Authors on the Web.Com, “William Gibson’s Official Site,” (accessed July 12, 2005).

This site includes information on Gibson’s books, a short biography of Gibson, links, and access to a blog and online discussion devoted to Gibson’s work.

Baker John F. “Electronic Art Book … for One Read Only.” Publishers Weekly, June 29, 1992 v239 n29 p28(1)

Straightforward review of “Agrippa” with valuable observations from Begos and Gibson.

“The whole creation is thus in the process of alteration, like human perception and memory.”

Brande, David. “The Business of Cyberpunk: Symbolic Economy and Ideology in William Gibson.” Virtual realities and their discontents. Ed. Robert Markley. Baltimore, Md. : Johns Hopkins UP, 1996.

Brummett, Barry. The world and how we describe it: rhetorics of reality, representation, simulation. Westport: Praeger, 2003.

Includes a chapter on “A rhetoric of reality in the novels of William Gibson.”

Bukatman, Scott. “Gibson’s typewriter.” Flame wars: the discourse by cyberculture. Ed. Mark Dery. Durham: Duke UP, 1994.

Calcutt, Andrew and Shephard, Richard. Cult fiction: a reader’s guide. Lincolnwood, IL: Contemporary Books, 1999.

Includes a section on Gibson.

Cambridge History of Twentieth-Century English Literature. “Agrippa: A Book of the Dead (Gibson).” Ed. Laura Marcus and Peter Nicholls. New York: Cambridge UP, 2004. pp. 794-5.

Cavallaro, Dani. Cyberpunk and cyberculture : science fiction and the work of William Gibson. London: Athlone Press, 2000.

Chollet, Laurence. “A Story that Fades in Time,” Record (New Jersey), December 13, 1992.

Short discussion of the “reading” of “Agrippa” broadcast around the country in 1992.

—–“William Gibson’s Second Sight In Meetings of Man and Machine, Ecstacy and Dread, the Cyberpunk Guru Divines the Future,” Los Angeles Times, September 12, 1993.

Discussion of Gibson’s novel “Virtual Light.” Although the article primarily deals with other work by Gibson, it includes a few comments on Agrippa.

“The book was designed to work on many levels, but in one real sense it was intended to replicate Gibson’s memories of his late father-vanishing words and fading pictures that change with each glance.”

——“It’s the Story You Just Can’t Forget This Book Is Read on a Computer – And One Time Only.” Record (New Jersey), May 17, 1992

This piece is useful both in its discussion of the genesis of the project, apparently from a chance meeting at an art and technology fair in Barcelona, Spain, and for some interesting comments from Gibson on the nature of the book.

“The project can be read on many levels, but it’s designed to comment specifically on how art, commerce, and time distort personal memory.”

Ehrenman, Gayle C. “Write Once, Read Once Literature.” PC Magazine, August 1992 v11 n14 p34(1)

Includes interesting comments on the ephermeral character of the poem’s content and the technology platform itself.

“These memories, like the technology that’s being used to convey them, exist only as a moment in time.”

Fein, Esther B. “Read It, and Its Gone,” Book Notes, New York Times, C26, November 18, 1992.

Review of the book, “and the word is used in the loosest sense possible,” contemporary to its release.

“Anyone who buys the book will have to decide whether to enjoy its content or save it as a collector’s item.”

Hamburg, Victoria. “William Gibson Talks to Victoria Hamburg.” Interview, January 1989.

Holderness, Mike. “Vanishing act caught in the net.” New Scientist. March 20, 1993 137:1865, 45

Short review of the work and its early transcription on the net.

“[Begos] believes the encryption is secure, and that the hacker videotaped a computer screen at the exhibition and retyped it from that.”

Jillette, Penn. “Agrippa – One Shot to Download Dad.” PC/Computing, Sept 1992 v5 n9 p436(1)

Humorous review of “Agrippa” by the famed magician.

“These two guys have teamed up and done the hippest non-Lou Reed thing this year.”

