"I knew that cyberspace was exciting, but none of the people I knew who were actually involved in the nascent digital industry were exciting. I wondered what it would be like if they were exciting, stylish, and sexy. I found the answer not so much in punk rock as in Bruce Springsteen, in particular Darkness on the Edge of Town, which was the album Springsteen wrote as a response to punk—a very noir, very American, very literary album. And I thought, What if the protagonist of Darkness on the Edge of Town was a computer hacker? What if he’s still got Springsteen’s character’s emotionality and utterly beat-down hopelessness, this very American hopelessness? And what if the mechanic, who’s out there with him, lost in this empty nightmare of America, is actually, like, a robot or a brain in a bottle that nevertheless has the same manifest emotionality? I had the feeling, then, that I was actually crossing some wires of the main circuit board of popular culture and that nobody had ever crossed them this way before."
— Paris Review - The Art of Fiction No. 211, William Gibson (via hirmes)
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