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Books on the topic 'William Gibson'

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Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

Olsen, Lance. William Gibson. San Bernardino, Calif: Borgo Press, 1992.

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Olsen, Lance. William Gibson. San Bernadino, Calif: Borgo Press, 1992.

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3

Miller, Gerald Alva. Understanding William Gibson. Columbia, SC: The University of South Carolina Press, 2016.

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4

Henthorne, Tom. William Gibson: A literary companion. Jefferson, N.C: McFarland, 2011.

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5

Kelling, Fred. Fisherman of Faroe: William Gibson Sloan. Göta, Faroe Islands: Leirkeriđ Publications, 1993.

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6

Rapatzikou, Tatiani G. Gothic motifs in the fiction of William Gibson. Amsterdam: Rodopi, 2004.

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Rapatzikou, Tatiani G. Gothic motifs in the fiction of William Gibson. Amsterdam: Rodopi, 2004.

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8

Dalgaard, Niels. Tekn ologi og identitet: William Gibson og science fiction. Frederiksberg: Science Fiction Cirklen, 1995.

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9

Cavallaro, Dani. Cyberpunk and cyberculture: Science fiction and the work of William Gibson. London: Athlone Press, 2000.

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10

Odets, Clifford. The time is ripe: The 1940 journal of Clifford Odets ; with an introduction by William Gibson. New York, N.Y: Grove Press, 1988.

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11

Haven, Tom De. William Gibson's Neuromancer. New York, N.Y: Epic Comics, 1989.

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12

Luckey, Ann Colvin. The Luckey family of Tennessee: A genealogical history of John Henry Luckey, William Franklin Luckey, and Samuel Joseph Luckey of Gibson/Madison counties, Tennessee, their ancestors and descendants, 1732-1987. Cullman, Ala. (P.O. Box 1045, Cullman 35056-1045): Gregath Co., 1987.

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13

Kirschenbaum, Matthew G. Mechanisms: New media and the forensic imagination. Cambridge, Mass: MIT Press, 2007.

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14

El-Hage, George Nicolas. William Blake & Kahlil Gibran: Poets of prophetic vision. Louaize, Lebanon: NDU Press, 2002.

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15

Koltick, Lona Black. My colonial ancestry: Acklen, Black, Brown, Foster, Gibson, Howell, Lee, Moore, Taylor, Williams. Knoxville, TN: Tennessee Valley Pub., 1999.

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16

Watson, Pat. A literature guide for William Gibson's The miracle worker. San Antonio, Tex: ECS Learning Systems, 1995.

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17

Westfahl, Gary. William Gibson. 2013.

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18

Westfahl, Gary. William Gibson. University of Illinois Press, 2013.

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19

Olsen, Lance. William Gibson. Wildside Press, LLC, 1992.

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20

Miller, Gerald Alva (Al). Understanding William Gibson. University of South Carolina Press, 2016.

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21

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2016.

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22

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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23

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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24

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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25

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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26

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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27

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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28

Smith, Patrick A. Conversations with William Gibson. University Press of Mississippi, 2014.

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29

Dhalgren: Forward by William Gibson. New York : Vintage Books, 2001.

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30

Westfahl, Gary. An Interview with William Gibson. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0010.

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31

Olsen, Lance. William Gibson (Starmont Reader's Guide no. 58). Starmont House, 1992.

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32

Viewing Guide The Miracle Worker William Gibson. Novel Units, 1997.

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33

SuperSummary. Study Guide: Burning Chrome by William Gibson. Independently Published, 2020.

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34

Cadigan, Pat, and William Gibson. Alien 3: The Unproduced Screenplay by William Gibson. Titan Books, 2022.

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35

Hoepker, Karin. No Maps for These Territories: Cities, Spaces, and Archaeologies of the Future in William Gibson. Rodopi, 2011.

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36

Cadigan, Pat, and William Gibson. Alien 3: The Unproduced Screenplay by William Gibson. Titan Books, 2021.

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37

Stelljes, Jim. The miracle worker [by] William Gibson: Novel unit (Teacher Guide). Anne Troy and Phyllis Green, 1987.

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38

Rapatzikou, Tatiana G. Gothic Motifs in the Fiction of William Gibson (Postmodern Studies 36). Rodopi, 2004.

