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Virtual Light, by William Gibson
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2005: Welcome to NoCal and SoCal, the uneasy��sister-states of what used to be California. Here the��millenium has come and gone, leaving in its wake��only stunned survivors. In Los Angeles, Berry��Rydell is a former armed-response rentacop now working��for a bounty hunter. Chevette Washington is a��bicycle messenger turned pickpocket who impulsively��snatches a pair of innocent-looking sunglasses. But��these are no ordinary shades. What you can see��through these high-tech specs can make you rich--or��get you killed. Now Berry and Chevette are on the��run, zeroing in on the digitalized heart of��DatAmerica, where pure information is the greatest high.��And a mind can be a terrible thing to crash...
- Sales Rank: #309494 in Books
- Brand: Spectra
- Published on: 1994-07-01
- Released on: 1994-07-01
- Original language: English
- Number of items: 1
- Dimensions: 6.90" h x .90" w x 4.20" l,
- Binding: Paperback
- 368 pages
Features
Amazon.com Review
The author of Neuromancer takes you to the vividly realized near future of 2005. Welcome to NoCal and SoCal, the uneasy sister-states of what used to be California. Here the millennium has come and gone, leaving in its wake only stunned survivors. In Los Angeles, Berry Rydell is a former armed-response rentacop now working for a bounty hunter. Chevette Washington is a bicycle messenger turned pick-pocket who impulsively snatches a pair of innocent-looking sunglasses. But these are no ordinary shades. What you can see through these high-tech specs can make you rich--or get you killed. Now Berry and Chevette are on the run, zeroing in on the digitalized heart of DatAmerica, where pure information is the greatest high. And a mind can be a terrible thing to crash.
From Publishers Weekly
Gibson's cyberpunk thriller set in a near-future L.A.--a two-week PW bestseller--depicts the hunt for virtual reality glasses containing classified data.
Copyright 1994 Reed Business Information, Inc.
From Kirkus Reviews
Near-future good little-guys vs. bad redevelopers tussle--set in a California split into two states: from the cyberspace and virtual reality guru (Mona Lisa Overdrive, 1988; The Difference Engine, 1991, with Bruce Sterling, etc.). By the year 2005, the middle classes have vanished, leaving a vast struggling mass of impoverished workers or unemployed, with the amoral rich insulated by their purchasing power from the social Darwinistic carnage below. The nightmarish, corrosive backdrop combines nanotech medical machines, virtual reality spectacles, data havens, and secret control by multinational corporations--all standard Gibsonian tools--against which the characters are little better than walking shadows. When motorbike messenger Chevette Washington steals a pair of unusual sunglasses from an obnoxious drunk at a rich San Francisco hotel party, unlucky rent-a-cop Berry Rydell finds himself hired, under peculiar circumstances, to drive for Lucius Warbaby, a freelance skip-tracer who has been retained by a big security firm to recover the missing item. But the glasses have a mysterious importance--their erstwhile owner soon turns up with his throat cut; some Russian heavies, ostensibly real cops, muscle in; a terrifying assassin stalks Chevette, forcing Rydell to decide who's side he's on. The glasses, he eventually learns, contain a Japanese multinational's plans to redevelop the entire Bay area, regardless of the opinions of its inhabitants. Gibson combines an extraordinarily rich prose texture with starkly effective dialogue into a convincing, in-your-face future reality. His plotting, though, even more so than in previous outings, is flimsy and contrived. Dazzling snapshots, then--but, like cyberspace, everything disappears when you switch off. (First printing of 55,000) -- Copyright �1993, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Meh
By sue
Barely interesting enough to keep reading but never gets good.
3 of 3 people found the following review helpful.
Gibson the Great does it again
By Judy Koren
This is one of Gibson's best works, as good as Neuromancer. It does have a few flaws, but they don't detract too much.
What's good about it? The prose style, to start with: rich, dense, polished: all the usual Gibson attributes. The plot (most of the time) tugs you along; the characters; the background; the humor (the quiet sort, that has you gently chuckling about once every two pages and is usually based on parody/satire of current trends). The richness of the weave.
