William Ford Gibson is an American-Canadian writer who has been called the father of the cyberpunk subgenre of science fiction, having coined the term cyberspace in 1982 and popularized it in his first novel, Neuromancer (1984), which has sold more than 6.5 million copies worldwide.
While his early writing took the form of short stories, Gibson has since written nine critically acclaimed novels (one in collaboration), contributed articles to several major publications, and has collaborated extensively with performance artists, filmmakers and musicians. His thought has been cited as an influence on science fiction authors, academia, cyberculture, and technology.
The politics of this story seem quaint now, and yet not. While Moscow no longer seems to set its sight on space, it has managed to conquer the world by spreading disinformation and division, which, come to think of it, would have been an outstanding cyberpunk story if only someone had thought of it 30-40 years ago. This story lacks some of the classic cyberpunk trappings—no one engages in AI or has embedded shunts to direct connect them with computers—it fits the milieu by portraying technology gone to seed, a cast of characters both cynical and world-weary, and ugly political decisions. But don’t give up hope, for this is still SF, and the authors find a way to bring hope back in the ending. While not quite Gernsbackian or even Heinleinian, the ending shares some aspects of both authors, by portraying the future and space as a frontier that still draws some to it.