His eyes were eggs of unstable crystal, vibrating with a frequency whose name was rain and the sound of trains, suddenly sprouting a humming forest of hair-fine glass spines.
Interpretation
This quote describes an intricate and surreal vision that blends elements of nature and technology.
William Gibson's quote evokes a vivid and imaginative scene where the fusion of organic and mechanical elements is portrayed through the metaphor of 'eyes' as 'eggs of unstable crystal.' The imagery suggests a fragility and complexity in perception, reflecting the author's themes of a cybernetic world where nature and technology intertwine, and the sensory experiences are layered and multifaceted, akin to a dream or a surreal landscape.
In practice
In a discussion about the intersection of technology and nature in modern literature.
She knows, now, absolutely, hearing the white noise that is London, that Damien's theory of jet lag is correct: that her mortal soul is leagues behind her, being reeled in on some ghostly umbilical down the vanished wake of the plane that brought her here, hundreds of thousands of feet above the Atlantic. Souls can't move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage.
If you've read a lot of vintage science fiction, as I have at one time or another in my life, you can't help but realise how wrong we get it. I have gotten it wrong more times than I've gotten it right. But I knew that when I started; I knew that before I wrote a word of science fiction.
I think I'd probably tell you that it's easier to desire and pursue the attention of tens of millions of total strangers than it is to accept the love and loyalty of the people closest to us.
As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.
I don't have to write about the future. For most people, the present is enough like the future to be pretty scary.
I think that technologies are morally neutral until we apply them. It's only when we use them for good or for evil that they become good or evil.
These designers have no reserve. They've chosen a path and thrown themselves onto it head first, regardless of everything. Whether or not their designs are sellable or vulgar. As long as it's new and people talk about it. That is the truth.
Everyone who gave me food, who took away my hunger, inspired me to compose. They told me their stories, and I had no other way to console them than with a piece of music, and that is how I learned. I did not resolve their problems with my songs, but I created a moment of release.
When I am putting looks together, I dare myself to make something work. I always look for the most interesting silhouette or something that's a little off, but I have to figure it out. I have to make it me. I think that's the thrill in fashion.
Dance music ... stirs some barbaric instinct - lulled asleep in our sober lives - you forget centuries of civilization in a second, & yield to that strange passion which sends you madly whirling round the room.
Hollywood is a very volatile place where artists come in, and they essentially say they want to belong. It's incredibly vulnerable to be an actor and also get criticism at a young age when you're formulating who you are. We've seen a lot of people fall victim to that, and it's very unfortunate.
I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.
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