Difference between revisions of "The Gibson Continuum: Cyberspace and Gibson's Mervyn Kihn Stories"
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Bredehoft allies with [[Westfahl, Gary|Gary Westfahl]]'s assertion that ''Neuromancer'' relies on Gernsbackian paradigms while still being a futurist text. Cited in Hal Hall's "[[Approaching Neuromancer: More Secondary Sources]]." (Maly, 01/07/02){{DEFAULTSORT: Gibson Continuum}} | Bredehoft allies with [[Westfahl, Gary|Gary Westfahl]]'s assertion that ''Neuromancer'' relies on Gernsbackian paradigms while still being a futurist text. Cited in Hal Hall's "[[Approaching Neuromancer: More Secondary Sources]]." (Maly, 01/07/02){{DEFAULTSORT: Gibson Continuum}} | ||
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| − | + | TAB opens with a headnote with a quotation from Gibson in a 1986 interview saying that he thought of using for an epigraph to ''Neuromancer'' "'Watch out for worlds behind you" from "Sunday Morning" by the Velvet Underground and moves on to Gibson's noting in that interview his mild surprise at finding in his first computer a drive mechanism: "a little piece of a Victorian engine." TAB compares that comment to the line in the "[[The Gernsback Continuum]]," on "the products of futuristic 1930s designers" who would design pencil sharpeners to look "as though they'd been but together in wind tunnels. For the most part, the change was only skin-deep: under the streamlined chrome shell, you'd find the same Victorian mechanism. ('Gernsback' 25)" (in Bredehoft, p. 252). | |
Revision as of 23:27, 18 May 2019
Bredehoft, Thomas A. "The Gibson Continuum: Cyberspace and Gibson's Mervyn Kihn Stories." SFS 22.2 (July 1995): 252-63.
Bredehoft allies with Gary Westfahl's assertion that Neuromancer relies on Gernsbackian paradigms while still being a futurist text. Cited in Hal Hall's "Approaching Neuromancer: More Secondary Sources." (Maly, 01/07/02)
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TAB opens with a headnote with a quotation from Gibson in a 1986 interview saying that he thought of using for an epigraph to Neuromancer "'Watch out for worlds behind you" from "Sunday Morning" by the Velvet Underground and moves on to Gibson's noting in that interview his mild surprise at finding in his first computer a drive mechanism: "a little piece of a Victorian engine." TAB compares that comment to the line in the "The Gernsback Continuum," on "the products of futuristic 1930s designers" who would design pencil sharpeners to look "as though they'd been but together in wind tunnels. For the most part, the change was only skin-deep: under the streamlined chrome shell, you'd find the same Victorian mechanism. ('Gernsback' 25)" (in Bredehoft, p. 252).
