All Tomorrow's Parties

Duncan Lawie, our premier reviewer of fiction has sent us his take on William Gibson's latest effort All Tomorrow's Parties. There was a lot of press surrounding the release of this book - click below to find out more about it, or dicuss your impressions of it. All Tomorrow's Parties author William Gibson pages 277 publisher Putnam Publishing Group rating 7/10 reviewer Duncan Lawie ISBN 0399145796 summary A stylish novel, so highly polished that the surface is almost impossible to see through. William Gibson is surely an author who needs no introduction in this forum but he may need some context. Neuromancer was the first science fiction novel I ever read which had the word 'fuck' in it. This may seem insignificant but it was one tiny element of what made cyberpunk such a revelation. Whilst cyberspace, Gibson's gift to science fiction, was compiled on a typewriter, it is still the dominant public image of what the wired world is like or will become as it matures. His subsequent expansion of that world, with Count Zero and Mona Lisa Overdrive, was affected by the incredible advances in the world of computers through the intervening years. With this rate of change it is hardly surprising that Gibson chose to step back from the sharp near-future edge where even the wildest speculation can be overtaken in the time it takes to bring a book to publication. This withdrawal resulted, in Virtual Light, in the presentation of a society where computers are part of the backdrop rather than being of direct interest in the same way that atomic power underlies the science fiction of an earlier age. In Idoru, new technologies come to the fore again and were presented in a more global context.

Gibson's new book, All Tomorrow's Parties, is a capstone to both Idoru and Virtual Light, forming a trilogy of sorts out of books not explicitly tied together beforehand. The process of re-introducing characters who had reached reasonably satisfying closure feels a little forced though the minor characters from the previous two books who are brought back slip in easily and are played a little differently. There are a number of new characters but, as a whole, the cast seems older and wiser. They have dreamed and had their dreams broken or, perhaps worse, had their dreams come true.

There is a soundtrack to this novel and, to my mind, it is by Nick Cave - with an emphasis on his more recent material. There is a similar feeling of having come out of youth, where all nightmares and delights are still possible, into a maturity where having one breath followed by another is a kind of victory and where hope is balanced by experience. Nick Cave's mental landscape has changed over the years, as has Gibson's. This novelist no longer writes cyberpunk but this novel could not exist without its pure cyberpunk antecedents. The shock of the new is largely replaced by a nostalgia for the past. Whilst there are phases of sharp action these are seen as deadly interruptions to normality rather than desirable states. Death is the end, not a means.

Superficially there is very little actual plot in this book. Both character and idea are at the service of a fascinating surface rather than the constructors of genuine depth. It is a novel of style, which is not a common mode in science fiction. Gibson is often criticised for this approach but it is a natural development of the New Wave emphasis on pure literary values in science fiction. As a novel of style it is a great success: the phrasing and terminology glows, particularly in chapter titles - such as "Mariachi Static" - and the way these are incorporated into the text of the chapter; location and action are minimally but completely defined; some characters are kept as shadowy ciphers whilst others are clearly delineated through glimpses of their mental states.

What may underlie the polished surface of Gibson's writing is very difficult to determine. This has often been the case and it may be easier to simply accept that what would be central in most science fiction simply is not so important in this writer's work. In All Tomorrow's Parties however, it is plausible to suggest that Gibson is displaying how unlikely it is that anyone recognises the world-changing event even if they see it. The most significant moment of the novel is observed by an exceedingly minor character. He has no idea what it means and all the characters who might recognise it are too busy attempting to survive catastrophe elsewhere. This is a cool book (in more ways than one) verging on bleakness but saved by it's human values.

Purchase this book at fatbrain.

Nick Cave
All Tomorrow's Parties Website
William Gibson - too many to mention!

Comments

Neuromancer Series Vs. Virtual Light Series.

[neo]

I sorry to say that I was disappointed with All Tomorrows Parties. I
suppose it's unfair to compare this work to previous books by Gibson,
but there was nothing new there. Nothing to hold on to.


I found myself constantly hoping for a character I could enjoy as much
as I enjoyed Molly, or Case, or Automatic Jack. These were characters I
cared about and who filled my imagination with ideas.


I've heard it said that Gibson never liked the term "CyberPunk". If
that's the case, he's certainly gotten as far away from that original
idea as he could. Nothing here inspires like Cyberspace, nothing evokes
the shear awe of vat grown street ronin. It's a shame really, because I
enjoyed the high/low fantasy of those books more than this near future
that has been vision corrected for the new millennium.


Although I've never been pleased with the final story arcs from Gibson,
this series was particularly disappointing. It was predictable beyond
the scope of even the last book, with heavy foreshadowing back in Idoru.
I didn't like the way the Neuromancer/Count Zero/Monalisa Overdrive series
ended, but at least I didn't see it coming.


I still enjoy the turn of a phrase and intense detail Gibson brings to the
table, but I fell in love with Neuromancer and this pales by comparison.


Neo -

Hmm...

[miscellaneous]

Maybe it's just me, but I never felt that ATP was lacking in plot. The plot was merely...subtle, as was the denouement. Subtle and oddly satisfying, to me.

However, the consensus is right in one respect: Gibson has never really been about plot, nor, certainly, about theme. Gibson has always been about the characters; the plot is sort of window-dressing for that, Gibson's illustration of the things that people do to themselves, and each other.

That, in my humble opinion, is where his genius lies, and it is very evident in ATP. Rei Todei is in the book for an almost indescribably short time, and yet she is more fully realized than many writers could have made her had they spent five hundred pages trying to do it.

Chevette and Rydell, then, get more time, and by the end, you start reading things into them; they're familiar enough, real enough, that you start to infer and induct things things about them, making art imitate life.

I think William Gibson would be a super-kickass interview, as would Neal Stephenson or Douglas Adams or...

Also, I must diagree with the reviewer. The soundtrack for this album is Vanessa-Mae's Storm. A compulsive blend of the old with the new. It's funky, but it works. "Bach Street Prelude" for the final 10 pages. And I'm not even a classical music fan.