The Peripheral
The Peripheral book cover

The Peripheral

Hardcover – October 28, 2014

Price
$25.24
Format
Hardcover
Pages
496
Publisher
Berkley
Publication Date
ISBN-13
978-0399158445
Dimensions
6.5 x 1.75 x 9.5 inches
Weight
1.62 pounds

Description

“Spectacular, a piece of trenchant, far-future speculation that features all the eyeball kicks of Neuromancer and all the maturity and sly wit of Spook Country . It’s brilliant.”—Cory Doctorow“From page one, The Peripheral ticks and sings with the same controlled, dark energy and effortless grace of language...Like the best of Gibson's early, groundbreaking work, it offers up the same kind of chewy, tactile future that you can taste and smell and feel on your skin; that you believe , immediately, like some impossible documentary, because the thing that Gibson has always been best at is offering up futures haunted by the past.”—NPR More Praise for William Gibson “His eye for the eerie in the everyday still lends events an otherworldly sheen.”— The New Yorker “Like Pynchon and DeLillo, Gibson excels at pinpointing the hidden forces that shape our world.”— Details “William Gibson can craft sentences of uncanny beauty, and is our great poet of crowds.”— San Francisco Chronicle Book Review “Gibson’s radar is deftly tuned to the changes in the culture that many of us are missing.”— Milwaukee Journal Sentinel William Gibson ’s first novel, Neuromancer , won the Hugo Award, the Philip K. Dick Memorial Award, and the Nebula Award in 1984. He is alsoxa0the New York Times bestsellingxa0author of Count Zero , Mona Lisa Overdrive , Burning Chrome , Virtual Light , Idoru , All Tomorrow’s Parties , Pattern Recognition , Spook Country , Zero History , Distrust That Particular Flavor , and The Peripheral . Hexa0lives in Vancouver, British Columbia, with his wife. Excerpt. © Reprinted by permission. All rights reserved. 1. The Haptics They didn’t think Flynne’s brother had PTSD, but that sometimes the haptics glitched him. They said it was like phantom limb, ghosts of the tattoos he’d worn in the war, put there to tell him when to run, when to be still, when to do the bad-ass dance, which direction and what range. So they allowed him some disability for that, and he lived in the trailer down by the creek. An alcoholic uncle lived there when they were little, veteran of some other war, their father’s older brother. She and Burton and Leon used it for a fort, the summer she was ten. Leon tried to take girls there, later on, but it smelled too bad. When Burton got his discharge, it was empty, except for the biggest wasp nest any of them had ever seen. Most valuable thing on their property, Leon said. Airstream, 1977. He showed her ones on eBay that looked like blunt rif le slugs, went for crazy money in any condition at all. The uncle had gooped this one over with white expansion foam, gone gray and dirty now, to stop it leaking and for insulation. Leon said that had saved it from pickers. She thought it looked like a big old grub, but with tunnels back through it to the windows. Coming down the path, she saw stray crumbs of that foam, packed down hard in the dark earth. He had the trailer’s lights turned up, and closer, through a window, she partly saw him stand, turn, and on his spine and side the marks where they took the haptics off, like the skin was dusted with something dead-fish silver. They said they could get that off too, but he didn’t want to keep going back. “Hey, Burton,” she called. “Easy Ice,” he answered, her gamer tag, one hand bumping the door open, the other tugging a new white t-shirt down, over that chest the Corps gave him, covering the silvered patch above his navel, size and shape of a playing card. Inside, the trailer was the color of Vaseline, LEDs buried in it, bed- ded in Hefty Mart amber. She’d helped him sweep it out, before he moved in. He hadn’t bothered to bring the shop vac down from the garage, just bombed the inside a good inch thick with this Chinese polymer, dried glassy and f lexible. You could see stubs of burnt matches down inside that, or the cork-patterned paper on the squashed filter of a legally sold cigarette, older than she was. She knew where to find a rusty jeweler’s screwdriver, and somewhere else a 2009 quarter. Now he just got his stuff out before he hosed the inside, every week or two, like washing out Tupperware. Leon said the polymer was curatorial, how you could peel it all out before you put your American classic up on eBay. Let it take the dirt with it. Burton took her hand, squeezed, pulling her up and in. “You going to Davisville?” she asked. “Leon’s picking me up.” “Luke 4:5’s protesting there. Shaylene said.” He shrugged, moving a lot of muscle but not by much. “That was you, Burton. Last month. On the news. That funeral, in Carolina.” He didn’t quite smile. “You might’ve killed that boy.” He shook his head, just a fraction, eyes narrowed. “Scares me, you do that shit.” “You still walking point, for that lawyer