"Mike Rogers - gibson interview" - читать интересную книгу автора (Gibson Walter)

WG: That's truly amazing... That's pure... that's the European version of
_Virtual Light_. Yeah, that's actually... there's a level of irony about
that that I didn't get to in _Virtual Light_. Except in the Nightmare
Folk Art shop. All this Southern stuff is being sold, all these kind
racist antiques are being sold to the more affluent blacks of South
Central. But the very recycling of stuff where the very cobbles become
expensive antiques for the rich people... that's amazing.

MR: The blacks in South Central Los Angeles. I mean, the book was set there
and, I mean, you read City of Quartz which dealt a great deal with the
chicano and black development, and postulated their development in the
future, and yet they didn't feature very largely in _Virtual Light_. Do
you feel that you were't qualified?

WG: No. I didn't want to... It wasn't the time for me to take that on...
Yeah, I would generally say. Yeah. I'm not actually qualified to do
that now, and particularly not in a more realistic near future setting,
so I mean, they're there and there's a sprinkling of them to indicate
their presence in the mix. One thing that's not really underlined
enough to be clear in the Los Angeles sections is that I was assuming
that I was writing about a Los Angeles where the caucasians are the
minority, which is something that is demographically expected to happen
in L.A. eventually.

MR: Yeah. I was stunned the first time I was in new York and found all the
subway signs in Spanish after a lifetime of growing up with the Starsky
and Hutch white English American thing.

WG: Yeah. We have a neighbourhood in Vancouver where they've changed...
they've translated all the streetsigns into Bengali. And there's
Chinatown. That's quite the trend.

MR: And yet you find that you can write about women? All of your books
since Count Zero have had a female protagonist.

WG: I've always felt an obligation to try. And you know, in fact I think I
would tend to get pretty bored with the narrative if there weren't...
a few women around.

MR: And yet the only woman that featured, apart from your relatives, in
Agrippa was the likening of the shooting of a gun to the first kissing
of a woman in objective terms.

WG: Yeah. But don't ask me what that means.

MR: You'll just have to write more books to work it out?

WG: Yeah. No. I don't know. I mean, it's something that I... I do all this
stuff... kind of random exploratory... I'm exploring I know not what.