Jonas, Gerald. “The Disappearing $2,000 Book,” New York Times, BR12, August 29, 1993.

A thoughtful full-length discussion of the text including comments from Begos, Gibson and Ashbaugh.

“The first time the disk is inserted in a computer, the words of the story begin scrolling up the screen at a preset speed as if the computer and not the reader were scanning the text.”

Killheffer, Robert. “Publishers Weekly Interviews — William Gibson.” Publishers Weekly, September 6, 1993. p.70.

—— “The Shape of Books to Come: a Collaborative Book (?) Challenges Ideas about the Immorality of Art.” Omni, Jan 1993 v15 n4 p14(1)

Excellent review of the book and its broadcast and also has great comments from Ashbaugh and Begos.

“In fact, Agrippa is more art object than book-the arbitrary division between art and literature is wholly erased.”

Kirschenbaum, Matthew G. “Materiality and Matter and Stuff: What Virtual Texts are Made Of” (2003)

—–Lines for a Virtual Ty/opography: Electronic Essays on Artifice and Information

Kirschenbaum’s dissertation about the nature of on-line texts and virtual reading practice; references to Agrippa in Works Cited.

Kneale, James. “Thinking and writing the virtual: the virtual realities of technology and fiction : reading William Gibson’s cyberspace.” Virtual geographies : bodies, space, and relations. Ed. Mike Crang, Phil Crang, and Jon May. New York: Routledge, 1999

Leary, Timothy Francis. Chaos & cyber culture. Ed. Michael Horowitz, Vicki Marshall, with guest appearances by William Gibson …et al. Berkeley: Ronin Pub., 1994.

Includes “William Gibson: Quark of the Decade.”

Lunenfeld, Peter. Snap to Grid. A User’s Guide to Digital Arts, Media, and Cultures. Cambridge, Mass.: MIT Press. (2000)

Martin, Guy. “Read it Once.” Esquire Magazine, May 1992. p.33.

Quittner, Joshua. “‘Webs’: Avant-Garde Storytelling On Computer,” St Louis Post-Dispatch, June 24, 1992.

Although there isn’t as much specifically on “Agrippa” here, it does nicely lay out the hypertext landscape into which the work was received. Includes quotes by Landow, and hitech jargon that, as far as I am aware, never seems to have caught on (like the term ‘webs’ in the headline).

Rapatzikou, Tatiani G. Gothic motifs in the fiction of William Gibson. Amsterdam: Rodopi, 2004.

Roberts, Adam. Science fiction. London: Routledge, 2000.

Has a chapter entitled “Technology and metaphor. Spaceships. Robots. Cyberspace. Case study: William Gibson, Neuromancer.” (Perhaps not close enough to our topic to warrant inclusion.)

Schwenger, Peter. “Agrippa, or, The Apocalyptic Book.” South Atlantic Quarterly. Fall 1993 92:4, 617.

Literary analysis of “Agrippa”; this issue of the South Atlantic Quarterly is devoted to discussions of cyberculture.

“At the end of the process that is Agrippa we are left not merely with emptiness, but with our awareness of that process both in and beyond the mechanism.”

Sponsler, Claire. “William Gibson and the Death of Cyberpunk.” Modes of the fantastic : selected essays from the twelfth International Conference on the Fantastic in the Arts. Ed. Robert A. Latham and Robert A. Collins. Westport: Greenwood Press, 1995.

Von Ziegesar, Peter. “You Can Read This Book Only Once,” Kansas City Star, December 11, 1992.

Description of an exhibition at the Kansas City Art Institute organized around the “Agrippa” broadcast.

“Gibson’s hardboiled, yet occasionally sensitive, reminiscences of shooting pistols and hanging around the bus station in Wheeling, W.Va., bore little resemblance to the mind-boggling permutations of memory and chromosome common to his science fiction.”

William Gibson Alef.

Site features information about many of Gibson’s popular works, as well as information related to Agrippa, inluding a few photographs of the work.

posted by editor on 08.16.05 @ 11:15 pm | 0 Comments