in Tulsa?” “He isn’t playing. Busy lawyering, I guess.” “You’re the best he had. Showed him that.” “Just a game.” Telling herself, more than him. “Might as well been getting himself a Marine.” She thought she saw that thing the haptics did, then, that shiver, then gone. “Need you to sub for me,” he said, like nothing had happened. “Five-hour shift. Fly a quadcopter.” She looked past him to his display. Some Danish supermodel’s legs, retracting into some brand of car nobody she knew would ever drive, or likely even see on the road. “You’re on disability,” she said. “Aren’t supposed to work.” He looked at her. “Where’s the job?” she asked. “No idea.” “Outsourced? VA’ll catch you.” “Game,” he said. “Beta of some game.” “Shooter?” “Nothing to shoot. Work a perimeter around three f loors of this tower, fifty-fifth to fifty-seventh. See what turns up.” “What does?” “Paparazzi.” He showed her the length of his index finger. “Little things. You get in their way. Edge ’em back. That’s all you do.” “When?” “Tonight. Get you set up before Leon comes.” “Supposed to help Shaylene, later.” “Give you two fives.” He took his wallet from his jeans, edged out a pair of new bills, the little windows unscratched, holograms bright. Folded, they went into the right front pocket of her cutoffs. “Turn the lights down,” she said, “hurts my eyes.” He did, swinging his hand through the display, but then the place looked like a seventeen-year-old boy’s bedroom. She reached over, f licked it up a little. She sat in his chair. It was Chinese, reconfiguring to her height and weight as he pulled himself up an old metal stool, almost no paint left on it, waving a screen into view. milagros coldiron sa “What’s that?” she asked. “Who we’re working for.” “How do they pay you?” “Hefty Pal.” “You’ll get caught for sure.” “Goes to an account of Leon’s,” he said. Leon’s Army service had been about the same time as Burton’s in the Marines, but Leon wasn’t due any disability. Wasn’t, their mother said, like he could claim to have caught the dumbfuck there. Not that Flynne had ever thought Leon was anything but sly, under it all, and lazy. “Need my log-in and the password. Hat trick.” How they both pronounced his tag, Hap- tRec, to keep it private. He took an envelope from his back pocket, unfolded and opened it. The paper looked thick, creamy. “That from Fab?” He drew out a long slip of the same paper, printed with what looked to be a full paragraph of characters and symbols. “You scan it, or type it outside that window, we’re out a job.” She picked up the envelope, from where it lay on what she guessed had been a fold-down dining table. It was one of Shaylene’s top-shelf stationery items, kept literally on a top shelf. When letter orders came in from big companies, or lawyers, you went up there. She ran her thumb across the logo in the upper left corner. “Medellín?” “Security firm.” “You said it’s a game.” “That’s ten thousand dollars, in your pocket.” “How long you been doing this?” “Two weeks now. Sundays off.” “How much you get?” “Twenty-five thousand per.” “Make it twenty, then. Short notice and I’m stiffing Shaylene.” He gave her another two fives. 2.Death Cookie Netherton woke to Rainey’s sigil, pulsing behind his lids at the rate of a resting heartbeat. He opened his eyes. Knowing better than to move his head, he confirmed that he was in bed, alone. Both positive, under current circumstances. Slowly, he lifted his head from the pillow, until he could see that his clothes weren’t where he assumed he would have dropped them. Cleaners, he knew, would have come from their nest beneath the bed, to drag them away, f lense them of what- ever invisible quanta of sebum, skin-flakes, atmospheric particulates, food residue, other. “Soiled,” he pronounced, thickly, having brief ly imagined such cleaners for the psyche, and let his head fall back. Rainey’s sigil began to strobe, demandingly. He sat up cautiously. Standing would be the real test. “Yes?” Strobing ceased. “Un petit problème,” Rainey said. He closed his eyes, but then there was only her sigil. He opened them. “She’s your fucking problem, Wilf.” He winced, the amount of pain this caused startling him. “Have you always had this puritanical streak? I hadn’t noticed.” “You’re a publicist,” she said. “She’s a celebrity. That’s interspecies.” His eyes, a size too large for their sockets, felt gritty. “She must be nearing the patch,” he said, ref lexively attempting to suggest that he was alert, in control, as opposed to disastrously and quite expectedly hungover. “They’re almost above it now,” she said. “With your problem.” “What’s she done?” “One of her stylists,” she said, “is also, evidently, a tattooist.” Again, the sigil dominated his private pain-filled dark. “She didn’t,” he said, opening his eyes. “She did?” “She did.” “We had an extremely specific verbal on that.” “Fix it,” she said. “Now. The world’s watching, Wilf. As much of it as we’ve been able to scrape together, anyway. Will