- Gebundene Ausgabe: 277 Seiten
- Verlag: Putnam Adult; Auflage: First Edition (25. Oktober 1999)
- Sprache: Englisch
- ISBN-10: 0399145796
- ISBN-13: 978-0399145797
- Größe und/oder Gewicht: 21,1 x 14,7 x 2,3 cm
- Durchschnittliche Kundenbewertung: 3.5 von 5 Sternen Alle Rezensionen anzeigen (68 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 182.094 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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All Tomorrow's Parties
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Amazon.co.uk
William Gibson's seventh glossy, neon-lit novel is a stylishly complex sequel to his previous two, Virtual Light and Idoru. From Virtual Light there's the potent image of San Francisco's Golden Gate Bridge transformed into a vertically stacked shanty-town with its own bohemian autonomy, outside the law. Idoru provides the magical Japanese media idol ("idoru") Rei Toei, a gorgeous lady existing only in software--as yet. Gibson links these worlds with his usual glowing, plausible vision of deadly streetwise realities intersecting with on-line data flow. One man attuned to the net can sense from his cardboard-box home in Tokyo that major changes loom. A Zen assassin stalks San Francisco and the unlucky ex-cop hero from Virtual Light must assemble some very strange equipment. Further objects of desire include lovingly described knives, guns and even antique mechanical watches, as collected by Gibson himself (who pursues them through online auctions)--the ability to trace watches across the net is crucial to tracking the arch-villain. All the world's clocks are ticking in a countdown to transformation and to chrome-polished scenes of extreme violence as zero-hour nears. Multiple storylines meet and dovetail with deft, witty understatement and, in one case, a charming joke. Vintage Gibson, with enough artful backfill that you needn't read the prequels--but they're great fun too. --David Langford
-- Dieser Text bezieht sich auf eine andere Ausgabe:
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Amazon.co.uk
William Gibson's seventh glossy, neon-lit novel is a stylishly complex sequel to his previous two, Virtual Light and Idoru. From Virtual Light there's the potent image of San Francisco's Golden Gate Bridge transformed into a vertically stacked shanty-town with its own bohemian autonomy, outside the law. Idoru provides the magical Japanese media idol ("idoru") Rei Toei, a gorgeous lady existing only in software--as yet. Gibson links these worlds with his usual glowing, plausible vision of deadly streetwise realities intersecting with on-line data flow. One man attuned to the net can sense from his cardboard-box home in Tokyo that major changes loom. A Zen assassin stalks San Francisco and the unlucky ex-cop hero from Virtual Light must assemble some very strange equipment. Further objects of desire include lovingly described knives, guns and even antique mechanical watches, as collected by Gibson himself (who pursues them through online auctions)--the ability to trace watches across the net is crucial to tracking the arch-villain. All the world's clocks are ticking in a countdown to transformation and to chrome-polished scenes of extreme violence as zero-hour nears. Multiple story lines meet and dovetail with deft, witty understatement and, in one case, a charming joke. Vintage Gibson, with enough artful backfill that you needn't read the prequels--but they're great fun too. --David Langford
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Einleitungssatz
THROUGH this evening's tide of faces unregistered, unrecognized, amid hurrying black shoes, furled umbrellas, the crowd descending like a single organism into the station's airless heart, comes Shinya Yamazaki, his notebook clasped beneath his arm like the egg case of some modest but moderately successful marine species. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Auszug | Rückseite
THROUGH this evening's tide of faces unregistered, unrecognized, amid hurrying black shoes, furled umbrellas, the crowd descending like a single organism into the station's airless heart, comes Shinya Yamazaki, his notebook clasped beneath his arm like the egg case of some modest but moderately successful marine species. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Auszug | Rückseite
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3 von 3 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
To describe William Gibson's writing style in one word, it would probably be "energetic." Using a sharp staccato like pen, Gibson manages to construct unique and interesting scenarios. This book has all the characteristic Gibsonian qualities: distributed plot progression, characters covering both ends of the scale from cold and detached to drug crazed frenzy... it also manages to pull in a large number of characters from previous works (Virtual Light, Idoru).. Gibson's last trilogy (the Sprawl) was unique in that one never realized it was that much of a trilogy till the very end...
One annoying fact of this book is that it has a classic Gibson ending.. without giving anything away let's just say it required many readings of the ending before one felt satisfied. It seems the information density per sentence increases exponentially as one reaches the last few pages.
Still, the book is interesting and well worth the read..
