The iconic visionary returns with his first new novel since the New York Times bestseller Spook Country.
Whatever you do, because you are an artist, will bring you to the next thing of your own...
When she sang for The Curfew, Hollis Henry's face was known worldwide. She still runs into people who remember the poster. Unfortunately, in the post-crash economy, cult memorabilia doesn't pay the rent, and right now she's a journalist in need of a job. The last person she wants to work for is Hubertus Bigend, twisted genius of global marketing; but there's no way to tell an entity like Bigend that you want nothing more to do with him. That simply brings you more firmly to his attention.
Milgrim is clean, drug-free for the first time in a decade. It took eight months in a clinic in Basel. Fifteen complete changes of his blood. Bigend paid for all that. Milgrim's idiomatic Russian is superb, and he notices things. Meanwhile no one notices Milgrim. That makes him worth every penny, though it cost Bigend more than his cartel-grade custom-armored truck.
The culture of the military has trickled down to the street- Bigend knows that, and he'll find a way to take a cut. What surprises him though is that someone else seems to be on top of that situation in a way that Bigend associates only with himself. Bigend loves staring into the abyss of the global market; he's just not used to it staring back.
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William Gibson’s first novel, Neuromancer, won the Hugo Award, the Philip K. Dick Memorial Award, and the Nebula Award in 1984. He is also the New York Times bestselling author of Count Zero, Mona Lisa Overdrive, Burning Chrome, Virtual Light, Idoru, All Tomorrow’s Parties, Pattern Recognition, Spook Country, Zero History, Distrust That Particular Flavor, and The Peripheral. He lives in Vancouver, British Columbia, with his wife.Excerpt. © Reprinted by permission. All rights reserved.:
Inchmale hailed a cab for her, the kind that had always been black, when she'd first known this city.
Pearlescent silver, this one. Glyphed in Prussian blue, advertising something German, banking services or business software; a smoother simulacrum of its black ancestors, its faux-leather upholstery a shade of orthopedic fawn.
"Their money's heavy," he said, dropping a loose warm mass of pound coins into her hand. "Buys many whores." The coins still retained the body heat of the fruit machine from which he'd deftly wrung them, almost in passing, on their way out of the King's Something.
"My countrymen's. Freely given."
"I don't need this." Trying to hand it back.
"For the cab." Giving the driver the address in Portman Square.
"Oh Reg," she said, "it wasn't that bad. I had it in money markets, most of it."
"Bad as anything else. Call him."
"Call him," he repeated, wrapped in Japanese herringbone Gore-Tex, multiply flapped and counter-intuitively buckled.
He closed the cab's door.
She watched him through the rear window as the cab pulled away. Stout and bearded, he turned now in Greek Street, a few minutes past midnight, to rejoin his stubborn protégé, Clammy of the Bollards. Back to the studio, to take up their lucrative creative struggle.
She sat back, noticing nothing at all until they passed Selfridges, the driver taking a right.
The club, only a few years old, was on the north side of Portman Square. Getting out, she paid and generously tipped the driver, anxious to be rid of Inchmale's winnings.
Cabinet, so called; of Curiosities, unspoken. Inchmale had become a member shortly after they, the three surviving members of the Curfew, had licensed the rights to "Hard to Be One" to a Chinese automobile manufacturer. Having already produced one Bollards album in Los Angeles, and with Clammy wanting to record the next in London, Inchmale had argued that joining Cabinet would ultimately prove cheaper than a hotel. And it had, she supposed, but only if you were talking about a very expensive hotel.
She was staying there now as a paying guest. Given the state of money markets, whatever those were, and the conversations she'd been having with her accountant in New York, she knew that she should be looking for more modestly priced accommodations.
A peculiarly narrow place, however expensive, Cabinet occupied half the vertical mass of an eighteenth-century townhouse, one whose façade reminded her of the face of someone starting to fall asleep on the subway. It shared a richly but soberly paneled foyer with whatever occupied the other, westernmost, half of the building, and she'd formed a vague conviction that this must be a foundation of some kind, perhaps philanthropic in nature, or dedicated to the advancement of peace in the Middle East, however eventual. Something hushed, in any case, as it appeared to have no visitors at all.
