments in a Tor interview:
there may be readers who get to the end and they go, “oh, well, that’s okay, everything worked out for them!”
... But these guys had an immensely powerful—if possibly dangerously crazy—fairy godmother who altered their continuum, who has for some reason decided that she’s going to rake all of their chestnuts out of the fire, so that the world can’t go the horrible it way it went in hers. And whatever else is going to happen, that’s not going to happen for us, you know? We’re going to have to find another way. We’re not going to luck into Lowbeer.

Worse, the Fishers seem like good folks. But what will keep them (or their inheritors) from becoming klepts, with their vast power and advantages?
So this book ends up as a cautionary tale, a huge warning, and a goad to get us hauling ourselves away from the Jackpot.
 (hide spoiler)]

Overall, The Peripheral offers solid future thought in an engaging narrative. Recommended.

I didn't read this one, but listened to it on audiobook. Lorelei King was the reader and did a fine job, with the whole file running a touch over 14 hours. King does different nationalities well, which matters in the kind of multinational world Gibson loves. She reads with the right level of cool, too - not a thriller's burning pace, but with a kind of observation acuity that I always associate with Gibson.

"William Gibson returns with his first novel since 2010's New York Times-bestselling Zero History. Where Flynne and her brother, Burton, live, jobs outside the drug business are rare. Fortunately, Burton has his veteran's benefits, for neural damage he suffered from implants during his time in the USMC's elite Haptic Recon force. Then one night Burton has to go out, but there's a job he's supposed to do-a job Flynne didn't know he had. Beta-testing part of a new game, he tells her. The job seems to be simple: work a perimeter around the image of a tower building. Little buglike things turn up. He's supposed to get in their way, edge them back. That's all there is to it. He's offering Flynne a good price to take over for him. What she sees, though, isn't what Burton told her to expect. It might be a game, but it might also be murder"--Provided by publisher.

The Peripheral

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