Daedra West make peace with the patchers, they wonder? Should they decide to back our project, they ask? We want yes, and yes.” “They ate the last two envoys,” he said. “Hallucinating in synch with a forest of code, convinced their visitors were shamanic spirit beasts. I spent three entire days, last month, having her briefed at the Connaught. Two anthropologists, three neoprimitivist curators. No tattoos. A brand-new, perfectly blank epidermis. Now this.” “Talk her out of it, Wilf.” He stood, experimentally. Hobbled, naked, into the bathroom. Urinated as loudly as possible. “Out of what, exactly?” “Parafoiling in—” “That’s been the plan—” “In nothing but her new tattoos.” “Seriously? No.” “Seriously,” she said. “Their aesthetic, if you haven’t noticed, is about benign skin can- cers, supernumerary nipples. Conventional tattoos belong firmly among the iconics of the hegemon. It’s like wearing your cock ring to meet the pope, and making sure he sees it. Actually, it’s worse than that. What are they like?” “Posthuman filth, according to you.” “The tattoos!” “Something to do with the Gyre,” she said. “Abstract.” “Cultural appropriation. Lovely. Couldn’t be worse. On her face? Neck?” “No, fortunately. If you can talk her into the jumpsuit we’re print- ing on the moby, we may still have a project.” He looked at the ceiling. Imagined it opening. Himself ascending. Into he knew not what. “Then there’s the matter of our Saudi backing,” she said, “which is considerable. Visible tattoos would be a stretch, there. Nudity’s nonnegotiable.” “They might take it as a signal of sexual availability,” he said, hav- ing done so himself. “The Saudis?” “The patchers.” “They might take it as her offer to be lunch,” she said. “Their last, either way. She’s a death cookie, Wilf, for the next week or so. Anyone so much as steals a kiss goes into anaphylactic shock. Something with her thumbnails, too, but we’re less clear about that.” He wrapped his waist in a thick white towel. Considered the carafe of water on the marble countertop. His stomach spasmed. “Lorenzo,” she said, as an unfamiliar sigil appeared, “Wilf Netherton has your feed, in London.” He almost vomited, then, at the sudden input: bright saline light above the Garbage Patch, the sense of forward motion. 3.Pushing Bugs She managed to get off the phone with Shaylene without mentioning Burton. Shaylene had gone out with him a few times in high school, but she’d gotten more interested when he’d come back from the Marines, with that chest and the stories around town about Haptic Recon 1. Flynne figured Shaylene was basically doing what the rela- tionship shows called romanticizing pathology. Not that there was a whole lot better available locally. She and Shaylene both worried about Burton getting in trouble over Luke 4:5, but that was about all they agreed on, when it came to him. Nobody liked Luke 4:5, but Burton had a bad thing about them. She had a feeling they were just convenient, but it still scared her. They’d started out as a church, or in a church, not liking anyone being gay or getting abortions or using birth control. Protesting military funerals, which was a thing. Basically they were just assholes, though, and took it as the measure of God’s satisfaction with them that everybody else thought they were assholes. For Burton, they were a way around whatever kept him in line the rest of the time. She leaned forward now, to squint under the table for the black nylon case he kept his tomahawk in. Wouldn’t want him going up to Davisville with that. He called it an axe, not a tomahawk, but an axe was something you chopped wood with. She reached under, hooked it out, relieved to feel the weight. Didn’t need to open it, but she did. Case was widest at the top, allowing for the part you’d have chopped wood with. More like the blade of a chisel, but hawk-billed. Where the back of an axe would’ve been f lat, like the face of a hammer, it was spiked, like a miniature of the blade but curved the other way. Either one thick as your little finger, but ground to edges you wouldn’t feel as you cut yourself. Handle was graceful, a little recurved, the wood soaked in something that made it tougher, springy. The maker had a forge in Tennessee, and everyone in Haptic Recon 1 got one. It looked used. Careful of her fingers, she closed the case and put it back under the table. She swung her phone through the display, checking Badger’s map of the county. Shaylene’s badge was in Forever Fab, an anxious segment of purple in its emo ring. Nobody looked to be up to much, which wasn’t exactly a surprise. Madison and Janice were gaming, Sukhoi Flankers, vintage f light sims being Madison’s main earner. They both had their rings beige, for bored shitless, but then they always had them that way. Made four people she knew working tonight, count- ing her. She bent her phone the way she liked it for gaming, thumbed Hap-tRec into the log-in window, entered the long-ass password. Flicked