There was nothing, on façade or door, to indicate what that might be, no more than there was anything to indicate that Cabinet was Cabinet.
She'd seen those famously identical, silver-pelted Icelandic twins in the lounge, the first time she'd gone there, both of them drinking red wine from pint glasses, something Inchmale dubbed an Irish affectation. They weren't members, he'd made a point of noting. Cabinet's members, in the performing arts, were somewhat less than stellar, and she assumed that that suited Inchmale just about as well as it suited her.
It was the decor that had sold Inchmale, he said, and very likely it had been. Both he and it were arguably mad.
Pushing open the door, through which one might have ridden a horse without having to duck to clear the lintel, she was greeted by Robert, a large and comfortingly chalk-striped young man whose primary task was to mind the entrance without particularly seeming to.
"Good evening, Miss Henry."
"Good evening, Robert."
The decorators had kept it down, here, which was to say that they hadn't really gone publicly, ragingly, batshit insane. There was a huge, ornately carved desk, with something vaguely pornographic going on amid mahogany vines and grape clusters, at which sat one or another of the club's employees, young men for the most part, often wearing tortoiseshell spectacles of the sort she suspected of having been carved from actual turtles.
Beyond the desk's agreeably archaic mulch of paperwork twined a symmetrically opposed pair of marble stairways, leading to the floor above; that floor being bisected, as was everything above this foyer, into twin realms of presumed philanthropic mystery and Cabinet. From the Cabinet side, now, down the stairs with the wider-shins twist, cascaded the sound of earnest communal drinking, laughter and loud conversation bouncing sharply off unevenly translucent stone, marbled in shades of aged honey, petroleum jelly, and nicotine. The damaged edges of individual steps had been repaired with tidy rectangular inserts of less inspired stuff, pallid and mundane, which she was careful never to step on.
A tortoise-framed young man, seated at the desk, passed her the room key without being asked.
"You're welcome, Miss Henry."
Beyond the archway separating the stairways, the floor plan gave evidence of hesitation. Indicating, she guessed, some awkwardness inherent in the halving of the building's original purpose. She pressed a worn but regularly polished brass button, to call down the oldest elevator she'd ever seen, even in London. The size of a small, shallow closet, wider than it was deep, it took its time, descending its elongated cage of black-enameled steel.
To her right, in shadow, illuminated from within by an Edwardian museum fixture, stood a vitrine displaying taxidermy. Game birds, mostly; a pheasant, several quail, others she couldn't put a name to, all mounted as though caught in motion, crossing a sward of faded billiard-felt. All somewhat the worse for wear, though no more than might be expected for their probable age. Behind them, anthropomorphically upright, forelimbs outstretched in the manner of a cartoon somnambulist, came a moth-eaten ferret. Its teeth, which struck her as unrealistically large, she suspected of being wooden, and painted. Certainly its lips were painted, if not actually rouged, lending it a sinisterly festive air, like someone you'd dread running into at a Christmas party. Inchmale, on first pointing it out to her, had suggested she adopt it as a totem, her spirit beast. He claimed that he already had, subsequently discovering he could magically herniate the disks of unsuspecting music executives at will, causing them to suffer excruciating pain and a profound sense of helplessness.
The lift arrived. She'd been a guest here long enough to have mastered the intricacies of the articulated steel gate. Resisting an urge to nod to the ferret, she entered and ascended, slowly, to the third floor.
Here the narrow hallways, walls painted a very dark green, twisted confusingly. The route to her room involved opening several of what she assumed were fire doors, as they were very thick, heavy, and self-closing. The short sections of corridor, between, were hung with small watercolors, landscapes, un-peopled, each one featuring a distant folly. The very same distant folly, she'd noticed, regardless of the scene or region depicted. She refused to give Inchmale the satisfaction he'd derive from her asking about these, so hadn't. Something too thoroughly liminal about them. Best not addressed. Life sufficiently complicated as it was.
