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complications of the plot so successfully that it feels as if everything important is happening offstage". Roger
Perkins judged the novel to be "a triumph of style over substance – which is exactly the way you suspect that Gibson wants it." His colleague Martin mused that along with the regular Gibsonian tropes, there was "something new ... a dark and very contemporary surge of suspicion and bad faith" in the novel which suggested that the author might be approaching the apex of his writing. Dan Conover concluded that while the "darkly comic satire" was "a worthy addition to the Gibson canon and a significant cultural artifact", it would not rank among the author's best works.
27:
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700:, "an experience out of culture" which irrevocably changed the course of history and marked "the true beginning of the 21st century." After crafting 100 pages of that novel, he was compelled to re-write the main character's backstory, which the attacks had suddenly rendered implausible; this he called "the strangest experience I've ever had with a piece of fiction." The result saw Gibson noted as one of the first novelists to use the attacks to inform their writing. Nathan Lee in
1012:, Roger Perkins was more blunt, remarking that the "relentless pace and breathless dislocation" of the plot hid "character development that's as deep as dental veneer but equally shiny". Matt Thorne summed up the issue in opining that "The problem with a thriller which begins with a technology journalist talking to an experimental artist is that, no matter how exciting the events later become, it's hard to care."
26:
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had been called "cyberspace" is no longer a discrete sphere of activity separate from and secondary to normal human activity, but that those increasingly less common parts of normal life free from connectivity were the exception. "If the book has a point to make where we are now with cyberspace", he commented, it was that cyberspace "has colonized our everyday life and continues to colonize everyday life."
247:. Corrales leads her to Bobby Chombo, an expert in geospatial technologies who handles Corrales' technical requirements. Chombo's background is troubleshooting navigation systems for the United States military. He is reclusive and paranoid, refusing to sleep in the same GPS grid square on consecutive nights, and only consents to talk to Hollis due to his admiration for The Curfew.
203:; Tito, a young Cuban-Chinese operative whose family is on occasion in the employ of a renegade ex-CIA agent; and Milgrim, a drug-addled translator held captive by Brown, a strangely authoritarian and secretive man. Themes explored include the ubiquity of locative technology, the eversion of cyberspace and the political climate of the United States in the aftermath of the
394:, and instead reworked the material into the locative art of the novel. "When I started, I thought that the 'locative art' stuff would work the way immersion technology did in my earlier fiction", he commented in a subsequent interview. "Then I started liking that it wasn’t going to do that." The conception of the artworks in the novel was derived from the
858:– which is a beautifully multi-leveled title – takes an unflinching look at that culture. With a clear eye and a minimum of editorial comment, Gibson shows us a country that has drifted dangerously from its governing principles, evoking a kind of ironic nostalgia for a time when, as one character puts it, "grown-ups still ran things." In
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translator. The story of Tito's family of
Chinese exiles in Cuba turning to crime was not based on historical events, though their role as "illegal facilitators" was inspired by real crime families specializing in smuggling, a phenomenon Gibson encountered in the course of his work with the futurist consulting entity
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and how there is a subset of people who have access to a world of power and wealth that the vast majority will never experience, of which Gibson cited Brown and his evidently routine use of a private jet as an example. The author felt that at the time of writing, such social chasms were widening, and
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Ed Park singled out the author's prose for praise, proclaiming that "entence for sentence, few authors equal Gibson's gift for the terse yet poetic description, the quotable simile – people and products are nailed down with a beautiful precision approximating the platonic ideal of the catalog". Matt
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is less a conventional thriller than a devastatingly precise reflection of the
American zeitgeist, and it bears comparison to the best work of Don DeLillo. Although he is a very different sort of writer, Gibson, like DeLillo, writes fiction that is powerfully attuned to the currents of dread, dismay
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fiction. One character proposes that cyberspace is everting; becoming an integral and indistinguishable element of the physical world rather than a domain to be visited. During the book tour for the novel, Gibson elaborated on this theme, proposing that the ubiquity of connectivity meant that what
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which chronicles the story of a disappeared consignment of millions of Iraqi reconstruction money. The readers of the blog included a female networks theorist interested in locative technology, and a
Manhattanite of mixed heritage who freelanced with his family for organized crime. The plot would
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Reviewers were divided as to the merits of the novel's ending. Andy Smith lamented that the finale of the "mostly intriguing" novel was "distinctly anticlimactic". Tim Martin wrote that it seemed "somehow less than the sum of its parts". Clay Evans dismissed it as "not especially meaningful, but
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Gibson announced the novel on
October 6, 2006, on his blog, where fragments of the work were posted non-sequentially for some time, leading to much reader speculation on the content and plot of the novel. The following day, the blog featured an exploration of the mooted title by close friend and
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he was able to combine this with a sustained focus, this time it didn't quite work. Partly this is because the three-way narrative seems to dissipate rather than successfully hold the disparate parts together. Partly I think it's because the main characters seem just too passive or detached to
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The three strands of the novel converge on a shipping container of unspecified cargo that is being transported via a circuitous route to an unknown destination. In
Vancouver, the old man's team, with Hollis in tow, irradiate the shipping container, which is revealed to contain millions of U.S.