go. Nothing happened. Then the whole display popped, like the f lash of a camera in an old movie, silvered like the marks of the haptics. She blinked. And then she was rising, out of what Burton said would be a launch bay in the roof of a van. Like she was in an elevator. No control yet. And all around her, and he hadn’t told her this, were whispers, urgent as they were faint, like a cloud of invisible fairy police dispatchers. And this other evening light, rainy, rose and silver, and to her left a river the color of cold lead. Dark tumble of city, towers in the dis- tance, few lights. Camera down giving her the white rectangle of the van, shrinking in the street below. Camera up, the building towered away forever, a cliff the size of the world. 4.Something So Deeply Earned Lorenzo, Rainey’s cameraperson, with the professional’s deliberate gaze, steady and unhurried, found Daedra through windows overlooking the moby’s uppermost forward deck. Netherton wouldn’t have admitted it to Rainey, or indeed to anyone, but he did regret the involvement. He’d let himself be swept up, into someone else’s far more durable, more brutally simple concept of self. He saw her now, or rather Lorenzo did, in her sheepskin f lying jacket, sunglasses, nothing more. Noted, wishing he hadn’t, a mons freshly mohawked since he’d last encountered it. The tattoos, he guessed, were stylized representations of the currents that fed and maintained the North Pacific Gyre. Raw and shiny, beneath some silicone-based unguent. Makeup would have calculated that to a nicety. Part of a window slid aside. Lorenzo stepped out. “I have Wilf Netherton,” Netherton heard him say. Then Lorenzo’s sigil vanished, Daedra’s replacing it. Her hands came up, clutched the lapels of her open jacket. “Wilf. How are you?” “Glad to see you,” he said. She smiled, displaying teeth whose form and placement might well have been decided by committee. She tugged the jacket closer, fists sternum-high. “You’re angry, about the tattoos,” she said. “We did agree, that you wouldn’t do that.” “I have to do what I love, Wilf. I wasn’t loving not doing it.” “I’d be the last to question your process,” he said, channeling in- tense annoyance into what he hoped would pass for sincerity, if not understanding. It was a peculiar alchemy of his, the ability to do that, though now the hangover was in the way. “Do you remember Annie, the brightest of our neoprimitivist curators?” Her eyes narrowed. “The cute one?” “Yes,” he said, though he hadn’t particularly thought so. “We’d a drink together, Annie and I, after that final session at the Connaught, when you’d had to go.” “What about her?” “She’d been dumbstruck with admiration, I realized. It all came out, once you were gone. Her devastation at having been too overawed to speak with you, about your art.” “She’s an artist?” “Academic. Mad for everything you’ve done, since her early teens. Subscriber to the full set of miniatures, which she literally can’t afford. Listening to her, I understood your career as if for the first time.” Her head tilted, hair swung. The jacket must have opened as she raised one hand to remove the sunglasses, but Lorenzo wasn’t hav- ing any. Netherton’s eyes widened, preparing to pitch something he hadn’t yet invented, none of what he’d said so far having been true. Then he remembered that she couldn’t see him. That she was looking at someone called Lorenzo, on the upper deck of a moby, halfway around the world. “She’d particularly wanted to convey an idea she’d had, as the result of meeting you in person. About a new sense of timing in your work. She sees timing as the key to your maturation as an artist.” Lorenzo refocused. Suddenly it was as if Netherton were centimeters from her lips. He recalled their peculiarly brisk nonanimal tang. “Timing?” she asked, flatly. “I wish I’d recorded her. Impossible to paraphrase.” What had he said previously? “That you’re more secure, now? That you’ve always been brave, fearless really, but that this new confidence is something else again. Something, she put it, so deeply earned. I’d planned on discussing her ideas with you over dinner, that last time, but it didn’t turn out to be that sort of evening.” Her head was perfectly still, eyes unblinking. He imagined her ego swimming up behind them, to peer at him suspiciously, something eel-like, larval, transparently boned. He had its full attention. “If things had gone differently,” he heard himself say, “I don’t think we’d be having this conversation.” “Why not?” “Because Annie would tell you that the entrance you’re considering is the result of a retrograde impulse, something dating from the start of your career. Not informed by that new sense of timing.” She was staring at him, or rather at whoever Lorenzo was. And then she smiled. Ref lexive pleasure of the thing behind her eyes. Rainey’s sigil privacy-dimmed. “I’d want to have your baby now,” she said, from Toronto, “except I know it would always lie.” Read more