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39

Farm property for sale: Estate of the late William Gibson : the undersigned has received instructions from William Gibson to offer for sale by public auction .. [S.l.]: Statesman, 1985.

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40

Westfahl, Gary. A Dangerous Amateur. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0003.

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Abstract:

This chapter discusses William Gibson's contributions to science fiction fanzines in the 1960s, 1970s, and 1980s, with particular emphasis on his cartoons and articles. When he was fifteen, Gibson began publishing cartoons in Fanac and his own fanzines, which reflect an adolescent sense of humor. Two cartoons in Wormfarm indicate that Gibson, like many science fiction fans, detested John W. Campbell Jr.'s enthusiasms for dubious pseudoscience like psychic powers (“psionics”) and the Dean Drive, a purported engine that violated Newton's Third Law of Motion. Gibson's prose in early fanzines is generally unmemorable, suggesting that he channeled his creative energies into poetry at the time. During his stay in Arizona, Gibson devoted his time to doing normal things, but he never really stopped reading science fiction. This chapter also considers Gibson's published reviews and articles, including “Stoned,” which appeared in the 1976 issue of the BCSFA Newsletter.

41

Chadwick, D. A. Deer Creek: The Murders of William H. Gibson and John S. Frazer. WordMerchant Publications, 2021.

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42

Bigger, David Dwight. Ohio's Silver-Tongued Orator: Life and Speeches of General William H. Gibson. Franklin Classics Trade Press, 2018.

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43

Bigger, David Dwight. Ohio's Silver-Tongued Orator: Life and Speeches of General William H. Gibson. Creative Media Partners, LLC, 2018.

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44

Bigger, David Dwight. Ohio's Silver-Tongued Orator: Life and Speeches of General William H. Gibson. Franklin Classics Trade Press, 2018.

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45

Bigger, David Dwight. Ohio's Silver-Tongued Orator: Life and Speeches of General William H. Gibson. Creative Media Partners, LLC, 2018.

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46

GARTHWAITE, Kathy. Murder at Lake Ontario: Detective William Gibson Returns in This Gripping Murder Mystery. Independently Published, 2019.

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47

Hussey, John. John Gibson R.A.: The World of the Master Sculptors. Countyvise, 2012.

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48

John Gibson R.A.: The World of the Master Sculptors. Birkenhead, Wirral, UK: Countyvise, 2012.

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49

Westfahl, Gary. Legends of the Sprawl. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0005.

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Abstract:

This chapter examines three of William Gibson's novels: Neuromancer, Count Zero, and Mona Lisa Overdrive. In Neuromancer, Gibson moved into new territory cautiously, employing a familiar setting—his Sprawl—while essentially combining the plots of two earlier stories. As in “Johnny Mnemonic,” Case would undertake a physical journey through a threatening underworld to obtain crucial information; he would also travel through cyberspace to hack into a protected database. Drawing upon science fiction traditions, Gibson also introduced two significant novelties. Count Zero also features a young computer cowboy, Bobby Newmark, who adventures in both the Sprawl and cyberspace. However, while Newmark's alias Count Zero provides the novel's title, he would be only one of its three protagonists, and perhaps the least important one, as Gibson interweaves his narrative with the stories of two other, very different characters. Mona Lisa Overdrive relies heavily on characters from previous novels.

50

Westfahl, Gary. A Bridge to the Present. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0007.

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Abstract:

This chapter examines three William Gibson novels: Virtual Light, Idoru, and All Tomorrow's Parties. Virtual Light confirms Gibson's desire to break with the past and move in new directions. More specifically, Gibson wanted readers to enter and appreciate a different sort of Gibsonian world. Accordingly, Virtual Light was set in 2005, only twelve years after its publication, and its imagined new technologies were not far removed from actual technologies of the early 1990s. While computer hackers eventually play a small role in the story, there is only one fleeting glimpse of a virtual realm recalling cyberspace, and the two protagonists have almost no interactions with computers. While Gibson remained interested in futuristic science, this novel devotes more attention to speculative sociology. Idoru examines the mechanisms that promote celebrities and keep them in the public eye. It seems to repudiate Virtual Light, whereas All Tomorrow's Parties seems to repudiate Idoru.