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orientation, Brown appears to have a background in law enforcement, but little training in tradecraft. Brown and his team attempt to track the activities of the old man and Tito with the help of Brown's captive
Milgrim, whom he has translate the volapuk-encoded Russian used by Tito's family to
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In some ways
September 11 was the true beginning of the 21st century at this point it is still perhaps only our narrative. But the way we have responded to it is changing things for other people in the world, too. So it is now becoming part of their narratives and their narratives will have
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The characters from the proposal did appear in the final version, albeit in much-altered form. An early draft featuring the musician-turned-journalist Hollis and half-Cuban spy Tito as the two protagonists did not satisfy Gibson, and so he introduced the character of
Milgrim, the drug-addled
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reviewer
Michael Berry called it "an ingenious reversal" which proved that despite its apparent cynicism, the novel was "oddly optimistic for a ghost story". Overall, Thorne judged the novel ultimately unsatisfactory on account of the underwhelming ending and because Gibson "hides the full
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in winter, from which the character of Tito emerged. Little of the material in his original pitch of the novel (posted online as part of an early promotional campaign by the book's publishers) survived in the final draft. The original proposal focused on "Warchalker", an obscure Iraqi
441:: the place where we have all landed, few by choice, and where we are learning to live. The country inside and outside of the skull. The soul, haunted by the past, of what was, of what might have been. The realization that not all forking paths are equal – some go down in value.
1008:, in awarding the novel a "B" rating concurred, complaining that the protagonists "often just feel like higher-tech automatons with useful features" whose actions are the product of manipulation by "external forces and cagey operatives" rather than conscious decisions. In
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elaborated, proposing that it was "arguably the first example of the post-post-9/11 novel, whose characters are tired of being pushed around by forces larger than they are – bureaucracy, history and, always, technology – and are at long last ready to start pushing back".
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websites through links from a friend, and initially found the phenomenon to be "excessively nerdy and very conceptual". Despite his finding compelling the idea of a digital grid mapping the surface of the earth, Gibson saw little storytelling traction in
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religion. It is alluded that the old man may have connections to American intelligence circles and Tito hopes he can explain the mysterious death of his father. When the old man calls in a favour, his family dispatches Tito on a dangerous new assignment.
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observed that "This is a novel about, and also full of, ghost-signs, or signs that may not be signs, and about the difficulty of telling the difference. Gibson delights in saturating the pages with data that may or may not encode clues for the reader."
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came to inhabit the same fictional universe as its predecessor. In a January 2007 interview, the author revealed that the later novel was set in the spring of 2006, and described the shared world of the novels as "more or less the one we live in now".
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was the sense that everything in the text was potentially searchable online. "It's as though there is a sort of invisible hyperlink theoretical text that extends out of the narrative of my novel in every direction", he commented. A recipient of an
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I kept running up against that feeling that the world I'm actually trying to predict is becoming more Victorian, not less. Less middle class, more like Mexico, more like Mexico City. And I think that's probably not a good
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found that "andscapes, events and points of view shift constantly, so that the reader never truly feels on solid ground", but judged the novel to be a "vivid, suspenseful and ultimately coherent tale". In a review for
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s Dan Conover, who, although praising the novel's intelligence and contemporary relevance, felt that Gibson's underlying political pre-occupation and detached narration came at the expense of character development.
