This deluxe trade paperback edition of Neuromancer features stunning new cover art, art printed inside the front and back covers, and sprayed edges. Winner of the Hugo, Nebula, and Philip K. Dick Awards, Neuromancer is a science fiction masterpiece—a classic that ranks as one of the twentieth century’s most potent visions of the future. Case was the sharpest data-thief in the matrix—until he crossed the wrong people and they crippled his nervous system, banishing him from cyberspace. Now a mysterious new employer has recruited him for a last-chance run at an unthinkably powerful artificial intelligence. With a dead man riding shotgun and Molly, a mirror-eyed street-samurai, to watch his back, Case is ready for the adventure that upped the ante on an entire genre of fiction. Neuromancer was the first fully-realized glimpse of humankind’s digital future—a shocking vision that has challenged our assumptions about technology and ourselves, reinvented the way we speak and think, and forever altered the landscape of our imaginations. Praise for Neuromancer “Freshly imagined, compellingly detailed, and chilling in its implications.”— The New York Times   “Kaleidoscopic, picaresque, flashy, decadent...an amazing virtuoso performance.”— The Washington Post   “Science fiction of exceptional texture and vision...Gibson opens up a new genre, with a finely crafted grittiness.”— San Francisco Chronicle   “Epic in scale...shimmers like chrome in a desert sun.”— The Wall Street Journal   “A revolutionary novel.”— Publishers Weekly   “In with the ruthless violence, the hyperreality, the betrayal and death, is an unquenchable love of language. Gibson has that in common with Le Guin and with J. G. Ballard. Neuromancer sings to us as a collage of voices, a mixed chorus, some trustworthy and others malicious, some piped through masks.”—James Gleick   “Streetwise SF... one of the most unusual and involving narratives to be read in many an artificially induced blue moon.”— London Times   “Unforgettable...the richness of Gibson’s world is incredible.”— Chicago Sun-Times   William Gibson ’s first novel, Neuromancer , won the Hugo Award, the Nebula Award, and the Philip K. Dick Award. He is the New York Times bestselling author of Count Zero , Burning Chrome , Mona Lisa Overdrive , Virtual Light , Idoru , All Tomorrow’s Parties , Pattern Recognition , Spook Country , Zero History , Distrust That Particular Flavor , and The Peripheral . He lives in Vancouver, British Columbia, with his wife. The Sky Above The Port By William Gibson                It took at least a decade for me to realize that many of my readers, even in 1984, could never have experienced Neuromancer ’s opening line as I’d intended them to. I’d actually composed that first image with the black-and-white video-static of my childhood in mind, sodium-silvery and almost painful—a whopping anachronism, right at the very start of my career in the imaginary future.              But an invisible one, interestingly; one that reveals a peculiar grace enjoyed by all imaginary futures as they make their way up the timeline and into the real future, where we all must go. The reader never stopped to think that I might have been thinking, however unconsciously, of the texture and color of a signal-free channel on a wooden-cabinet Motorola with fabric-covered speakers. Readers compensated for me, shouldering an additional share of the imaginative burden, and allowed whatever they assumed was the color of static to take on the melancholy of the phrase “dead channel”.              In my teens, in the Sixties, I read a great deal of science fiction dating from the Forties, a very fertile period for the genre, and recall being aware of making just this sort of effort on behalf of fictions that had grown a bit long in the technological tooth, or whose imagined futures had been blindsided by subsequent history. I cut such fictions just the sort of extra slack, in exchange for whatever other value the narrative might offer, that some readers must be cutting Neuromancer today––not for invisible anachronisms like my color of television, but for unavoidable sins of omission on the order of a complete absence of tiny and ubiquitous portable telephones. (Indeed, one of my own favorite moments in the book hinges around the sequenced ringing of a row of pay-phones .              Imagine a novel from the Sixties whose author had somehow fully envisioned cellular telephony circa 2004, and had worked it, exactly as we know it today, into the fabric of her imaginary future. Such a book would have seemed highly peculiar in the Sixties, even though innumerable novels had already been written in which small personal wireless communications devices were taken for granted. A genuinely prescient cell-phone novel would have moved in a most unsettling way, its characters acting, out of an unprecedented degree of connectivity, in ways that would