![]() ![]() ![]() We are introduced to Angie Mitchell, a cyberspace celebrity with the rare talent of being able to enter that virtual world without jacking in physically. He offers four wildly disparate story threads, each with its own protagonist, and allows them slowly to graft themselves together as organically as he can. In fact he's having fun taking his time, defying conventions of plot development. But you're never really wasting your time watching a genius at play, even when he drops the ball.įor most of the book, it seems as if Gibson is steadfastly and infuriatingly avoiding establishing a plot. In all honesty it doesn't fully work, and Mona Lisa Overdrive remains Gibson's least artistically successful story to date. Yet it's a testament to Gibson's still fecund talents that much of its entertainment value lies in wanting to solve it. The resulting story is a hell of a mess, a convoluted literary Rubik's Cube whose sides stubbornly refuse to match up no matter how much you play with it. So he sets about here trying to push his own envelopes and cut his own edges. A direct sequel to Neuromancer, Mona Lisa Overdrive shows William Gibson perhaps a bit too self-conscious of his stature as a leading SF superstar from whom great things are now routinely expected. ![]()
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