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Thorne noted that while he found Gibson's tendency towards hyper-specificity initially irritating, "there's hypnotic quality to the relentless cataloguing". The author's prose was also extolled by Clay Evans of the
949:, Nisi Shawl gushed that "ven without the high cool quotient of the novel's contents, the pleasure of Gibson's prose would be enough inducement for most of us to immerse ourselves in this book...." Simon Cooper of
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generate sufficient narrative tension. Still, Gibson is better than most writers with his take on the science-fictionalised present, and there is no denying that the book has moments of aphoristic brilliance.
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than Gibson's earlier novels, it retained their "wit, virtuosity and insights", and had "the same giddy mix of techno-fetishism, nuanced edge and phraseological finesse which enlivened his previous work".
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promoting the novel, Gibson conjectured that the world was moving to a situation wherein social status is determined by "connectivity" – access to communications technology – rather than material wealth.
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family of freelance "illegal facilitators", as Brown describes them – forgers, smugglers, and associated support personnel based in New York City – and is assigned by his uncles to hand over a series of
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to a greater extent than in any of the author's previous novels. The novel can be read as an exploration of the fear, uncertainty and pervasive paranoia of an America riven by the unending and divisive
412:), which he honed while poring over catalogues of products as part of his writing process. The author found the writing process unnerving, as the solution to the mystery of the container – the novel's
243:) about the use of locative technology in the art world. Helped by curator Odile Richard she investigates Los Angeles artist Alberto Corrales, who recreates virtually the deaths of celebrities such as
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concurred, writing that despite the similarity in the plots of the novels, the narrative foundation of the later novel was firmer, its structure "more sophisticated" and its "seams less visible".
199:, which featured much of the same core cast of characters. The plot comprises the intersecting tales of three protagonists: Hollis Henry, a musician-turned-journalist researching a story on
429:: as spectre, ghost, revenant, remnant of death, the madness lingering after the corpse is sloughed off. Slang for intelligence agent; agent of uncertainty, agent of fear, agent of fright.
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conjectured that it was part of Gibson's conscious design that that thread "plays out against a backdrop of hidden machinations that have a much darker, wider resonance". Thorne declared
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began for Gibson with a desire to write a novel, but without any ideas or themes that he wished to explore. The impetus for the story grew out of the author's visual impressions of
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963:, but for me the parts were greater than the whole. Gibson is a master at rendering the all pervasive but subliminal paranoia of our high-tech market society. But whereas in
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different versions of the cause and its effects of the event. So it is like this seismic shock, one whose waves are still moving up the time line. At its epicentre is 9/11.
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to give a reading of the novel; later reflecting on the experience, he remarked that the Second Life construct was "a lot more corporate" than he had imagined. A report in
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as "deliciously sinister". Tim Martin thought that the plot lacked direction at times. Although he conceded that the novel's main Henry/Bigend storyline felt lightweight,
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s hardcover fiction bestseller list for the Washington D.C. area in late August at #4, and by September had reached #2 in San Francisco and Canada. It was listed at #6 on
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Tracking Tito's family is a man known as Brown, a brusque and obstinate lead covert operative for a shadowy organization of unclear connection to the U.S. government. Of
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The first strand of the novel follows Hollis Henry, a former member of the early 1990s cult band The Curfew and a freelance journalist. She is hired by advertising mogul
289:'s father, having removed himself from the channels of normal life to focus on disrupting what he sees as criminal elements operating in the United States Government.
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301:. Brown believes that Tito and the old man are in possession of information that would, if revealed, undermine public confidence in the U.S.'s participation in the
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862:, Gibson takes another large step forward and reaffirms his position as one of the most astute and entertaining commentators on our astonishing, chaotic present.
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s Tim Martin, "is a classic paranoid quest narrative, but one that refashions the morbid surveillance tropes of the Cold War for a post-Iraq era". Ken Barnes of
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surrounding the work – those elements of the story with footprints on internet resources such as Google and Knowledge. The project had precedent in Joe Clark's
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435:: in the mind or in reality. The World. The United States of America, New Improved Edition. What lies before you. What lies behind. Where your bed is made.
