William Gibson’s new novel, “Spook Country,” arrives in stores later this month. I’ve read it, but I’m unsure when, if or how I’ll review it. It’s good, but not a real ground-breaker like
“Pattern Recognition.”I really loved 2003’s “Pattern Recognition.” So much so that I was interviewed on NPR about it. Too bad we had to go and invade Iraq that week, thus delaying the segment’s airdate for months.
You can hear me blather about Gibson here.It’s taken me a long time to appreciate the author of “Neuromancer,” mostly because I’ve been too focused on the wrong elements of his fiction. The days of cyberpunk are long over, but Gibson has retooled his technique to embrace the absurdity of post-9/11 America. He’s consistently funny, but usually in a very understated way.
I never mutilate finished copies, but I cheerfully dog-ear galleys to mark notable passages. “Spook Country” has a lot of turned-down corners. Some of my favorite lines include:
On meeting an impressive old man:Hollis thought he looked a little like William Burroughs, minus the bohemian substrate (or perhaps the methadone). Like someone who'd be invited quail shooting with the vice-president, though too careful to get himself shot.On riding in a Zodiac:This wasn't the Staten Island Ferry. He was bouncing along at some insane speed on something that reminded him of a creepy folding rubber bathtub he'd once seen Vladimir Nabokov proudly posing with in an old photograph.On Gallic body language:Odile shrugged, in that complexly French way that seemed to require a slightly different skeletal structure.I once interviewed Gibson for The Chronicle and really enjoyed speaking with him and his co-author Bruce Sterling. They’re both scarily smart, but each was polite and charming, witty but not aggressively so. I’ve exhumed the review/interview from The Chronicle archives, if anyone’s interested.
***
THE DIFFERENCE ENGINE
By William Gibson and Bruce Sterling
Bantam Spectra; 429 pages; $19.95
During the 1980s, both William Gibson and Bruce Sterling shook up science fiction by inventing high-tech futures unlike anything readers had encountered before. With such novels as Gibson's "Neuromancer" and Sterling's "Islands in the Net," they dramatized the far-flung consequences of the Information Revolution.
In their new collaborative novel, "The Difference Engine," Gibson and Sterling take a decidedly different tack, reinventing Victorian England as a hotbed of cybernetics and industrial espionage. Extrapolating from the mostly forgotten work of mathematician Charles Babbage, who proposed building steam-driven computational machines in the early 1800s, they weave a complex narrative that involves a deadly search for a set of punched cards.
In an interview, Sterling and Gibson said that neither is sure who first saw in Babbage's "analytical engine" the germ of a novel.
"It's an interesting bit of historical trivia," said Sterling. "But then it occurred to us, "Hey, what if he'd actually built it?' This is one of your classic science fiction ideas, and when you get one like that, you need to do it justice."
In imagining a Britain where the computer revolution arrives a century and a half early, Sterling and Gibson twist history in surprising, yet eminently logical, ways. They play with the conventions of the Victorian novel and add references to the latest advances in paleontology, computer science and physics. Such eminent figures as Benjamin Disraeli, Keats and Byron make cameo appearances, but not in the manner one might expect.
It's a heady mix of fact and fancy, one that requires a certain sophistication to appreciate. Although it takes some of its inspiration from sensational potboilers of yore, "The Difference Engine" makes heavy demands on its readers. Sterling isn't kidding when he says, "This isn't a book you can eat like a Dorito."
The novel's structure is especially unnerving. It begins with a 70-page prologue about a prostitute and a shady public relations flack that seems to push the story in one direction. Most of the book follows dinosaur expert Edward (Leviathan) Mallory as he dodges secret agents in a London on the brink of anarchy. Finally, Mallory drops out of the picture completely, and the narrative becomes increasingly less linear and more impressionistic.
It's an audacious, infuriating stunt, which Gibson defends: "If we had structured the book along traditional literary lines, it could never have been as satisfying for us." Sterling agrees. "The whole last section, my favorite part of the book, is like a stew. . . . There's very little in the way of characterization and nothing in the way of coherent plot, but I think that section best captures the spirit of this book."
Readers may or may not concur. What annoys Sterling most are critics who imply that he and Gibson somehow "forgot" to give the book a conventional resolution.