Features & Highlights

  • The
  • New York Times
  • bestselling author of
  • Neuromancer
  • and
  • Zero History
  • 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.

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Most Helpful Reviews

✓ Verified Purchase

Best Gibson novel in some time.

Excellent book but perhaps not a wise choice for your first Gibson novel. The first few chapters will only make sense in retrospect. The plot as a whole does not fully make sense at all. Prior readers of Gibson are used to this. Gibson does flashy technodystopia and this is his best in some time [which given the high quality of the worst of his writing should be a sign]. Fast pace, a few good characters, an excellent talent for dialog and setting. The ending won't exactly resolve anything but its so much fun I doubt anyone will care. A wonderful melange of time travel, printed matter, nano tech, declining Atlantic civilization, kleptocracy, postmodern art and ever so much more. The politics are mildly left but not to the point of preachy. The two worlds created in the novel cry out for more stories. Remains to be seen if we shall get them. If not I am quite sure the author will invent new worlds to amaze and amuse me.
190 people found this helpful
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Amazing cyber-science novel from the master

William Gibson imagines worlds of such otherworldly familiarity that it almost seems that they will, they must, exist - if not coincident in time with our world, only in a parallel space, then in some nexus-branched alternative future.

The concepts he has invented to occupy the worldscape of his latest book, "The Peripheral" are like that; at once outlandish and futuristically weird, but simultaneously familiar, and well before the end of the book you will find yourself accepting the reality of communication between the "then" and "now" of a timestream which originates in an almost-familiar, not-so-distant future as a given.

In a presumably late-21st Century/early-22nd Century timeframe, somewhere in the rural South of the United States of America, in a world that is slowly going to hell but in which technology which is now, in the early 21st Century, in its infancy, is commonplace and well advanced from the state in which we know it, Burton, a disabled veteran of a high-tech advanced tactics unit of the U.S. Marine Corps, asks his sister to stand in for him on a job. The job, presumably, is beta-testing an advanced video game, but when Flynne, on her stand-in shift, witnesses a bizarre and disturbingly achieved murder, their familiar, if dysfunctional, world starts to spin out of control.

Gibson drops you into the story with no preamble, and "The Peripheral" is definitely a "keep reading, hang on, and catch up" experience. The relationship to the world of his earlier book, "Mona Lisa Overdrive", struck me early on. The prevalence of advanced cyber-science in the worlds of both books is strikingly similar, and familiar. With its feet in two worlds which are removed from each other in both time and space, "The Peripheral", draws the reader in with the familiarity of the presumably Ozark worldscape where Flynne and Burton live, while simultaneously challenging your perceptions, and understanding, with the not-too distant future with which the two, and their friends and family, are soon communicating with, being affected by, and virtually inhabiting and interacting with.