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during that period, he disclosed in a 2007 interview that "I like the sheer sort of neo-Stalinist denial of reality. That's what makes it work. It's
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In an interview to promote the release of the novel, Gibson revealed that one of the issues that had most affected his writing process since
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to be a standalone work, elements of it manifested in the script of its eventual successor, including the character of amoral marketing guru
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described the event as "heavily freighted with meaning" in light of Gibson's role in shaping conceptions of cyberspace and virtual worlds.
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In traversing spook country, we ourselves have been transformed, and we will not fully understand how until we are no longer what we were.
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305:. In his attempts to capture them and their data, however, Brown is instead fed disinformation through the old man's intricate schemes.
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focused to an extent on "specifying the ambient sense of invasiveness in all aspects of life after the collapse of the towers",
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communicate. Milgrim is addicted to anti-anxiety drugs and is kept docile and compliant by Brown, who controls his supply of
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have followed those readers' attempt to track a shipping container through Warchalker on behalf of an unnamed villain.
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hailed the novel as a "puzzle palace of bewitching proportions and stubborn echoes", noting the fact that antihero
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841:, Bill Sheahan hailed the novel's capture of the zeitgeist, and compared it to the acclaimed literary fiction of
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404:, the only art magazine Gibson was reading regularly at the time. The novel exhibits Gibson's characteristic
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agreed with the commendations of Gibson's prose, but felt the plot and characterization let the book down:
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187:. A political thriller set in contemporary North America, it followed on from the author's previous novel,
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Ellis, Warren (July 24, 2007). "Q&A: William Gibson discusses Spook Country and Interactive Fiction".
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accepted that anxiety as a premise, and was thus "the more reflective, less unnerving of the two novels".
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619:(1984) in which there is no middle class, only the super-rich and a predominantly criminal underclass.
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characterized the novel as a "startling, effective guidebook to post-9/11 America"; Dave Itzkoff of
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and the "infantilization of society", first appeared as a prominent motif in Gibson's thought with
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726:. Although he had avoided overtly political themes in his previous work out of a distaste for
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appeared on bestseller charts by August 7, 2007 – five days after release. The novel entered
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patternBoy, mobilised a cadre of volunteers to track the references and collate the cloud of
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as a nodal point in history, and their sociopolitical impact was a major theme of the novel.
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The ground of being pervaded with spectres. The ground of actuality, similarly teeming.
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for hardcover fiction (where it lasted three weeks). It earned a nomination for the
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2007:
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The identity of the old man remains unclear, though context implies that he may be
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fun", whereas Matt Thorne found it lacking "a traditional thriller's excitement".
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One of the elements of the novel that the author found most poignant was that of
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In 2006, if you invite the zeitgeist in for tea, that's what you're going to get.
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quickly reached mainstream North American bestseller lists and was nominated for
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1684:(Interview: transcription). Interviewed by Eric Holstein, Raoul Abdaloff. Paris
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a more substantial novel than its predecessor on this basis. John Casimir of
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Through its treatment of locative technology, the novel revisits notions of
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Sociocultural changes in post-September 11 America, including a resurgent
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1187:"Across the Border to Spook Country: An Interview with William Gibson"
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465:. In August 2007, Gibson made an appearance in the virtual world
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for best novel of 2007, and finished second to Michael Chabon's
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s hardcover fiction bestseller list for the U.S, as well as on
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373:, the shadowy magazine startup, was way Bigendian", and thus
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art movement, and was inspired by the movement's talismanic
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Despite a full complement of thieves, pushers and pirates,
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1463:"Book Talk: William Gibson says reality has become sci-fi"
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Mike Duffy felt that although the novel was less overtly
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the following year. In August 2008, Rebecca Armstrong of
369:. As Gibson developed the plot, "it became apparent that
1246:"Futuristic fantasy lives now for author William Gibson"
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Gibson in August 2007 responding to the suggestion that
2515:. Australian Broadcasting Corporation. February 5, 2008
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an engaging mix of spies, cyberspace and über coolness"
2168:"Locus index to Science Fiction Awards: William Gibson"
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328:, whose visual imprint inspired the character of Tito.
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at WilliamGibsonBooks.com (author's official website)
2143:. British Science Fiction Association. Archived from
332:
1526:"William Gibson brings Spook Country to Second Life"
1316:. Vol. 15, no. 8. Condé Nast Publications.
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It's a very Victorian world, and when I was writing
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to a mysterious old man. Tito is adept in a form of
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613:as well as to the world of his breakthrough novel
511:was complete before the novel was even published.
