Mona Lisa Overdrive.

My buyers’ guide to the outfielder market is up for Insiders. Also, I’ll have my annual boardgame rankings post up later this week, but as a preview, my #1 game is still Carcassonne and it’s on sale now for $22.59 on amazon.

William Gibson’s Sprawl trilogy began with the seminal 1984 novel Neuromancer, which was the first book to win the trifecta of sci-fi awards (the Hugo, the Nebula, and the Philip K. Dick); the book kickstarted the cyberpunk movement, foresaw all manner of cultural shifts that would come about due to the wiring of the world, and may have even helped shape some of the Internet’s early development. I read it in 2005, and it still stands out as a unique work of speculative fiction, one that is overwhelmingly intelligent without ever becoming inaccessible, with a bleak yet expansive vision of a future that isn’t quite dystopian but is certainly light on flowers and rainbows.

I read the sequel, Count Zero, around this time last year, and it didn’t move the needle much for me, as the tripartite storytelling technique felt disjointed, and it was never quite clear why I cared about any of what was going on. The conclusion of the trilogy, Mona Lisa Overdrive, ties the Count Zero plot together with threads from Neuromancer (bringing back Molly, one of that book’s two protagonists), in a highly ambitious storyline that was engrossing but never gets the coherent ending that Gibson probably had in mind.

The narrative of MLO starts from scratch, as we are dropped into four subplots that, as in the preceding book, will all come together by the conclusion, including a not-quite-dead hacker on a stretcher who is comatose and permanently jacked in to the “matrix” and the simstim (a sort of cyberspace reality TV show) star Angela Mitchell whom we met in Count Zero. Someone is after these two people, for reasons that even at the end of the book aren’t exactly clear, leading to a sort of creeping chase throughout the novel where, at first, the targets aren’t even aware anyone’s after them, and various other characters are “used” without their knowledge as part of the hunt.

Gibson’s brilliance in Neuromancer was in his foresight, seeing the potential gains and dangers of the then-nascent technology and concocting a fictional environment that built a culture around the tech – being connected, or interconnected, will change us all in substantial ways, from how we work to how we interact with each other. (It already has, in the First and Third Worlds, albeit in differing ways.) He became a cyberpunk prophet for the depth and incisiveness of his vision; he didn’t just talk about hacking, but about what hacking and hackers might be like. It’s not hard science fiction where we get lengthy explanations of how stuff works; Gibson takes that as a given, which can make his prose a bit confusing at times due to his neologisms and colloquial dialogue, but also has the effect of putting the reader more directly in the story while allowing him to focus on character and emotion.

However, Mona Lisa Overdrive‘s climax falls quite a bit short of his lofty goals. Gibson began to touch on the topic of digital immortality, of uploading one’s “personality” into the matrix to continue to function after the death of the body, but it becomes a mere plot device here, with no exploration of any of the myriad questions around the possibility. The reasons for the conspiracy to kidnap Angela Mitchell or the hunt for the comatose man are still ambiguous after the conclusion, while the actual denouement seems deliberately open-ended and rather unsatisfying. I read Gibson for his vision, but I think here he didn’t offer enough of it.

Next up: Peter Taylor’s 1987 Pulitzer-winning novel A Summons to Memphis.