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All Tomorrow's Parties (Bridge Trilogy, #3)…
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All Tomorrow's Parties (Bridge Trilogy, #3) (Ebook) (original 1999; edição 2000)

por William Gibson

Séries: Bridge Trilogy (3)

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4,108332,137 (3.69)30
From his cardboard box in the Tokyo subway, connected to the Internet, a clairvoyant cyberpunk mobilizes his friends to avert a world disaster. It is due to occur on a bridge in San Francisco, now home to squatters, and is part of a rich man's bid for world domination.
Membro:dmaness
Título:All Tomorrow's Parties (Bridge Trilogy, #3) (Ebook)
Autores:William Gibson
Informação:Ace Trade (2000), Edition: 0, Paperback, 277 pages
Colecções:A sua biblioteca
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Etiquetas:Science Fiction

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All Tomorrow's Parties por William Gibson (1999)

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After Idoru blew my mind on a very long plane ride home, I really wanted to like this book, but it just feels like there's something missing. Much of the plot of Idoru seems to have all been for nothing, and the plotting here is muddled at best - it feels like Gibson had a great idea for a climax and then struggled to work backwards from there. ( )
  skolastic | Feb 2, 2021 |
The ending wasn't as tidy as some of his other books, leaving a few questions, but overall I liked the book a great deal. Gibson has an interesting style that makes a trade-off between the flow of the language and the density of description. I think this keeps his books short because instead of long passages of description, he packs each sentence with inferences that tell you about the environment. ( )
  helenar238 | Oct 31, 2020 |
I read this in college and it stuck with me. Rereading it now I understand why. Basically, and trust me that a basic description is difficult, it takes place in a San Francisco where the Golden Gate Bridge has been rendered unsafe for traffic and has become a sort of transiant community that lives apart from people. There is to be a shift in the world and and the bridge is ground zero. A fasinating read. ( )
  Colleen5096 | Oct 29, 2020 |
All Tomorrow's Parties is the final novel in the Bridge Trilogy, re-visiting Virtual Light's California and Idoru's Japan. Now Chevette & Rydell (VL) join Laney and Rei Toei (ID) on the same stage, if not sharing the same scenes, with most of the action in SF and on the Bridge. The condemned Bay Bridge, central image to the trilogy, is analogous to the seismic shift anticipated in culture and playing out across all three books, unfolding digitally rather than materially. History relayed not as narrative (the approach of orthodox historians), but as shape with inflection points, seed crystals in solution.

The series arc played out in the wings of the first two books, but comes center stage here -- ATP as coda to the Bridge sonata. ATP is very much an abstract work, and inverts what Gibson did with the prior installments in the trilogy. Where those novels served up familiar plots and left the big ideas to surface in parenthetical commentary along the way, here that commentary is the story, and here events themselves are best understood as secondary. The earlier books didn't prepare for this so it's small surprise the lack of plot here can be disorienting. Gibson didn't translate his ideas into actions, rather what plot there is amounts to little more than an audience gathering to watch the results of a papal conclave. And yet, there's little drama and opposition as might be expected by anyone watching smoke from the Sistine Chapel: Did factions work against my candidate? What arguments or deals are made? Here, any scheming and backstabbing between characters is replaced with abstract conceptions of what it would look like to observe history shifting from one era to another, and plot merely describes the announcement of the ballot result, not the machinations undertaken when holding the election.

In that light, ATP is a strategic game not an allegory, and characters are tokens: game counters suggesting the abstract interactions Gibson moves around a board of the 20th Century. So: Harwood embodies the deliberate shaping of history toward personal ends, Laney the force of principled resistance. Both took drug 5-SB (Harwood voluntarily, hah! and Laney involuntarily). Konrad (aka Loveless) embodies Tao, a balancing point between Laney and Harwood -- though in the plot, Konrad works directly for Harwood. Interestingly Rei Toei is an emergent system, collaborating with Laney (he taught her data nodal recognition), and could be seen as another manifestation of Tao, but in her case the employer not the mercenary. Rei Toei's manifestation at the end seems most indicative of the shift Laney sees coming: Gibson's everting internet.

Gibson set himself a serious puzzle, to put his ideas into a novel rather than an essay of speculative non-fiction. Rewarding for any reader giving it the attention it demands, a novel of ideas over action or image.

//

synopsis | Laney has long suspected a massive cultural shift is coming, seeing in the flow of cultural data certain inflection points which suggest a new shape. He strongly suspects the focal point will be San Francisco and the change will be historic. Unable to travel, he hires Rydell to go and report back. Even so, Laney continues his own investigations from Tokyo, but his nodal vision is increasingly distracted by patterns traceable to global marketing figure Cody Harwood. Separately, Chevette is back in San Francisco, avoiding an abusive ex while showing a friend around the Bridge. Chevette collaborated with Rydell once, but is unaware of his work now. Their separate concerns, local and personal, coalesce around a global media event and threaten to disrupt corporate planning and control. ( )
  elenchus | Oct 2, 2020 |
Tried 2x, both times stopped reading. SO boring. ( )
  andreas.wpv | Feb 26, 2017 |
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From his cardboard box in the Tokyo subway, connected to the Internet, a clairvoyant cyberpunk mobilizes his friends to avert a world disaster. It is due to occur on a bridge in San Francisco, now home to squatters, and is part of a rich man's bid for world domination.

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