507:, but whereas that took several years to develop,
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309:dollars diverted from Iraq reconstruction funds.
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1465:. Thomson Reuters. Reuters India. Archived from
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653:A firefighter stands amidst the wreckage of the
556:. The author's preoccupation with semiotics and
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959:There are some great lines and observations in
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566:is carried over in the sequel. In a review for
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1590:Garreau, Joel; Meg Smith (September 6, 2007).
717:Politics is present as an underlying theme in
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1097:. Evening Post Publishing Company. p. 42
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2539:"Gibson still scares up a spooky atmosphere"
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854:and baffled fury that permeate our culture.
2633:"Spies, spooks flit about in war on terror"
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799:Locus Award for Best Science Fiction Novel
359:. Although he had intended his 2003 novel
233:to write a story for his nascent magazine
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2682:promotional interview with the author at
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1123:"William Gibson: The Father of Cyberpunk"
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2606:"A fast ride through our paranoid times"
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2355:. London: Independent News & Media.
2209:. London: Independent News & Media.
2065:. Locus Publications. September 11, 2007
2057:"SFFH Books on General Bestseller Lists"
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2003:"SFFH Books on General Bestseller Lists"
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1438:. WilliamGibsonBooks.com. Archived from
1210:"Proposal for a novel by William Gibson"
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666:Political climate of the post-9/11 world
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2199:Armstrong, Rebecca (August 26, 2008).
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1766:. CBC British Columbia. Archived from
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1392:"William Gibson: He's seen the future"
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696:. Gibson interpreted the attacks as a
677:William Gibson, in interview with the
104:Print (hardback, paperback, audiobook)
3171:Intrusion Countermeasures Electronics
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1461:Goldsmith, Belinda (August 7, 2007).
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193:(2003), and was succeeded in 2010 by
3224:William Gibson: A Literary Companion
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2176:. Locus Publications. Archived from
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2011:. Locus Publications. August 7, 2007
1705:Bennie, Angela (September 7, 2007).
1360:Solomon, Deborah (August 19, 2007).
1291:. Salon Media Group. August 11, 2007
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811:as one of the "Ten Best Thrillers".
452:Exploration of the novel's title by
2689:"The Art Pack meets William Gibson"
2378:Casimir, John (September 7, 2007).
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1760:"William Gibson with Spook Country"
1524:Parsons, Michael (August 3, 2007).
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215:British Science Fiction Association
13:
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2604:Perkins, Roger (August 23, 2007).
2545:. Belo Corporation. Archived from
2537:Smith, Andy (September 16, 2007).
2409:Lytal, Benjamin (August 8, 2007).
2274:: A fitful, fast-forward spy tale"
2084:Garner, Dwight (January 6, 2008).
1327:Chang, Angela (January 10, 2007).
1244:Gwinn, Mary Ann (August 6, 2007).
1207:
633:William Gibson, in interview with
333:Initial conception and development
31:United Kingdom first edition cover
14:
3317:
3064:Disneyland with the Death Penalty
2715:from a United Kingdom perspective
2656:
2631:Berry, Michael (August 8, 2007).
2568:Drumming, Neil (August 6, 2007).
2450:. MediaNews Group. Archived from
1976:Itzkoff, Dave (August 26, 2007).
1820:"A reality stranger than fiction"
1707:"A reality stranger than fiction"
1645:Beers, David (October 18, 2007).
1618:Poole, Steven (August 18, 2007).
657:in New York City. Gibson saw the
2411:"A Snag in the Fabric of Things"
2341:Thorne, Matt (August 26, 2007).
1735:"William Gibson Hates Futurists"
1678:"Interview de William Gibson VO"
1647:"William Gibson Hates Futurists"
1491:Ranger, Steve (August 6, 2007).
1401:. Independent News & Media.
1389:Sharp, Rob (September 5, 2007).
1121:Dueben, Alex (October 2, 2007).
1085:Conover, Dan (August 26, 2007).
544:, war profiteering and esoteric
3281:Canadian science fiction novels
3078:Distrust That Particular Flavor
2612:. London: Telegraph Media Group
2359:from the original on 2022-05-24
2249:. London: Telegraph Media Group
2239:Martin, Tim (August 16, 2007).
