Neuromancer (Sprawl Trilogy Book 1)

It took at least a decade for me to realize that many of my readers, even in 1984, could never have experienced Neuromancer’s opening line as I’d intended them to. I’d actually composed that first image with the black-and-white video-static of my childhood in mind, sodium-silvery and almost painful—a whopping anachronism, right at the very start of

The Jarre was decorated in a dated, nameless style from the previous century, an uneasy blend of Japanese traditional and pale Milanese plastics, but everything seemed to wear a subtle film, as though the bad nerves of a million customers had somehow attacked the mirrors and the once glossy plastics, leaving each surface fogged with something that

THE JAPANESE HAD already forgotten more neurosurgery than the Chinese had ever known. The black clinics of Chiba were the cutting edge, whole bodies of technique supplanted monthly, and still they couldn’t repair the damage he’d suffered in that Memphis hotel.

My real sympathy, though, is with the bright thirteen-year-old, curled on a sofa somewhere, twenty pages into the book and desperate to get to the root of the mystery of why cell phones aren’t allowed in Chiba City. Hang in there, friend. It can only get stranger.

Tokyo Bay was a black expanse where gulls wheeled above drifting shoals of white styrofoam. Behind the port lay the city, factory domes dominated by the vast cubes of corporate arcologies.

THE SKY ABOVE the port was the color of television, tuned to a dead channel.

By day, the bars down Ninsei were shuttered and featureless, the neon dead, the holograms inert, waiting, under the poisoned silver sky.

His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it. The antique arm whined as he reached for another mug. It was a Russian military prosthesis, a seven-function force-feedback manipulator, cased in grubby pink plastic.

He affected prescription lenses, framed in spidery gold, ground from thin slabs of pink synthetic quartz and beveled like the mirrors in a Victorian dollhouse.