William Gibson - Pattern Recognition

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PATTERN RECOGNITION

WILLIAM GIBSON

VIKING

an imprint of PENGUIN BOOKS

Pattern Recognition

EDG Stylesheet 1

CONTENTS

1. THE WEBSITE OF DREADFUL NIGHT

2. BITCH

3. THE ATTACHMENT

4. MATH GRENADES

5. WHAT THEY DESERVE

6. THE MATCH FACTORY

7. THE PROPOSITION

8. WATERMARK

9. TRANS

10. JACK MOVES, JAME FACES

11. BOONE CHU

12. APOPHENIA

13. LITTLE BOAT

14. THE GAIiJIN FACE OF BIKKLE

15. SINGULARITY

16. GOING MOBILE

17. MAKING MAYHEM

18. H O N G O

INTO THE MYSTIC19.

20. UBER−BONES

21. THE DEAD REMEMBER

22. T A R N

23. DICKHEADS

Pattern Recognition

2 CONTENTS

24. CYPRUS

25. SIGIL

26. SIGINT

27. THE SHAPE OF THE ENTHUSIAST

28. WITHIN THE MEANING

29. PROTOCOL

3O. .RU

31. THE PROTOTYPE

32. PARTICIPATION MYSTIQUE

33. BOT

34. ZAMOSKCVARECH

35. KDOEMN

36. THE DIG

37. KINO

38. PUPPENKOPH

39. BED DUST

40. THE DREAM ACADEMY

41. A TOAST TO MR. POLLARD

42. HIS MISSINGNISS

AUTHORS NOTE

SCAN NOTES AND PROOF HISTORY

Pattern Recognition

CONTENTS 3

1. THE WEBSITE OF DREADFUL NIGHT

Contents − Next

Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever−circling wolves

of disrupted circadian rhythm.

It is that flat and spectral non−hour, awash in limbic tides, brainstem stirring fitfully, flashing inappropriate

reptilian demands for sex, food, sedation, all of the above, and none really an option now.

Not even food, as Damien's new kitchen is as devoid of edible content as its designers' display windows in

Camden High Street. Very handsome, the upper cabinets faced in canary−yellow laminate, the lower with

lacquered, unstained apple−ply. Very clean and almost entirely empty, save for a carton containing two dry

pucks of Weetabix and some loose packets of herbal tea. Nothing at all in the German fridge, so new that its

interior smells only of cold and long−chain monomers.

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.

She wonders if this gets gradually worse with age: the nameless hour deeper, more null, its affect at once

stranger and less interesting?

Numb here in the semi−dark, in Damien's bedroom, beneath a silvery thing the color of oven mitts, probably

never intended by its makers to actually be slept under. She'd been too tired to find a blanket. The sheets

between her skin and the weight of this industrial coverlet are silky some luxurious thread count, and they

smell faintly of, she guesses,

Damien. Not badly, though. Actually it's not unpleasant; any physical linkage to a fellow mammal seems a

plus at this point.

Damien is a friend.

Their boy−girl Lego doesn't click, he would say.

Damien is thirty, Cayce two years older, but there is some carefully insulated module of immaturity in him,

some shy and stubborn thing that frightened the money people. Both have been very good at what they've

done, neither seeming to have the least idea of why.

Google Damien and you will find a director of music videos and commercials. Google Cayce and you will

find "coolhunter," and if you look closely you may see it suggested that she is a "sensitive" of some kind, a

dowser in the world of global marketing.

Though the truth, Damien would say, is closer to allergy, a morbid and sometimes violent reactivity to the

semiotics of the marketplace.

Pattern Recognition

4 1. THE WEBSITE OF DREADFUL NIGHT

Damien's in Russia now, avoiding renovation and claiming to be shooting a documentary. Whatever faintly

lived−in feel the place now has, Cayce knows, is the work of a production assistant.

She rolls over, abandoning this pointless parody of sleep. Gropes for her clothes. A small boy's black Fruit Of

The Loom T−shirt, thoroughly shrunken, a thin gray V−necked pullover purchased by the half−dozen from a

supplier to New England prep schools, and a new and oversized pair of black 501's, every trademark carefully

removed. Even the buttons on these have been ground flat, featureless, by a puzzled Korean locksmith, in the

Village, a week ago.

The switch on Damien's Italian floor lamp feels alien: a different click, designed to hold back a different

voltage, foreign British electricity.

Standing now, stepping into her jeans, she straightens, shivering.

Mirror−world. The plugs on appliances are huge, triple−pronged, for a species of current that only powers

electric chairs, in America. Cars are reversed, left to right, inside; telephone handsets have a different weight,

a different balance; the covers of paperbacks look like Australian money.

Pupils contracted painfully against sun−bright halogen, she squints into an actual mirror, canted against a gray

wall, awaiting hanging, wherein she sees a black−legged, disjointed puppet, sleep−hair poking up like a toilet

brush. She grimaces at it, thinking for some reason of a boyfriend who'd insisted on comparing her to Helmut

Newton's nude portrait of Jane Birkin.

In the kitchen she runs tap water through a German filter, into an Italian electric kettle. Fiddles with switches,

one on the kettle, one on the plug, one on the socket. Blankly surveys the canary expanse of laminated

cabinetry while it boils. Bag of some imported Californian tea substitute in a large white mug. Pouring boiling

water.

In the flat's main room, she finds that Damien's faithful Cube is on, but sleeping, the night−light glow of its

static switches pulsing gently. Damien's ambivalence toward design showing here: He won't allow decorators

through the door unless they basically agree to not do that which they do, yet he holds on to this Mac for the

way you can turn it upside down and remove its innards with a magic little aluminum handle. Like the sex of

one of the robot girls in his video, now that she thinks of it.

She seats herself in his high−backed workstation chair and clicks the transparent mouse. Stutter of infrared on

the pale wood of the long trestle table. The browser comes up. She types Fetish:Footage:Forum, which

Damien, determined to avoid contamination, will never bookmark.

The front page opens, familiar as a friend's living room. A frame−grab from #48 serves as backdrop, dim and

almost monochrome, no characters in view. This is one of the sequences that generate comparisons with

Tarkovsky. She only knows Tarkovsky from stills, really, though she did once fall asleep during a screening

of The Stalker, going under on an endless pan, the camera aimed straight down, in close−up, at a puddle on a

ruined mosaic floor. But she is not one of those who think that much will be gained by analysis of the maker's

imagined influences. The cult of the footage is rife with subcults, claiming every possible influence. Truffaut,

Peckinpah The Peckinpah people, among the least likely, are still waiting for the guns to be drawn.

She enters the forum itself now, automatically scanning titles of the posts and names of posters in the newer

threads, looking for friends, enemies, news. One thing is clear, though; no new footage has surfaced. Nothing

since that beach pan, and she does not subscribe to the theory that it is Cannes in winter. French footageheads

have been unable to match it, in spite of countless hours recording pans across approximately similar scenery.

Pattern Recognition

1. THE WEBSITE OF DREADFUL NIGHT 5

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PATTERNRECOGNITIONWILLIAMGIBSONVIKINGanimprintofPENGUINBOOKSPatternRecognitionEDGStylesheet1CONTENTS1.THEWEBSITEOFDREADFULNIGHT2.BITCH3.THEATTACHMENT4.MATHGRENADES5.WHATTHEYDESERVE6.THEMATCHFACTORY7.THEPROPOSITION8.WATERMARK9.TRANS10.JACKMOVES,JAMEFACES11.BOONECHU12.APOPHENIA13.LITTLEBOAT14.THEGAIiJ...

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William Gibson - Pattern Recognition

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