Because of what she witnessed, Flynne is the key to a future-time power struggle involving shadowy forces with unimaginable technology at their beck and call, as well as incredible wealth - and the ability to manipulate, from the future, the past-timestream which Flynne and Burton inhabit. Keeping her feet planted beneath her, figuratively speaking, and her head on straight, Flynne is a down-home, "nothing fazes me" character who takes the upheaval in her life completely in stride, holding her own as she and Burton, as well as the entire town, indeed the county, they live in becomes ground zero for the financial and political power struggle that has reached back from the future to engulf them. She is the calm center in the eye of the storm, and she and her rural Ozark friends and family are a striking counterpoint to the ultra-sophisticated, high-tech world of future London with which they are enmeshed.

The contrast between the two worlds is the basic thesis of the story, and the matter-of-fact manner in which Flynne and her folk take it in stride while riding a virtual whirlwind of change demonstrates the genius of Gibson's story-telling powers.

In a time when a seemingly endless procession of novels recounting variations of dystopian futures are presented to the reading public (especially YA readers), Gibson has demonstrated yet again his unchallenged mastery of the cyber-science future-world genre, and we should all be very thankful to him for his efforts.
98 people found this helpful
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A harsh but honest review

I thought for a long while about how to rate this book. I had been initially intrigued by the premise, and there were a few strong scenes in the first half which while reading gave me hope of an enjoyable read. in the end however I found Gibson's The Peripheral disappointing.

My first difficulty with the book was the overdose of concept. Certainly Gibson would have wanted his futuristic novel to have a certain degree of jargon and new technical terms (and no-one wants to bog their book down explaining every one) but i found the book to be overwhelmed with terminology and assumed future concepts that for me did not gel well with a smooth story. I even went so far as to purposefully slow my reading speed down and try and comprehend better what was going on. Honestly the exercise only served to provide evidence that the action and description in this novel were poorly balanced.

Second on my list of justifications - the characters. Aside from their esoteric names, Macon, Wilf, Netherton, I honestly could not tell you anything about the people in this book. I couldn't even tell you who was the protagonist and who were secondary characters. Sure there was a bit of action and drama, I challenge any reader to tell me a personality trait or characteristic of any of the players in this novel, as everyone seemed more present to discuss futuristic politics than have genuine personalities.

My final beef (final I promise) is that the general presentation of the prose was sporadic at best. With chapters ranging from short to very-short the pacing was jerky. The overall one of the novel started as quite serious and dark, and somehow by the end of the novel was almost comedic (particularly the chapter titles) Of course often sci-fi has elements of satire and humor, in this case however it left me wondering whether I was reading a thriller or a black comedy.

It was a shame to not enjoy The Peripheral, I respected the concept, and there were some definitely strong scenes in the book. Ultimately I felt like I was reading a draft that needed 3 more editorial sweeps and rewrites before it became marketable.
46 people found this helpful
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Virtual Plight

William Gibson's strange grammars are intended to put you on the literary back foot. Not only must you puzzle out the story, but the language too. Gibson has a way with words seen only in the top echelon of literature, the 'serious' crowd of black turtlenecks and small, round John Lennon glasses.
Cyberpunk, the genre instigated by Gibson in 1984 with 'Neuromancer', was-is a street-level view of the future, one that involves glitchy implants, tattoos, nanotech, and occasional swords. The genre rotated around three main writers, Gibson, Bruce Sterling, and Neal Stephenson. Sterling ran out of gas a few years ago, but both Gibson and Stephenson are still going strong. 'The Peripheral' feels like Gibson's fermented answer to Stephenson's amazing 'Anathem', a mathic, obtuse, sprawling, multiple-universe, grammatical otherworldiness that harkens back to the glory days of 'Snow Crash'.
Gibson's 'The Peripheral' hits you left and right with concepts you have to figure out, and delves into multiple time streams, just the type of genre writing he was always too cool to touch. But here it is, the Gibson version of H.G. Wells.
Do you want to hear about the plot or the story? Boy meets girl, haptics glitch. VR entwines with AI, which controls homunculi and polts. The northern pacific gyre is inhabited by patchers. If you receive Netherton's sigil, ignore it.
33 people found this helpful
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Not a good introduction to Gibson.