Gibson is obviously an adherent of Checkhov's "gun hanging on the wall" philosophy: there isn't an unused incident in the entire complicated work, nothing that happens is just-for-local-color, everything ties up with something else. Usually with two or three something-else's, with an unspoken invitation to start thinking about the implications of this in society. A few times I found myself thinking "why is he including this?", but there was always a reason further along the line.
The book lends itself to this strand-in-the-weave approach, being written at least some of the time in very short chapters, so that we move from one scene/set of characters to another in an approach that comes to resemble the textual equivalent of sound-bites or video clips. After a series of several 1 1/2 page chapters, I found myself recalling Eliot's "The Waste Land":
These fragments have I shor'd against my ruin
Don't know if Gibson intended that particular allusion, though of course it fits in so well with the general background of the book. But the video-clip approach to writing is surely saying something about the age the book is set in.
What are the bad points? To start with, it was written in 1993, and the blurb says it's set in 2005. Reading it today, in 2003, it would be much more believable if it were set in around 2020. In general, it seems to me a bad idea to write a sci-fi novel set only 12 years in the future, if only because you're limiting the period of time during which it stays believable and therefore you can sell it. Moreover, if Gibson intended the date to be 2005, he has problems here and there with his characters: most of them are in their 20s, they can't really not remember everything from the 1990s; the one who says he wasn't born in 1980 must have been born by around 1981, which is cutting it pretty fine. And he has problems with the time-scale in general: given the post-catastrophe setting, there hasn't been time, in 12 years, for the series of catastrophes that resulted in the present world situation, the development of the political situation as a result, the rebuilding, and the settling down into a new equilibrium, which must have existed for several years, since several of the characters don't remember what it was like before. But I think Gibson is much too experienced and intelligent a writer to make this sort of mistake, and in fact I couldn't find any reference to an exact year in the text itself. Just disregard what the blurb says.
Secondly, the ending: surprisingly weak and also rushed-over, considering how good the plot has been up to now. But by the time you get to the ending, believe me, you've had your money's worth.
Gibson makes you work hard, fitting the pieces together. In general this is a Good Thing, but occasionally degenerated to the level of irritating.
I had a slight problem with the narrator: after the first few chapters ask yourself, who is the narrator? Most chapters are told in the style used by that chapter's protagonist, which makes you feel, even though the narration is 3rd-person, that you're seeing the world through that character's eyes. But why the sparse, timeless, almost dreamlike style of the two chapters that describe the courier's action? Very far removed from his personality, if you consider his actions and believe the comments on him by the other characters. Must be a reason but I couldn't figure it out.
So why 5 stars? Because, even though nobody's perfect, not even Gibson, I've yet to see anybody else do it better.
9 of 9 people found the following review helpful.
Fast-paced and Suspenseful
By Deanna
Virtual Light is a good read. Although very different than Neuromancer, William Gibson's cyberpunk classic, it is still very well written. The book is not only suspenseful, fast-paced, and imaginative, but it has just a hint of humor throughout. All of these things make you want to keep turning the pages, just to see what Chevette and Rydell will do next.
Chevette is a bicycle messenger with an attitude. After some tough luck, she finally has her life pretty much on track and doesn't want to screw it up. Rydell went through some rough times too, but finally has a job that looks promising. He gets hired to help with the hunt for Chevette after she steals a pair of glasses, and something goes wrong.
The plot of the book jumps around at first. It's a bit confusing, but after a few chapters you get the hang of it, and kind of figure out what is going on. The use of technology in the book was surprisingly sparse, compared to many other cyberpunk novels. What I especially liked was Gibson's use of humor. It was thrown in, in all the right places, which really made the book more interesting.
Gibson describes all the characters in the book very vividly. It is very easy to sense what they are thinking and feeling. He also creates a vivid setting. Rydell moves from Tennessee to what used to be California, but is now NoCal and SoCal, two different states. All aspects of the setting are believable and conceivable. This is only the second Gibson novel I've read, but I liked it better than Neuromancer. Everything was much easier to believe and understand, and the entire novel was action packed. The suspense of the book wouldn't let me put it down.
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