2213:from the original on 2022-05-24
2137:"BSFA Awards: 2007 Nominations"
2049:
1995:
1978:"Spirits in the Material World"
1948:Sheehan, Bill (July 22, 2007).
1405:from the original on 2022-05-24
1053:"Cyberpunks forsake the future"
1051:Duffy, Mike (August 26, 2007).
903:was the most prominent link to
706:advanced the notion that while
599:
381:Gibson was first introduced to
224:
2766:List of awards and nominations
2473:Shawl, Nisi (August 3, 2007).
2438:Evans, Clay (August 3, 2007).
2268:Barnes, Ken (August 8, 2007).
2241:"We are already in cyberspace"
1788:Leonard, Andrew (2003-02-13).
1676:Gibson, William (March 2008).
1152:Hill, Logan (August 6, 2007).
419:
1:
3071:No Maps for These Territories
2711:– discussion and analysis of
2031:"Washington Area Bestsellers"
1916:Lee, Nathan (July 24, 2007).
1818:Bennie, Angela (2007-09-07).
1031:
1015:
794:The Yiddish Policemen's Union
3057:Agrippa (A Book of the Dead)
2961:Fragments of a Hologram Rose
1337:. Ziff Davis. Archived from
757:Interpretation and reception
591:prominent in Gibson's early
540:explores themes relating to
7:
3301:Novels set in New York City
2485:. The Seattle Times Company
2302:Park, Ed (August 5, 2007).
1592:"Through the Looking Glass"
1254:. The Seattle Times Company
935:, and by Benjamin Lytal in
730:, Gibson found that in the
16:2007 Book by William Gibson
10:
3322:
2440:"Review: William Gibson's
1846:Lim, Dennis (2003-02-18).
1532:. London: News Corporation
1493:"William Gibson heads for
1127:California Literary Review
889:Plot, prose, and character
823:, in essence," pronounced
313:Background and composition
205:September 11, 2001 attacks
3271:Canadian satirical novels
3266:Political thriller novels
3184:
3148:
3112:
3087:
3048:
2952:
2917:
2890:
2855:
2818:
2781:
2774:
2756:
2388:The Sydney Morning Herald
1882:Wiebe, Joe (2007-10-13).
1329:"Q&A: William Gibson"
924:The Sydney Morning Herald
797:in the standings for the
514:
237:(described as a European
159:
146:
132:
120:
112:
100:
92:
82:
68:
54:
46:
36:
24:
3306:Canadian thriller novels
3261:Novels by William Gibson
2448:The Boulder Daily Camera
2202:"The Ten Best Thrillers"
337:The writing process for
3296:Novels set in Vancouver
2975:The Gernsback Continuum
2641:. Hearst Communications
2638:San Francisco Chronicle
2166:Kelly, Mark R. (2008).
1024:San Francisco Chronicle
408:(a key plot element of
357:Global Business Network
3291:Techno-thriller novels
3010:Red Star, Winter Orbit
2845:All Tomorrow's Parties
2543:The Providence Journal
1362:"Back From the Future"
985:The Providence Journal
980:
885:
874:
686:
662:
639:
609:drew parallels to the
579:Eversion of cyberspace
535:
449:
329:
2926:The Difference Engine
2147:on September 12, 2009
1926:. Village Voice Media
1825:Sydney Morning Herald
957:
879:
847:
669:
652:
641:In an interview with
621:
518:
483:advanced reading copy
424:
320:
3256:2007 Canadian novels
3103:First Person Shooter
2579:Entertainment Weekly
2348:, by William Gibson"
1095:The Post and Courier
1005:Entertainment Weekly
991:The Post and Courier
659:September 11 attacks
552:) and the nature of
3286:Canadian spy novels
2864:Pattern Recognition
2808:Mona Lisa Overdrive
2549:on January 16, 2008
2180:on February 7, 2011
2111:"Hardcover Fiction"
2035:The Washington Post
1955:The Washington Post
1884:"Writing Vancouver"
1858:Village Voice Media
1770:on October 13, 2007
1764:Studio One Bookclub
1597:The Washington Post
1554:(August 31, 2007).
1469:on February 1, 2013
1442:on October 21, 2007
1430:(October 9, 2006).
1010:The Daily Telegraph
977:, February 5, 2010.