"The Difference Engine" was published a few months ago in England, and Gibson had "a real fear that the British would say, "Give us a break! This doesn't sound remotely like us.' " Instead, the novel was well-received, and the publicity tour afforded the authors the chance to see how closely their imaginations matched reality.
They saw a real difference engine that, Gibson says, is "being built from Babbage's plan, using Victorian technology. We both sprang at it, and the woman who was its guardian said, "No! Not without white cotton gloves!' Which caused us both to collapse in shock . . . giggling."
The joke is that the characters in the book are similarly fussy about dirtying the fragile components of their steam computers. And indeed, it is in the small details that one derives the greatest pleasure in reading "The Difference Engine." While the main plot has its fair share of action and suspense, the novel, like the engine itself, captures the reader's interest mostly with glimpses into its intricate gearwork, rather than through the momentum of its large-scale effects.
Today's San Francisco Chronicle includes my latest science fiction and fantasy roundup. Discussed are Gene Wolfe's "Pirate Freedom," "Ha'penny" by Jo Walton, "Black Dossier" by Alan Moore and Kevin O'Neill and "The Gunslinger Born" graphic novel from Marvel.
I've elsewhere noted my high regard for crime novelist Donald Westlake. He's also known as "Richard Stark" when writing about Parker, inveterate thief and all-around bad-ass.
If you like the Coen Brothers, you're going to like "No Country for Old Men." If you sat through "Intolerable Cruelty" and "The Ladykillers" and wondered whether the boys would find their groove again, you're going to love it.
The San Francisco Chronicle published my list of recommended science fiction and fantasy reading for the holidays. This is usually interpreted as a "Best of the Year" list, but it's really only 10 books I particularly liked among those I happened to read between January and October, sorted alphabetically by author's last name.
Comics from Vertigo, DC's "mature" imprint, just make me tired these days.
Broadway's largely dark because of the stagehands strike, but folks keep writing about "Rock 'n' Roll."
This week's Chronicle science fiction and fantasy review covers four titles that provide a high level of entertainment and range in genre from near-future high-tech caper to retro-superhero adventure. The books discussed are "Halting State" by Charles Stross, Naomi Novik's "Empire of Ivory," "Eat the Dark" by Joe Schreiber and Jeff Smith's new version of "Shazam!"
In The Nation, Eric Alterman starts out talking about "Rock 'n' Roll" and somehow winds up castigating Maureen Dowd for her alleged dishonesty, with a side trip to the legacy of the Enola Gay. He does deem the play "brilliant," however.
"Rock 'n' Roll" opened on Broadway last night, and the New York Times has almost exclusively positive things to say about the production. Peter Marks of the Washington Post deemed it "remarkable," and Clive Barnes in the New York Post gives it four stars.
The folks who put on last year's well-received Stoppardfest in Winnipeg are gearing up for Mametfest in 2008. I'm not sure I could deal with marathon performances of "Speed-the-Plow" and "Oleanna" in Manitoban sub-zero weather, but Len Cariou, Winnipeg native and Sondheim's original Sweeney Todd, is directing "Glengarry Glen Ross" at the Manitoba Theater Centre. That's certainly a selling point.
From the "Gee, I Wish I Reviewed Mysteries for Money" file comes the trade paperback edition of Duane Swierczynski's "The Blonde."
Two or three times a year, I write a multi-title review for The Chronicle Book Review's monthly children's books feature. Today I covered three new books, including the latest from Steven Gould and Charles de Lint, as well as the first volume of a debut fantasy series from local writer Henry H. Neff.
I don't often get to review mainstream novels for The Chronicle, but I was happy to write about Richard Russo's "Bridge of Sighs" for today's edition. I came to Russo via his academic comedy "Straight Man," which is a delight through and through, and have read all of his novels, except for "Mohawk." Russo writes about the kinds of places I grew up in, and he generally gets the details right.
Tickets are now on sale of the New York production of Stoppard's "Rock 'n' Roll." Get 'em while you can.
While I was in Ashland, Oregon, over the weekend, The Chronicle ran my latest science fiction review column. It covers new books by Jasper Fforde, Ray Bradbury and Christopher Barzak.
Jeff Kay, proprietor of the West Virginia Surf Report, linked to a newspaper report of a bizarre kidnapping plot that involves one Robert Wayne "No Nose" Gardner. Gardner does, indeed, have no nose, having lost it in some sort of firearms mishap.
