How does Count Zero, William Gibson‘s second novel, hold up more than 35 years after its publication? That’s what I was thinking about, re-reading the book for the first time in at least a decade.
At the end of Neuromancer, Gibson’s first, genre-defining novel, something happened to the AIs and the entirety of cyberspace, something ineffable, something more gestured at than defined, but something that is implied to be transcendent. Count Zero begins seven or eight years after Neuromancer, according to oblique references about halfway through the book. Most of what Gibson is up to in Count Zero is oblique, an early trademark that continues into his current work.
Count Zero tells three stories, only weaving them together very late in the novel. First up is Turner, a hypercompetent mercenary of ruthless corporate espionage and warfare. He starts the novel getting put back together after being blown nearly to bits in the first paragraph, a typically dense Gibson alloy of tech, geography, neologism and action:
They set a slamhound on Turner’s trail in New Delhi, slotted it to his pheromones and the color of his hair. It caught up with him on a street called Chandni Chauk and came screaming for his rented BMW through a forest of bare brown legs and pedicab tires. Its core was a kilogram of recrystallized hexogene and flaked TNT. (p. 1)
Turner is close to Case in Neuromancer, a classic noir protagonist, a driven operator out to do his job and in search of the edge.
Marly’s manipulative ex-boyfriend got her into an art-world scandalette, hoodwinking her into trying to pass a forgery along to a more prominent gallerist. She’s putting her life back together as she enters Count Zero, sleeping on a female friend’s couch, wondering where any money will come from. A job interview with Herr Virek, a renowned collector, turns out to be much, much more than she bargained for. Virek is looking for the artist behind some unusual found-object sculpture collages. He has wealth beyond Marly’s comprehension, and he is prepared to pay handsomely for her intuition. One problem is that the path to the artist runs through her ex.