I’m familiar with the legendary-like reputation of William Gibson, but, somehow, “The Peripheral” is only the first book I’ve read by him.

Imagine how 3D printers, virtual reality, Google Glass, and drones will be used in -- I don’t know -- a hundred years. We don’t know when this book takes place, only that it’s in the future.

I don’t think these things are all that interesting now, to be perfectly blunt, and this book doesn’t make them any more interesting to me. But that might be part of the point. The two future time periods the action of this book takes place in are far enough forward that the accessibility and ease of use of these devices is so ingrained in daily life, that they are simply taken for granted and used the way we use a phone.

The first 75 pages of “The Peripheral” were a difficult chore to read. I was thrown into the future and wasn’t given any assistance in deciphering the slangy technical vocabulary or just what was going on. Eventually things loosen up and we’re told enough through context and eventually exposition to start getting by. At this point, when mysteries become less mysterious, you’re supposed to be enjoying the book. Supposed to be. I wasn’t.

I could not get into the book at all. And I know that most Gibson fans will find that insulting and/or a confirmation of my ineptitude, but that’s nothing I can help. If you’re not familiar with Gibson, this is not the place to start. I fully intend to read more of his works (and if you’re a fan, please suggest something of his to start with in the comments while you vote down my review), because while I can’t say that reading this particular book was an enjoyable, entertaining or rewarding experience for me, it is very clear that Gibson is a unique, talented, and visionary writer.
20 people found this helpful
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Weird

I read a lot-150 books a year- and it's rare that something is so obtuse I can't get into it. Maybe obtuse is the wrong word; weird might be better. I like sci fi but I put this down after 100 pages. The characters seemed disconnected and the technology was contrived and far-fetched. I didn't understand the plot or the story line. Maybe I'm just too old...
19 people found this helpful
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A Clumsy Mixture of Jargon & Crude Speech Clogging Plot, Narration & Characterisation. Gave up after 4 attempt to read it.

I have bought and read all 3 of Mr. Gibson's trilogies with great enjoyment, admiring his imagination, characterisation and narrative skill. However, after 4 attempts to read, understand and/or appreciate this book I deleted it from my Kindle, having been unable to read or understand its setting, or follow the story line, and to comprehend narrative or characterisation I had to admit defeat, so gave up and deleted it.
Although I am a mere European, my mother was American, I did post-graduate studies in the USA, and worked with Americans on projects that require communications that are clear and unambiguous. I know and understand technical terminology and have worked in environments with users of several different American dialects and speech patterns.
No past experiences helped me with this epic; alternate chapters in this book are composed in what used to be called by US colleagues 'grunt speak'; the other chapters are jargon and new-speak ridden. Little or anything is clear, ambiguous or even relevant it seems to whatever the plot or narative sequence is supposed to be.
Before buying this (or any other book) and suffering no raptures of delight but only bewilderment, try the paper test: go to a public library or a book shop, and read pages 8, 11 and 15 of ANY book (including this?) that you are uncertain about buying -- if OK so far, try pages 50,60, and 77. If you are still thrilled by the deathless prose of whatever book you have chosen, go ahead and buy it. I Wish I'd done that myself.
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Not my Cup of Tea

For whatever reason, I have never been a big fan of William Gibson, including the groundbreaking Neromancer series. I decided to give this book a try and I still feel the same.

There are lot of things I don’t like about this book. First, it takes too long to get into the story. After 100 pages I really just wanted to quit and frankly wish I had. While I don’t mind working a bit as a reader, I don’t like being bored either. And I was mostly bored with this book.

Second, again I don't mind working a bit as a reader, but book is a bit convoluted in its writing style, and again just simply becomes more of a bore than an exciting exploration of a new world.

Third, it is too long and bloated.

I would take a pass on this one.
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Immersive, engaging, classic Gibson a book that requires reading not skimming

This is classic William Gibson, rich in its depiction of the near future. Dialog driven, Gibson injects the reader directly into the action with little scaffolding or explanation that can be disconcerting, particularly to people who are not used to reading this type of book. I can tell you that its well worth the effort as the characters reveal themselves rather than begin told about them.

