Product Description

Tito is in his early twenties. Born in Cuba, he speaks fluent Russian, lives in one room in a NoLita warehouse, and does delicate jobs involving information transfer.

Hollis Henry is an investigative journalist, on assignment from a magazine called Node. Node doesn't exist yet, which is fine; she's used to that. But it seems to be actively blocking the kind of buzz that magazines normally cultivate before they start up. Really actively blocking it. It's odd, even a little scary, if Hollis lets herself think about it much. Which she doesn't; she can't afford to.

Milgrim is a junkie. A high-end junkie, hooked on prescription antianxiety drugs. Milgrim figures he wouldn't survive twenty-four hours if Brown, the mystery man who saved him from a misunderstanding with his dealer, ever stopped supplying those little bubble packs. What exactly Brown is up to Milgrim can't say, but it seems to be military in nature. At least, Milgrim's very nuanced Russian would seem to be a big part of it, as would breaking into locked rooms.

Bobby Chombo is a "producer," and an enigma. In his day job, Bobby is a troubleshooter for manufacturers of military navigation equipment. He refuses to sleep in the same place twice. He meets no one. Hollis Henry has been told to find him.

Pattern Recognition was a bestseller on every list of every major newspaper in the country, reaching #4 on the New York Times list. It was also a BookSense top ten pick, a WordStock bestseller, a best book of the year for Publishers Weekly, the Los Angeles Times, Newsday, and the Economist, and a Washington Post "rave."

Spook Country is the perfect follow-up to Pattern Recognition, which was called by The Washington Post (among many glowing reviews), "One of the first authentic and vital novels of the twenty-first century."

Product Details

• Amazon Sales Rank: #21551 in Books
• Published on: 2007-08-07
• Number of items: 1
• Binding: Hardcover
• 384 pages

Amazon.com
Now that the present has caught up with William Gibson's vision of the future, which made him the most influential science fiction writer of the past quarter century, he has started writing about a time--our time--in which everyday life feels like science fiction. With his previous novel, Pattern Recognition, the challenge of writing about the present-day world drove him to create perhaps his best novel yet, and in Spook Country he remains at the top of his game. It's a stripped-down thriller that reads like the best DeLillo (or the best Gibson), with the lives of a half-dozen evocative characters connected by a tightly converging plot and by the general senses of unease and wonder in our networked, post-9/11 time.

Across the Border to Spook Country

For the last few decades, William Gibson, who grew up in Virginia and elsewhere in the United States, has lived in Vancouver, British Columbia, just across the border from Amazon.com's Seattle headquarters, which made for a short drive for a lunchtime interview before the release of Spook Country. We met just a few miles from where the storylines of the new novel, in a rare scene set in Gibson's own city, converge. You can read the full transcript of the interview, in which we discussed, among other things, writing in the age of Google, visiting the Second Life virtual world, the possibilities of science fiction in an age of rapid change, and his original proposal for Spook Country, which we have available for viewing on our site. Here are a few excerpts from the interview:

Amazon.com: Could you start by telling us a little bit about the scenario of the new book?

William Gibson: It's a book in which shadowy and mysterious characters are using New York's smallest crime family, a sort of boutique operation of smugglers and so-called illegal facilitators, to get something into North America. And you have to hang around to the end of the book to find out what they're doing. So I guess it's a caper novel in that regard.

Amazon.com: The line on your last book, Pattern Recognition was that the present had caught up with William Gibson's future. So many of the things you imagined have come true that in a way it seems like we're all living in science fiction now. Is that the way you felt when you came to write that book, that the real world had caught up with your ideas?

Gibson: Well, I thought that writing about the world today as I perceive it would probably be more challenging, in the real sense of science fiction, than continuing just to make things up. And I found that to absolutely be the case. If I'm going to write fiction set in an imaginary future now, I'm going to need a yardstick that gives me some accurate sense of how weird things are now. 'Cause I'm going to have to go beyond that. And I think over the course of these last two books--I don't think I'm done yet--I've been getting a yardstick together. But I don't know if I'll be able to do it again. I don't know if I'll be able to make up an imaginary future in the same way. In the '80s and '90s--as strange as it may seem to say this--we had such luxury of stability. Things weren't changing quite so quickly in the '80s and '90s. And when things are changing too quickly, as one of the characters in Pattern Recognition says, you don't have any place to stand from which to imagine a very elaborate future.

Amazon.com: Now that you're writing about the present, do you consider yourself a science fiction writer these days? Because the marketplace still does.

Gibson: I never really believed in the separation. But science fiction is definitely where I'm from. Science fiction is my native literary culture. It's what I started reading, and I think the thing that actually makes me a bit different than some of the science fiction writers I've met who are my own age is that I discovered Edgar Rice Burroughs and William Burroughs in the same week. And I started reading Beat poets a year later, and got that in the mix. That really changed the direction. But it seems like such an old-fashioned way of looking at things. And it's better not to be pinned down. It's a matter of where you're allowed to park. If you can park in the science fiction bookstore, that's good. If you can park in the other bookstore, that's really good. If people come and buy it at Amazon, that's really good.