The key, attached to a weighty brass ferrule sprouting thick soft tassels of braided maroon silk, turned smoothly in the lock's brick-sized mass. Admitting her to Number Four, and the concentrated impact of Cabinet's designers' peculiarity, theatrically revealed when she prodded the mother-of-pearl dot set into an otherwise homely gutta-percha button.
Too tall, somehow, though she imagined that to be the result of a larger room having been divided, however cunningly. The bathroom, she suspected, might actually be larger than the bedroom, if that weren't some illusion.
They'd run with that tallness, employing a white, custom-printed wallpaper, decorated with ornate cartouches in glossy black. These were comprised, if you looked more closely, of enlarged bits of anatomical drawings of bugs. Scimitar mandibles, spiky elongated limbs, the delicate wings (she imagined) of mayflies. The two largest pieces of furniture in the room were the bed, its massive frame covered entirely in slabs of scrimshawed walrus ivory, with the enormous, staunchly ecclesiastic-looking lower jawbone of a right whale, fastened to the wall at its head, and a birdcage, so large she might have crouched in it herself, suspended from the ceiling. The cage was stacked with books, and fitted, inside, with minimalist Swiss halogen fixtures, each tiny bulb focused on one or another of Number Four's resident artifacts. And not just prop books, Inchmale had proudly pointed out. Fiction or non-, they all seemed to be about England, and so far she'd read parts of Dame Edith Sitwell's English Eccentrics and most of Geoffrey Household's Rogue Male.
She took off her coat, putting it on a stuffed, satin-covered hanger in the wardrobe, and sat on the edge of the bed to untie her shoes. The Piblokto Madness bed, Inchmale called it. "Intense hysteria," she recited now, from memory, "depression, coprophagia, insensitivity to cold, echolalia." She kicked her shoes in the direction of the wardrobe's open door. "Hold the coprophagia," she added. Cabin fever, this culture-bound, arctic condition. Possibly dietary in origin. Linked to vitamin A toxicity. Inchmale was full of this sort of information, never more so than when he was in the studio. Give Clammy a whole hod of vitamin A, she'd suggested, he looks like he could use it.
Her gaze fell on three unopened brown cartons, stacked to the left of the wardrobe. These contained shrink-wrapped copies of the British edition of a book she'd written in hotel rooms, though none as peculiarly memorable as this one. She'd begun just after the Chinese car commercial money had come in. She'd gone to Staples, West Hollywood, and bought three flimsy Chinese-made folding tables, to lay the manuscript and its many illustrations out on, in her corner suite at the Marmont. That seemed a long time ago, and she didn't know what she'd do with these copies. The cartons of her copies of the American edition, she now remembered, were still in the luggage room of the Tribeca Grand.
"Echolalia," she said, and stood, removing her sweater, which she folded and put in a chest-high drawer in the wardrobe, beside a small silk land mine of potpourri. If she didn't touch it, she knew, she wouldn't have to smell it. Putting on an off-white Cabinet robe, more velour than terry but somehow just missing whatever it was that made her so un-fond of velour bathrobes. Men, particularly, looked fundamentally untrustworthy in them.
The room phone began to ring. It was a collage, its massive nautical-looking handset of rubber-coated bronze resting in a leather-padded cradle atop a cubical box of brass-cornered rosewood. Its ring was mechanical, tiny, as though you were hearing an old-fashioned bicycle bell far off down a quiet street. She stared hard, willing it to silence.
"Intense hysteria," she said.
It continued to ring.
Three steps and her hand was on it.
It was as absurdly heavy as ever.
"Coprophagia." Briskly, as if announcing a busy department in a large hospital.
"Hollis," he said, "hello."
She looked down at the handset, heavy as an old hammer and nearly as battered. Its thick cord, luxuriously cased in woven burgundy silk, resting against her bare forearm.
She pictured herself driving the handset through brittle antique rosewood, crushing the aged electro-mechanical cricket within. Too late now. It had already fallen silent.
"I saw Reg," he said.
"I told him to ask you to call."