By just jumping in, it takes some time to get a feel for the book. Things clear up around page 83 as you build context around the characters and the settings. Without giving too much away, The Peripheral is a story of multiple worlds, situations and timelines creating a rich background and exploration of very interesting ideas concerning the near future.

Not quite as dark as Gibson's other works but not a light work either. Few authors can inform the reader about a possible future via character dialog rather than long descriptive prose. Gibson is a master at this and The Peripheral reflects that mastery.

It is a tough read at the start, but well worth the investment. Something that needs to be read, every word as they all have meaning and its easy to miss something. So don't plan to skim it, sample it or read a few pages then put it down for a week. Take some time and enjoy.
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Deeply human, darkly optimistic, still classic Gibson

In the interest of full disclosure, I received a free copy of an uncorrected advance proof through the Vine program. As a raving Gibson fan, I jumped at the chance and will brag to my kids that I got to read the advance copy of a William Gibson novel. My biases laid bare, I enjoyed "The Peripheral" even though it's not my favorite Gibson novel. To the review ....

It begins with Burton. His pride and temper get the better of him when he asks his sister, Flynne, to sub for him in a well-paying online game so he can drive to the next town and pick a fight with a group of pseudo-religious protesters.
It begins with Daedra, an artist-emissary-reality show star skydiving into the midst of an isolated and improbable place, her motives unclear but the interest keen and tensions high. Her visit goes badly, blood is shed, her producers panic ...
Flynne sees something jarring, disturbing, but the predictable result of unlimited imagination in the virtual world of gaming. Now Burton is told that his life is in danger...

Fans of Gibson will see his classic plot elements here - multiple story lines all related through an imbalance of power, the idle obsessions of the privileged, the interface of technology with humanity and the changes it wreaks upon our lives, our relationships and ourselves. This is one of the most interesting parts of the novel, the use of drones - familiar hobby models in Mississippi, as well as the eponymous devices more familiar to the oligarchs.

Though Gibson is known for technology, I especially enjoyed his sense of the human side of his characters. They are a doomed people in many ways, they begin without opportunities beyond the military or the drug "building" trade. They are on the dole. The incremental, but substantial, funds they earn for playing online games is at once a boon and dehumanization as their potential is reduced to satisfying the idle pleasures of those with true wealth. Their humanity, no matter how removed by distance, technology and the mediated reality it brings, nonetheless shines through and this
makes it one of the most satisfying aspects of the plot.

Even so, there were some faults. Gibson's narrative style is, as always, bare and fluid in that you are thrust into the action without explanation. At its best (which it often was), the reader becomes the observer, and there's never even an approach to the Fourth Wall - the story remains always intact. This is the art which I so enjoy about Gibson. There are a handful of times, though, when the style becomes difficult to comprehend, in particular during a breakfast while one character is also having a flashback to events prior to the story, and attempting to recount all that has happened since. It's a confusing section that forced me to re-read several times, but fortunately Gibson is brutally efficient with his words so that it didn't slow me down much.

What I actually found detracting was the level of deus ex machine used here, which approached excessive. I'm used to Gibson relying upon uber-wealthy Russian/British/Japanese interests' money driving otherwise incomprehensible actions, but I don't mind because it tends to play so well into his characters' being exploited by their own desperation for money and their inability to comprehend why someone would spend such extravagant sums for them to hack a database/fly to a space station/chase down a social media message/find a pair of jeans. In "The Peripheral", however, it goes to an extreme point where the President of the United States happens to be accessible to a small group of Mississippians who were on welfare or VA funds until the very start of the novel. I know this is meant to illustrate the incredible power shown by the oligarchs, and the callousness with which they throw knowledge and money around, but it taxes my willing suspension of disbelief too heavily. I don't think Gibson needed to go to such lengths in order to make his point .... which again leads me to think that he's already planned for these events to be relevant in future books.

Then there's a maddeningly unexplained motivator from the get-go. The entire story is driven by an assassination - but we never find out who or
why. Perhaps this is to be revealed in later books, but for now it's a painful hole nagging at me.

Conclusion: I enjoyed this read and you probably will as well, even if it's not his best, and despite some of the plot issues. I'm think this is really a 3.5 star novel but I'm more comfortable leaning into 4 stars than collapsing into 3.
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