I'm sure I must have readers from 20 years ago who are just despairing of the absence of cyberstuff, or girls with bionic fingernails. But that just the way it is. All of that stuff reads so differently now. I think nothing dates more quickly than science fiction. Nothing dates more quickly than an imaginary future. It's acquiring a patina of quaintness even before you've got it in the envelope to send to the publisher.

Amazon.com: So do you think that's your own career path, that you're less interested in imagining a future, or do you think that the world is changing?

Gibson: I think it's actually both. Until fairly recently, I had assumed that it was me, me being drawn to use this toolkit I'd acquired when I was a teenager, and using my old SF toolkit in some kind of attempt at naturalism, 21st-century naturalistic fiction. But over the last five to six years it's started to seem to me that there's something else going on as well, that maybe we're in what the characters in my novel Idoru call a "nodal point," or a series of them. We're in a place where things could just go anywhere. A couple of weeks ago I happened to read Charlie Stross's argument as to why he believes that there will never, ever be any manned space travel. It's not going to happen. We're not going to colonize Mars. All of that is just a big fantasy. And it's so convincing. I read that and I'm like, "My god, there goes so much of the fiction I read as a child."

From Publishers Weekly
Starred Review. Set in the same high-tech present day as Pattern Recognition, Gibson's fine ninth novel offers startling insights into our paranoid and often fragmented, postmodern world. When a mysterious, not yet actual magazine, Node, hires former indie rocker–turned–journalist Hollis Henry to do a story on a new art form that exists only in virtual reality, Hollis finds herself investigating something considerably more dangerous. An operative named Brown, who may or may not work for the U.S. government, is tracking a young, Russian-speaking Cuban-Chinese criminal named Tito. Brown's goal is to follow Tito to yet another operative known only as the old man. Meanwhile, a mysterious cargo container with CIA connections repeatedly appears and disappears on the worldwide Global Positioning network, never quite coming to port. At the heart of the dark goings-on is Bobby Chombo, a talented but unbalanced specialist in Global Positioning software who refuses to sleep in the same spot two nights running. Compelling characters and crisp action sequences, plus the author's trademark metaphoric language, help make this one of Gibson's best. 8-city author tour. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
As in his previous novel, Gibson abandons the futuristic dystopias that have sustained most of his career, picturing instead a dystopic present—specifically, a post-9/11 America, which, in thrall to ubiquitous media and vague threats of annihilation, has "developed Stockholm syndrome toward its own government." The convoluted and politically insistent plot involves a missing shipping container, a former rock star, a Cuban-Chinese crime-facilitating family, and an Ativan addict coerced into domestic espionage. Fanciful touches include the creation of virtual art in public spaces using satellite mapping and Wi-Fi; texting in Volapuk, a Cyrillic-Latin amalgam; encrypting data within songs on an iPod; and the C.I.A.'s recruitment of sea pirates in the war on terrorism. (All but the last are verifiably real.) If Gibson's vision has got bleaker, his eye for the eerie in the everyday still lends events an otherworldly sheen
Copyright © 2007 Click here to subscribe to The New Yorker

Customer Reviews

interesting
This is not one of Gibson's best novels, but it is worth reading. The mystery he conjures up is fascinating and there are some interesting gadgets like CG art correlated to real world locations, or something like that. Though, in the end I do'nt think Gibson weaved all his threads together in a really satisfying way.

Interesting, but not very good
The writing style is engaging, and the characters are interesting - but the book seems more like a rough (and unfinished) draft than a completed novel. This is not the William Gibson I know and love.

Little Gain for the Pain
Having read Gobson's more illustrious early work (Neuromancer etc being truly ground-breaking), this book came to be a disappointment. The first author to truly explore the concept of virtual reality, Gibson's efforts here at intregrating VR with GPS suggest nothing more exciting than the "mash" already implemented by Google et al. Worse, is the feeling that is a forced attempt to recreate the success and originality of Neuromancer and worse still, the fact that the technological creativity does not integrate closely into the story itself, and although presented centrally at the opening, is ultimately no more than a curious side-show in a rather plodding and routine thriller.

As a thriller, this book does not achieve the pace or tension of less challenging airplane and beach reading. The plot builds extremely slowly and the various threads (which taken in isolation are not particularly gripping) fail to integrate until at least the halfway mark. When at last the book does come to life, the anticipation leads eventually to disappointment because the final development of the plot becomes predictable and routine. In terms of characterization, the slow development is an opportunity missed: most of the players are one-dimensional, and the only interesting dynamic is between the childlike interpretor and his handler.

Unlike typical airplane reading, the book is at least well-written in its precise use of English. Having said that, Gibson has an unfortunate tendancy to combine multiple concepts in a single sentence and to produce "garden path" sentences which only give up their proper meaning at a sencond reading.

The two most positive things I could say are that (a) it is intellectually more demanding than the average thriller and (b) the photographic portrait of the author on the back cover is exceptionally good. In general, I would say that unless you are a dyed-in-the-wool Gibson fan, give this one a miss and pick up a Nora Roberts or a Clive Cussler for your beach reading this summer.