"I didn't," she said.
"Good to hear your voice," he said.
"A good night's sleep, then," heartily. "I'll be by in the morning, for breakfast. We're driving back tonight. Pamela and I."
"Where are you?"
She saw herself taking an early cab to Paddington, the street in front of Cabinet deserted. Catching the Heathrow Express. Flying somewhere. Another phone ringing, in another room. His voice.
"Norwegian black metal," he said, flatly. She pictured Scandinavian folk jewelry, then self-corrected: the musical genre. "Reg said I might find it interesting."
Good for him, she thought, Inchmale's subclinical sadism sometimes finding a deserving target.
"I was planning on sleeping in," she said, if only to be difficult. She knew now that it was going to be impossible to avoid him.
"Eleven, then," he said. "Looking forward to it."
"Good night. Hubertus."
"Good night." He hung up.
She put the handset down. Careful of the hidden cricket. Not its fault.
Nor even his, probably. Whatever he was.
2. EDGE CITY
Milgrim considered the dog-headed angels in Gay Dolphin Gift Cove.
Their heads, rendered slightly less than three-quarter scale, appeared to have been cast from the sort of plaster once used to produce worryingly detailed wall-decorations: pirates, Mexicans, turbaned Arabs. There would almost certainly be examples of those here as well, he thought, in the most thoroughgoing trove of roadside American souvenir kitsch he'd ever seen.
Their bodies, apparently humanoid under white satin and sequins, were long, Modigliani-slender, perilously upright, paws crossed piously in the manner of medieval effigies. Their wings were the wings of Christmas ornaments, writ larger than would suit the average tree.
They were intended, he decided, with half a dozen of assorted breed facing him now, from behind glass, to sentimentally honor deceased pets.
Hands in trouser pockets, he quickly swung his gaze to a broader but generally no less peculiar visual complexity, noting as he did a great many items featuring Confederate-flag motifs. Mugs, magnets, ashtrays, statuettes. He considered a knee-high jockey boy, proffering a small round tray rather than the traditional ring. Its head and hands were a startling Martian green (so as not to give the traditional offense, he assumed). There were also energetically artificial orchids, coconuts carved to suggest the features of some generically indigenous race, and prepackaged collections of rocks and minerals. It was like being on the bottom of a Coney Island grab-it game, one in which the eclectically un-grabbed had been accumulating for decades. He looked up, imagining a giant, three-pronged claw, agent of stark removal, but there was only a large and heavily varnished shark, suspended overhead like the fuselage of a small plane.
How old did a place like this have to be, in America, to have "gay" in its name? Some percentage of the stock here, he judged, had been manufactured in Occupi...
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Descrizione libro Viking, 2011. Paperback. Condizione libro: New. BRAND NEW ** SUPER FAST SHIPPING FROM UK WAREHOUSE ** 30 DAY MONEY BACK GUARANTEE. Codice libro della libreria mon0000268130
Descrizione libro Penguin Books Ltd, United Kingdom, 2011. Paperback. Condizione libro: New. Language: English . Brand New Book. Former hit singer Hollis is down on her luck after the Crash and can t turn down the offer of a job again from mysterious global ad agency, Blue Ant. Stanley Milgrim, ex-addict freshly out of an expensive rehab paid for by Blue Ant-founder Hubertus Bigend, is also on the payroll. Bigend wants them to do some discreet research on an a secret, obscurely fashionable denim. It may not matter that they know nothing about fashion - but it does matter, at least to them, when bullets start to fly and they realize that Bigend s business obsession is leading them down a dangerous path.Set among London s dark and tangled streets, Zero History is a brilliant thriller about the webs and networks of the new century. Codice libro della libreria AAW9780670919550
Descrizione libro Penguin Books Ltd, 2011. PAP. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria CP-9780670919550
Descrizione libro Viking, 2011. Paperback. Condizione libro: Brand New. 416 pages. In Stock. Codice libro della libreria __0670919551
Descrizione libro Viking, 2011. Paperback. Condizione libro: New. book. Codice libro della libreria M0670919551