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Zero History por William Gibson
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Zero History (original 2010; edição 2010)

por William Gibson

Séries: Blue Ant (3)

MembrosCríticasPopularidadeAvaliação médiaMenções
2,164735,542 (3.84)56
Former rock singer Hollis Henry and ex-addict Milgrim, an accomplished linguist, are at the front line of a sinister proprietor's attempts to get a slice of the military budget. When a Department of Defense contract for combat-wear turns out to be the gateway drug for arms dealers, they gradually realize their employer has some very dangerous competitors--including Garreth, a ruthless ex-military officer with lots of friends. Set largely in London after our post-Crash times.… (mais)
Membro:Nightwing
Título:Zero History
Autores:William Gibson
Informação:Putnam Adult (2010), Hardcover, 416 pages
Colecções:A sua biblioteca
Avaliação:
Etiquetas:Nenhum(a)

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Zero History por William Gibson (2010)

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» Ver também 56 menções

Mostrando 1-5 de 73 (seguinte | mostrar todos)
Mostly about women discussing fashion and men. None of the Blue Ant books have much in terms of plot but this one is homoeopathic in that regard. Too much fashion and house décor descriptions with just a smattering of corporate espionage (?) and a deus ex machina ending like last one. In spite of not being science fiction I find the action less plausible than any of the sprawl or bridge series. ( )
  Paul_S | Dec 23, 2020 |
Here's the thing about William Gibson, I think--either you're along for the ride, or you're not. I find it difficult to talk about his books in the same terms I use to talk about other books. I'm often annoyed by the way his characters speak to one another--cryptically, abruptly, in non-sequiturs. I'm often annoyed by the things his characters do--sometimes seemingly driven, not by their own motivations, but by the necessities of the plot.

And yet...I've really enjoyed the Blue Ant books (Spook Country, Pattern Recognition, Zero History). There's something about them that I can't really put my finger on. It's not always easy to describe what they're about--or, it *is* easy to describe at least what's happening on the surface, but they don't sound at all interesting in those terms. There are admittedly long sections where nothing much of import seems to be happening. There are also sections where things are happening, but you can't see any sense in them, or how they relate to the plot--or what you thought was the plot.

But for some reason, I find them incredibly engaging. I *want* to keep reading, to see what Gibson has up his sleeve, or what he's driving at, and what's going to happen to these characters in the end. Maybe it's the glimpse at a world that is so like ours as to be almost indistinguishable, and yet that seems to be separated from ours by the thinnest of membranes. Maybe it's Gibson's writing style, although I don't always like that--I haven't been able to read "The Difference Engine" no matter how much I'd like to. Maybe it's...ah, heck, I don't know. I can't explain it. I certainly couldn't duplicate it. But I know that if there's another one, I'll be reading it. ( )
  sdramsey | Dec 14, 2020 |
It's about pants, innit? [full review] ( )
1 vote markflanagan | Jul 13, 2020 |
Best of the series. ( )
  goliathonline | Jul 7, 2020 |
Mostrando 1-5 de 73 (seguinte | mostrar todos)
"Instead, it feels as if Gibson is going through the motions, as if he's gone back to the pattern once too often, setting up a story — centered by Hollis' efforts to find that designer — that we've seen before."
adicionada por bookfitz | editarLos Angeles Times, David L. Ulin (Sep 19, 2010)
 
"His trenchant scrutiny of society and culture, and the relentless precision of his prose force us to see his world (and ours) with a troubling exactitude and an extra dose of unease."
adicionada por bookfitz | editarThe Washington Post, Art Taylor (Sep 11, 2010)
 
"To read Gibson is to read the present as if it were the future, because it seems the present is becoming the future faster than it is becoming the past."
 
"What matters are the highly textured, brilliantly evocative prose and the stunning insights Gibson offers into what we perceive as the present moment—the implication being, per the title, that's all we have left."
adicionada por bookfitz | editarKirkus Reviews (Jul 15, 2010)
 
This flatness is the strangest feature of the world of Zero History, and more generally of the trilogy it completes. There's no question that, taken together, these three books represent one of the first great novels of 21st-century data culture. But there's no dirt in view – no muss. The cities of Neuromancer were crumbling into a kipple of obsolete technology, litter and grime. Cyberspace – clean, rational, clutterless – offered an alternative reality for those with the skills and the technology to gain access, while the wealthy could escape to exclusive orbital country-club cantons. Now that the future is here, Gibson's readers, like his protagonists, seem condemned to cities that are all surface, while yearning for a glimpse of something seedier, stickier, more troubling.
 

» Adicionar outros autores (1 possível)

Nome do autorPapelTipo de autorObra?Estado
William Gibsonautor principaltodas as ediçõescalculated
Dean, RobertsonNarradorautor secundárioalgumas ediçõesconfirmado
LaRoche, NicoleDesigner da capaautor secundárioalgumas ediçõesconfirmado
Tamás, DénesTradutorautor secundárioalgumas ediçõesconfirmado
Wilson, DavidDesigner da capaautor secundárioalgumas ediçõesconfirmado

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Reading, his therapist had suggested, had likely been his first drug. [Milgrim: 93]
She always found it peculiar to encounter a time she had actually lived through rendered as a period. It made her wonder whether she was living through another one, and if so, what it would be called. [Hollis Henry: 102]
There was something inherently cheerful about the buoyancy of a balloon, he thought. It must have been a wonderful day when they first discovered buoyant gases. He wondered what they'd put them in. Varnished silk, he guessed, for some reason picturing the courtyard at the Salon du Vintage. [Milgrim: 376]
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Former rock singer Hollis Henry and ex-addict Milgrim, an accomplished linguist, are at the front line of a sinister proprietor's attempts to get a slice of the military budget. When a Department of Defense contract for combat-wear turns out to be the gateway drug for arms dealers, they gradually realize their employer has some very dangerous competitors--including Garreth, a ruthless ex-military officer with lots of friends. Set largely in London after our post-Crash times.

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