965:Pattern Recognition
905:Pattern Recognition
869:The Washington Post
838:The Washington Post
766:The Washington Post
708:Pattern Recognition
694:Pattern Recognition
683:, September 7, 2007
563:Pattern Recognition
505:Pattern Recognition
478:Pattern Recognition
410:Pattern Recognition
362:Pattern Recognition
282:Pattern Recognition
190:Pattern Recognition
181:speculative fiction
179:is a 2007 novel by
152:Pattern Recognition
73:G. P. Putnam's Sons
21:
2996:The Belonging Kind
2709:SpookCountry.co.uk
2670:2021-05-15 at the
2505:"William Gibson's
2454:on August 13, 2007
2115:The New York Times
2090:The New York Times
1982:The New York Times
1918:"The Anxiety Maze"
1888:Special to the Sun
1366:The New York Times
1058:Scotland on Sunday
886:
783:The New York Times
750:The New York Times
745:Scotland on Sunday
663:
655:World Trade Center
330:
250:Tito is part of a
116:371 pp (hardcover)
59:Political thriller
19:
3241:
3240:
3017:The Winter Market
2948:
2947:
2483:The Seattle Times
2309:Los Angeles Times
2280:. Gannett Company
2117:. August 26, 2007
2086:"Inside the List"
2037:. August 19, 2007
1923:The Village Voice
1892:The Vancouver Sun
1853:The Village Voice
1848:"Think Different"
1741:. 18 October 2007
1505:. CBS Interactive
1251:The Seattle Times
1208:Gibson, William.
947:The Seattle Times
896:Los Angeles Times
774:Publishers Weekly
742:." Mike Duffy in
703:The Village Voice
263:that encompasses
172:
171:
93:Publication place
3313:
3185:Derivative works
2856:Blue Ant trilogy
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1950:"Dark New World"
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1894:. Archived from
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1061:. Johnston Press
1048:
996:
982:In a review for
978:
938:The New York Sun
872:
871:, July 22, 2007.
829:
785:Best Seller list
779:
770:
736:Washington, D.C.
684:
637:
546:martial artistry
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160:Followed by
147:Preceded by
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84:Publication date
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3201:Johnny Mnemonic
3180:
3161:Megacorporation
3144:
3140:Hubertus Bigend
3108:
3083:
3044:
2968:Johnny Mnemonic
2944:
2913:
2886:
2851:
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2770:
2752:
2747:
2698:node.tumblr.com
2672:Wayback Machine
2659:
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2610:telegraph.co.uk
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2393:
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2353:The Independent
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2246:telegraph.co.uk
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2207:The Independent
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1703:
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1620:"Sign language"
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979:
972:
914:The Independent
901:Hubertus Bigend
893:Ed Park of the
891:
873:
866:
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816:science fiction
804:The Independent
777:
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638:
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585:virtual reality
581:
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531:political novel
524:
517:
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451:
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406:brand awareness
367:Hubertus Bigend
343:Lower Manhattan
335:
326:Lower Manhattan
315:
294:neoconservative
285:'s protagonist
267:, a variant of
231:Hubertus Bigend
227:
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101:Media type
85:
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3231:The Peripheral
3227:
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3209:New Rose Hotel
3205:
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3149:Story elements
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3120:Molly Millions
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3038:Burning Chrome
3034:
3031:Skinner's Room
3027:
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3013:
3006:
3003:Burning Chrome
2999:
2992:
2989:New Rose Hotel
2985:
2978:
2971:
2964:
2956:
2954:
2950:
2949:
2946:
2945:
2943:
2942:
2934:
2931:Bruce Sterling
2921:
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2915:
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2899:The Peripheral
2894:
2892:
2891:Jackpot series
2888:
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2820:Bridge trilogy
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2785:
2783:Sprawl trilogy
2776:
2772:
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2754:
2753:
2750:William Gibson
2746:
2745:
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2658:
2657:External links
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1378:
1352:
1341:on May 1, 2009
1319:
1302:
1283:"Now romancer"
1265:
1229:
1200:
1185:Nissley, Tom.
