There is no way to overstate how radical Gibson’s first and best novel was when it first appeared. He combined a shattered, neon-chased, postmodern cityscape — its inhabitants rendered demi-human by designer drugs, tattoos and rampant surgical body modifications — with his vision of a three-dimensional virtual landscape created by networked computers, through which bad-ass bandit hackers roam like high plains drifters. When one such hacker, Case, gets banned from this “cyberspace” — Gibson was among the first to use the word — he’ll do anything to get back in, including embarking on a near-suicidal cyber-assault on an all but unhackable artificial intelligence. Violent, visceral and visionary (there’s no other word for it), Neuromancer proved, not for the first or last time, that science fiction is more than a mass-market paperback genre, it’s a crucial tool by which an age shaped by and obsessed with technology can understand itself.
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