I'm not quite sure how I discovered Charlie Huston. I think I was sent a copy of his second novel, "Six Bad Things," and noticed the blurb from Peter Straub on its cover. A recommendation from Straub holds weight with me, so I took the time to find Huston's first book, "Caught Stealing." It blew me away with its non-stop action, bitter humor and hapless protagonist, Hank Thompson.
The semi-retired Lynn Johnston has pushed her strip halfway into its cryogenic chamber, freezing the cast at their current ages while allowing them to reminisce ad nauseum about their "best of" moments. And what's among the first things of which we're reminded? 
Earlier this year, I reviewed Joe Hill's "Heart-Shaped Box" for The Chronicle. I thought it was a particularly strong first novel, a straight-ahead, old-fashioned horror tale with a couple of neat, contemporary twists.
To indulge in a little bit of understatement, Harlan Ellison is a polarizing literary figure. He evokes only the strongest reactions in those who encounter him, on the page or in person. Poke around the web a bit, and you'll find a number of recent anecdotes that don't present him in a flattering light.
Unreliable narrators get their say in three novels I reviewed for the San Francisco Chronicle. The protagonist of "Crooked Little Vein" by Warren Ellis might be telling the outrageous truth, but the main characters of Matt Ruff's "Bad Monkeys" and "A Good and Happy Child" definitely can't be trusted.
In preparation for the Oct. 19 opening, the site for the New York premiere of "Rock 'n' Roll" is up and running. Lots of good background information in this PDF file. Pre-sale of tickets to American Express cardholders started on Wednesday.
Sorry for dropping out of sight so abruptly. I had my reasons.
5. Was physically nauseated by the month-long Foob Wedding Flashback
William Gibson's new novel, "Spook Country," is now in stores, and it's well worth your time and attention. Nobody takes the measure of the zeitgeist (pun intended) more presciently than Mr. Gibson.
Time for a new science fiction and fantasy roundup in the San Francisco Chronicle!
I've been infected with a meme by my pal and colleague Michael Ansaldo. In the interests of not being a spoilsport, I will play along and provide eight autobiographical facts and/or habits.
"Let's do something other than read!"
Both Us Weekly and Photoplay feature full-page ads for various and sundry post-literate media. Us tends to focus on TV shows and videogames.
You don't even need color photography when you've got copy as vivid as that promoting "Storm Warning" (or "I Frenched a Bigot"):
Get me to the eye-wash station, stat!
Today is Stoppard's 70th birthday. We wish him all the best and many more.
The radio play "In the Native State," a precursor of "Indian Ink," is now available on BBC 7:
"They think they're people!"
Photoplay can't really match the tawdry banality of Us. The best it can do is provide this completely natural and action-packed shot of household accountacy by Lena Lamont from "Singing in the Rain" and her condescending hubby.
BBC Radio 4 has started broadcasting Stoppard radio plays and adaptations. They remain online for only seven days, so don't miss out. The first up is "Albert's Bridge": A man's chosen profession is painting a huge bridge. The task is perpetual, since one end of the bridge is already in need of a fresh coat before he reaches the other.
But check this out! It's Jane Powell, star of "A Date with Judy," and she looks quite lovely. Her hair appears a little stiff, but her blue eyes sparkle with something recognizable as human consciousness. There's no drunken horseplay with edged weapons. And Photoplay cost only 15 cents, compared to Us's $3.49 cover price.
On to the back covers. Here's a fairly inoffensive ad for a reality cooking show on Bravo. I'll never watch it (nor put in my mouth anything any of these people prepare), but it doesn't actively annoy me.
But, man, do I want one of those Chesterfields! I don't smoke, but I'm a sucker for a pack of coffin nails offered by the female lead of "Captain Horatio Hornblower." 
Every once in a while, I get packages from authors who have self-published a science fiction or fantasy novel. I don't like receiving them. I always feel like the authors are wasting postage on top of whatever they've already spent to print the book. In two decades, I've never reviewed a self-published or vanity press book. There's simply too much better stuff out there that deserves my attention.
Sweet sainted mother of Mordecai Richler, has Granthony shaved off his pornstache AND undergone a spur-of-the-moment nosejob? All the "For Better or For Worse" pundits have an opinion.
The big event is only a day away, and the whole nation holds its collective breath.
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