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Pattern Recognition (Blue Ant, #1) Pattern Recognition by William Gibson
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Pattern Recognition Quotes Showing 1-30 of 35
“The future is there... looking back at us. Trying to make sense of the fiction we will have become.”
William Gibson, Pattern Recognition
“We have no idea, now, of who or what the inhabitants of our future might be. In that sense, we have no future. Not in the sense that our grandparents had a future, or thought they did. Fully imagined cultural futures were the luxury of another day, one in which 'now' was of some greater duration. For us, of course, things can change so abruptly, so violently, so profoundly, that futures like our grandparents' have insufficient 'now' to stand on. We have no future because our present is too volatile. ... We have only risk management. The spinning of the given moment's scenarios. Pattern recognition”
William Gibson, Pattern Recognition
“He took a duck in the face at 250 knots.”
William Gibson, Pattern Recognition
“We have no future because our present is too volatile. We have only risk management. The spinning of the given moment's scenarios. Pattern recognition.”
William Gibson, Pattern Recognition
“Time is money, but also money is money.”
William Gibson, Pattern Recognition
“There must be some Tommy Hilfiger event horizon, beyond which it is impossible to be more derivative, more removed from the source, more devoid of soul.”
William Gibson, Pattern Recognition
“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.”
William Gibson, Pattern Recognition
“The future is there," Cayce hears herself say, "looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.”
William Gibson, Pattern Recognition
“Damien is a friend.
Their boy-girl Lego doesn't click, he would say.”
William Gibson, Pattern Recognition
“Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.”
William Gibson, Pattern Recognition
“Somewhere, deep within her, surfaces a tiny clockwork submarine. There are times when you can only take the next step. And then another.”
William Gibson, Pattern Recognition
“It is a way now, approximately, of being at home. The forum has become one of the most consistent places of her life, like a familiar cafe that exists someone outside geography and beyond time zones.
There are perhaps twenty regular posters on F:F:F:, and some muchlarger and uncounted number of lurkers. And right now there are three people in Chat. But there's no way of knowing exactly who until you are in there, and the chat room she finds not so comforting. It's strange even with friends, like sitting in a pitch-dark cellar conversing with people at a distance of about fifteen feet. the hectic speed, and the brevity of the lines in the thread, plus the feeling that everyone is talking at once, at counmter-purposes, deter her.”
William Gibson, Pattern Recognition
“Paranoia, he said, was fundamentally egocentric, and every conspiracy theory served in some way to aggrandize the believer.
But he was also fond of saying, at other times, that even paranoid schizophrenics have enemies.”
William Gibson, Pattern Recognition
“I'm away for a while. But there's no cash on the premises, no drugs, and the pitbull's tested positive. Twice.”
William Gibson, Pattern Recognition
“Hitler had had entirely too brilliant a graphics department, and had understood the power of branding all too well.”
William Gibson, Pattern Recognition
“She isn't feeling easy with any of this. She doesn't know quite what to do with Bigend's proposition, which has kicked her into one of those modes that her therapist, when she last had one, would lump under the rubric of 'old behaviors.' It consisted of saying no, but somehow not quite forcefully enough, and then continuing to listen. With the result that her 'no' could be gradually chipped away at, and turned into a 'yes' before she herself was consciously aware that this was happening. She had thought she had been getting much better around this, but now she feels it happening again.”
William Gibson, Pattern Recognition
“Sleep takes her down fast, and very deep, whirls her through places too fragmentary to call dreams, then spits her abruptly back to the surface.”
William Gibson, Pattern Recognition
“Paranoia, he said, was fundamentally egocentric, and every conspiracy theory served in some way to aggrandize the believer.”
William Gibson, Pattern Recognition
“She'd first seen Covent Garden after a heavy snow, walking with her hand in Win's, and she remembers the secret silence of London then, the amazing hush of it, slush crunching beneath her feet and the sound made by trapezoidal sections of melting snow falling from wires overhead. Win had told her that she was seeing London as it had looked long ago, the cars mostly put away and the modern bits shrouded in white, allowing the outlines of something older to emerge. And what she had seen, that childhood day, was that it was not a place that consisted of buildings, side by side, as she thought of cities in America, but a literal and continuous maze, a single living structure (because still it grew) of brick and stone.”
William Gibson, Pattern Recognition
“Homo sapiens is about pattern recognition, he says. Both a gift and a trap.”
William Gibson, Pattern Recognition
“She [Cayce Pollard] feels the things she herself owns as a sort of pressure. Other people’s objects exert no pressure. Margot thinks that Cayce has weaned herself from materialism, is preternaturally adult, requiring no external tokens of self.”
William Gibson, Pattern Recognition
“She looks after him, feeling a wave of longing, loneliness. Not sexual particularly but to do with the nature of cities, the thousands of strangers you pass in a day, probably never to see again.”
William Gibson, Pattern Recognition
“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?”
William Gibson, Pattern Recognition
“And then she hears the sound of a helicopter, from somewhere behind her and, turning, sees the long white beam of light sweeping the dead ground as it comes, like a lighthouse gone mad from loneliness, and searching that barren ground as foolishly, as randomly, as any grieving heart ever has.”
William Gibson, Pattern Recognition
“У душ есть ограничение по скорости, они отстают от самолетов и прибывают с задержкой, как потерявшийся багаж.”
William Gibson, Распознавание образов
“Far more creativity, today, goes into the marketing of products than into the products themselves,”
William Gibson, Pattern Recognition
“But, Hubertus," Cayce offers, "what if Dorothea is..."
"Yes?" He leans forward, palms flat on the table.
"A vicious lying cunt?"
Bigend giggles, a deeply alarming sound. "Well," he says, "we are in the business of advertising, after all." He smiles.”
William Gibson, Pattern Recognition
“But perhaps, she thinks, this isn’t a Russian meal. Perhaps it’s a meal in that country without borders that Bigend strives to hail from, a meal in a world where there are no mirrors to find yourself on the other side of, all experience having been reduced, by the spectral hand of marketing, to price-point variations on the same thing.”
William Gibson, Pattern Recognition
“The Fanta has a nasty, synthetic edge. She wonders why she bought it. The tabloid doesn’t go down any better, seemingly composed in equal measure of shame and rage, as though some inflamed national subtext were being ritually, painfully massaged, for whatever temporary and paradoxical relief this might afford.”
William Gibson, Pattern Recognition
“she's learned it's largely a matter of being willing to ask the next question. She's met the very Mexican who first wore his baseball cap backward, asking the next question.”
William Gibson, Pattern Recognition

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