4 von 5 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
The thing I crave about Gibson's books is the density of description, the way so much information is packed into one paragraph, that if you tried to explain it to someone else, it'd take you two pages. Even his titles rock: "Burning Chrome," "Count Zero," and they're even better after you read the book. That was not so much in evidence in "Idoru," and it's completely missing in "All Tomorrow's Parties." His prose style has shifted to plain, normal writing. I guess the intent of his "compressed" style was to replicate the density of information in the world he describes, and that density just isn't there in this story. Sure, there are still the cool technologies and weapons (a low-tek disposable gun that shoots hunks of chain, from one of the former Soviet republics, giant blimps haul water from Alaska to LA) and the vision of the future world is as convincing as ever. I suppose it's a good introduction to Gibson, but if you've come from his earlier work, you'll probably be a little disappointed. Another reviewer said that the book needed more explication. To me, there's too much explanation, too much laying out of what's going on. Part of what gives Gibson's books their gritty immediacy is that the characters know, kind of, what's going on, but they know they can't control or even fully understand their world, the best they can do is try to stay alive in it. I don't know, to me it's a little like the Eric Clapton from Derik and the Dominoes and Blind Faith recording "Willie and the Hand Jive."
1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
I've been a longstanding fan of Gibson's cyberpunk work since his groundbreaking novel, Neuromancer. This book continues his legacy of well-developed characters from the underbelly of the city. Gibson's virtuosity of prose is best shown in his vivid descriptions of the homeless living in Japan in a city of cardboard boxes.
Gibson's continual obsession with Japanese culture continues in this novel, and any anime otaku (extreme fan) will find many tributes to the pop culture of Japan. His finely tuned attention to detail in the scenes set in Japan made for highly entertaining reading.
In All Tommorow's Parties, we find ourselves once again associated with many of the characters in his previous novels, Idoru and Virtual Light. (Fortunately, the reader is not expected to 'know' these characters, so a previous reading of Idoru or Virtual Light will not preclude your enjoyment of this novel.)
However, by mid-novel, all this talk of nodal points fails to satisfy the reader - Gibson assumes too much of our understanding of the world that he has illustrated for us. Hints and allegations are made as to the significance of nodal points (that these points have the potential to bend the course of human history) but then these hints are never truly realized in any major way at the end of the novel. The novel ends suddenly, with no real feeling of resolution of the action that has come before. (I almost felt as if someone may have ripped the 'real' last chapter out of my copy.) We are dropped suddenly into this ending that does not seem nearly as elegantly constructed as the events leading up to it. Gibson's conclusions at the end of the novel are hardly cut-and-dry -- it takes work on the reader's part to try to understand his ending.
In conclusion, it's a worthy read, however, you may find yourself disappointed with the ending.
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Great start, but gets poorer with every page
Sorry to write this, I'm actually a big Gibson-Fan, but all the great ideas I found in virtual light, Idoru etc., the dense characters, etc. Lesen Sie weiter...
Am 16. Dezember 2000 veröffentlicht
Not This Time
I'm sorry to slash this because I'm a big fan of Gibson; I gaveseveral copies of Idoru away as gifts (a five star effort). But thislacks all the ingredients we've come to expect. Lesen Sie weiter...
Am 6. Juli 2000 veröffentlicht
Fantastic prose, great story, VERY STRANGE
Gibson is a great writer, and this is a fine book. Complex, interesting, beautiful. A VERY worth-while read. Lesen Sie weiter...
Veröffentlicht am 24. Juni 2000 von N. Soldofsky
If this is a party, do we really want to come?
OK, so this is not the best of William Gibson's work, so what? He is still unique in his ability to bring to life the near future in its commercial, pop culture, and base aspects. Lesen Sie weiter...
Veröffentlicht am 29. Mai 2000 von Doug Vaughn
Frustrating and dense--and not in the good way
I found this book to be incredibly frustrating to read and ultimately unsatisfying. Gibson's writing style, hallmarked by inserting long paragraphs in the middle of a character's... Lesen Sie weiter...
Veröffentlicht am 24. Mai 2000 von Stephen F. Stringer
Typical Gibson...which is a good thing
All Tomorrow's Parties will not surprise many Gibson fans. It's not a radical departure from his normal style and it carries the same moral weight of his previous works. Lesen Sie weiter...
Veröffentlicht am 1. Mai 2000 von Chris MB
Gibson still has what it takes
Brilliant characterization (the person who said Gibson's characters are 'bland' is out of his mind), writing that is excellent without being showy, a future that is both weird and... Lesen Sie weiter...
Veröffentlicht am 24. April 2000 von K. Freeman
Still Gibson does it best!
Well, I read Gibson since I was thirteeen years old (the german version of his first four books), and then I read them again, and then I bought the first edition of Virtual Light... Lesen Sie weiter...
Am 20. April 2000 veröffentlicht
The One Gibson Book to Skip
As a true Gibson fan I was disappointed. The author feels compelled to introduce most characters from previous (good) books, make them meet in San Francisco, where they then save... Lesen Sie weiter...
Veröffentlicht am 14. April 2000 von Walter Scheiber
Meandering
The book is a fairly compelling page-turner, but when I finished it I didn't feel a sense of loss, I wasn't enlightened or inspired, etc. I was just like, "Hmm. Okay. Lesen Sie weiter...
Veröffentlicht am 24. März 2000 von Daemous Riel
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