1172:
1139:
1108:
1091:a dark satire"
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973:Simon Cooper,
970:
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882:William Gibson
867:Bill Sheahan,
864:
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674:
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606:class division
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1436:: the title"
1433:
1428:Womack, Jack
1407:. Retrieved
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1339:the original
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1189:. Amazon.com
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568:The Guardian
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550:locative art
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322:Canal Street
307:
291:
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278:
269:free running
249:
238:
234:
228:
225:Plot summary
219:Locus Awards
210:
209:
201:locative art
196:Zero History
194:
188:
175:
174:
173:
165:Zero History
163:
150:
77:Viking Press
3193:Neuromancer
3096:Kill Switch
2982:Hinterlands
2792:Neuromancer
2069:January 12,
2015:January 12,
1556:"Node idea"
1334:PC Magazine
911:writing in
909:Matt Thorne
843:Don DeLillo
789:BSFA Awards
740:interesting
728:didacticism
698:nodal point
616:Neuromancer
467:Second Life
463:Jack Womack
454:Jack Womack
420:Pre-release
63:Dark satire
3250:Categories
3195:video game
3156:Cyberspace
3113:Characters
3088:Television
3049:Nonfiction
3040:collection
2800:Count Zero
2645:January 1,
2616:January 4,
2586:January 1,
2553:January 2,
2519:January 3,
2489:January 4,
2458:January 1,
2420:January 1,
2394:January 1,
2363:January 3,
2315:January 1,
2284:January 1,
2253:January 4,
2217:January 2,
2151:January 3,
2141:bsfa.co.uk
2121:January 3,
2095:January 3,
1987:January 1,
1961:January 1,
1930:January 1,
1902:2008-02-01
1868:2007-11-11
1832:2008-01-21
1804:2007-11-06
1774:2007-10-26
1745:2007-10-26
1739:TheTyee.ca
1719:January 1,
1688:2008-04-06
1658:January 2,
1630:January 1,
1603:January 2,
1566:January 2,
1536:January 4,
1509:January 3,
1473:January 2,
1446:January 1,
1371:January 4,
1345:January 1,
1295:January 2,
1258:January 2,
1222:January 2,
1217:Amazon.com
1193:January 2,
1165:January 1,
1132:January 2,
1101:January 1,
1065:January 1,
1032:References
1016:Conclusion
635:Amazon.com
628:direction.
589:cyberspace
485:initiated
392:geohacking
388:geocaching
271:, and the
265:tradecraft
3233:TV series
2938:Archangel
2509:(review)"
2278:USA Today
2184:March 15,
1794:Salon.com
1502:CNET News
1288:Salon.com
832:USA Today
690:tribalism
593:cyberpunk
558:apophenia
554:celebrity
542:espionage
471:The Times
414:MacGuffin
141:122283346
69:Publisher
3130:Rei Toei
3024:Dogfight
2933:) (1990)
2668:Archived
2357:Archived
2211:Archived
2041:July 30,
1652:The Tyee
1626:. London
1562:. London
1409:July 30,
1403:Archived
1159:New York
971:—
865:—
732:Bush era
724:Iraq War
675:—
631:—
523:—
501:PR-Otaku
401:Juxtapoz
303:Iraq War
273:Santería
47:Language
2684:YouTube
2574:(2007)"
880:Author
433:Country
396:lowbrow
348:warblog
261:systema
183:author
50:English
2941:(2016)
2929:(with
2910:(2020)
2907:Agency
2902:(2014)
2883:(2010)
2875:(2007)
2867:(2003)
2848:(1999)
2840:(1996)
2832:(1993)
2811:(1988)
2803:(1986)
2795:(1984)
2775:Novels
1682:ActuSF
807:named
515:Themes
167:
154:
107:E-book
37:Author
2918:Other
2837:Idoru
2693:Vimeo
1313:Wired
1213:(PDF)
1002:, of
995:'
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778:'
769:'
427:Spook
257:iPods
240:Wired
113:Pages
55:Genre
3211:film
3203:film
2647:2010
2618:2010
2588:2010
2555:2010
2521:2010
2491:2010
2460:2010
2422:2010
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2255:2010
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2043:2010
2017:2010
1989:2010
1963:2010
1932:2010
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1347:2010
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1195:2010
1167:2010
1134:2010
1103:2010
1067:2010
587:and
509:Node
497:data
390:and
371:Node
299:Rize
235:Node
217:and
135:OCLC
122:ISBN
560:in
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