---
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title: "The Peripheral (The Jackpot Trilogy)"
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---

# The Peripheral (The Jackpot Trilogy)

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The Peripheral (The Jackpot Trilogy) [Gibson, William] on desertcart.com. *FREE* shipping on qualifying offers. The Peripheral (The Jackpot Trilogy)

Review: I swore I was never going to like cyberpunk. I read Gibson's COUNT ZERO and VIRUAL ... - I have a confession to make. I've never read NEUROMANCER. I was one of those who had to be pulled kicking and screaming into the cyberpunk era. I didn't want to read cyberpunk at all. Not only didn't I read NEUROMANCER, but I didn't read the other really big cyberpunk novel of the day, Neal Stephenson's SNOW CRASH. I wanted my space ships, I wanted my aliens, I wanted my galactic space opera. What the heck was this cyberpunk stuff, and why was it getting in my science fiction? I swore I was never going to like cyberpunk. I read Gibson's COUNT ZERO and VIRUAL LIGHT. I read Stephenson's THE DIAMOND AGE. I decided I didn't like the style OR the subject matter. Heck, I even tried to read THE DIFFERENCE ENGINE, by both Sterling and Gibson, and I decided that steampunk (yes, that was steampunk, but no one seems to credit it that way these days, at least not that I hear) was a waste of my time too. That was 30 years ago. Times change. People change. Writers change. Genres change. I don't mind reading steampunk these days - I feel that some of it is really pretty good. I absolutely loved ANATHEM by Neal Stephenson, although I generally don't read his books because they are monstrous doorstops that I don't have time for. And I tried Gibson again. THE PERIPHERAL was being talked about on podcasts, in blogs, and everywhere else that I pay attention to in the field. It was getting good reviews, and it was being hailed as "Gibson's return to undeniable science fiction". I was dubious of that last statement, as I didn't think anything else he wrote was science fiction, so how can he return to it? But as I said, things change. And since this was the year I was going to get ahead of the game by reading novels that would assuredly be on the Hugo ballot, I figured I would give it a try (and as far as getting ahead of the game, well, we all know how THAT turned out). And wouldn't you know, I liked it. THE PERIPHERAL takes place in a not too distant future. Well, I should rephrase that. It takes place in two futures: one not too distant, and one a century or so further on. The near-ish future, in America, or some form of it, is a bit of a mess. There's the drug trade, an updated version of what the reader presumes is WalMart, and a very bleak economy. The further along future that we see is in London, after an event called The Jackpot had killed off a great portion of the world's population. We begin in the near future. Flynne lives with her brother Burton and her mother. Burton is a military veteran who suffers from trauma he suffered while serving in the U.S. Military. He is getting aid from the U.S. government because he's not supposed to be able to work. He has, however, found a job beta testing some video game software for a Colombian outfit called Coldiron. One day he goes off to be part of a protest group against a religious organization, and asks Flynne to cover for him on the job for a few days. His job in the game is that of security. He tells Flynne to keep an eye on a particular tower and fend off little nano-paparazzi type devices. However, on the second day of the job she witnesses a murder, and something doesn't seem quite right to her about it. And off we go into the story. THE PERIPHERAL is a murder mystery, pure and simple. Well, maybe not so pure and simple, since we *are* talking a) science fiction, and b) science fiction by William Gibson. It's probably not too much of a spoiler to say that the murder was in the future, a future life is also stark and bleak - never mind just a bit weird - due to The Jackpot. One of the devices that the future has is some sort of mysterious server, built by the Chinese (but never really visited in detail or explained at all in the book) that allows residents of that future to travel back and interact with various different pasts, which may or may not be their own past (It really is all a bit wonky but kind of cool. I didn't let myself get too distracted by the lack of details or even the not quite understanding of how pasts and that particular future relate. It was better that way.), call "stubs". People who do that are called "continua enthusiasts", and while in the novel we don't much deal with them, the people we deal with do have to go back to the past to try and figure out what they can about the murder that took place. I'll tell you what - this is a really cool story with some really neat concepts. While the idea of telling a story that takes place in two separate times is not new, the way of the two timelines interacting with each other is new - at least to me. Yeah, it's a bit of "hand-wavium", but hand-wavium is a time honored tradition in our field, and it is acceptable some times and not in others. I think it works well here. The future is populated with a bunch of interesting - at least to me - characters, including an investigator, Lowbeer, who reminds me a lot of Paula Myo from Peter F. Hamilton's novels. The novel is not without its faults, minor though they be. The first 100 pages or so (yes, I looked while I was listening to the audiobook) were a bit of a slog to get through. Gibson introduces new terminology that makes readers scratch their heads for awhile until they figure out just what it is he is talking about (although it could be argued that a science fiction reader, especially one who reads Gibson, should not only be used to it by now, but shouldn't need anything spelled out for them anyway), and it does take awhile to figure out that Gibson is switching back and forth between two timelines. However, once all that stuff is squared away and the reader figures out the basics, the story moves along at a pretty good pace, and is a good read. The conclusion was, for me, satisfying. Gibson wraps everything up fairly nicely with a little bow, which is something many writers don't do these days (although it can be argued that this is a standalone novel - for which I am grateful - and he darn well should tie things up nicely). As far as the narration goes, well, I didn't think anyone was going to top R.C. Bray, the narrator of THE MARTIAN. I was wrong. Lorelei King was magnificent. She handled the voices of the different characters terrifically, in my opinion. The pacing was terrific, and I loved the accent. She didn't intrude upon the story; rather, she enhanced it from the very beginning. I would hope I run across her in other audiobooks I listen to in the future. NEUROMANCER was one of those novels that comes along once a generation that changes the face of the field of science fiction, at least that's what I'm told. I will have to go back and read it, 30+ years after the fact. THE PERIPHERAL is not that kind of novel, but it doesn't have to be. It just is what it is - a terrific book.
Review: The future, deconstructed. Perhaps Gibson too. - I was a late discoverer of Gibson, but happened upon his existing body of work at just the right time in my 20's to be profoundly swept into the poetry of his wordsmithing and edginess of his entrancing creative vision. The Sprawl trilogy was like that first swig of redbull. That first plunge into the cold wave. It didn't just describe a future, it grasped the sheer potential of the nascent digital revolution and swung counter culture edginess honed to razor sharpness with so much creative force that it scored a notch into reality itself. Life did imitate art. "Cyberspace" happened. The Bridge trilogy which followed was more solidly anchored in the world we know; bustling with life, more focused on how that other cyberspace world touches and overlaps with our own, how they complement each other, distinctions eventually breaking down, as in Idoru. We see more stories about people getting by, one way and the other, in the crazy world ours just might become. An older and more reflective Gibson wrote the Bigendian trilogy. He had lived more years in this world, seen the times come to a fork in the future and not go down a path like that of which he wrote. The future is no longer the Sprawl, no longer neo-Tokyo, no longer jacked in, drugged up, surviving in stitchpunk colonies on a broken bridge or lounging in the edgiest of designer clubs, but Gibson had found it, hiding, becoming, here and there in our midst, and written of those who walked those unseen paths just out of sight of our daily commute. *mild spoilers, should not affect your experience with the novel* This book is none of those things. I found it a bit unsettling, as if Gibson has lost faith in the future. In one timeline the future almost doesn't matter; in the other it only happens because of a (rather strained and undeveloped, as if Gibson recognizes the details are ultimately unimportant) protracted global cataclysm from which a minority are to adapt and survive. But I think I understand what's happening. I believe Gibson is making peace with his upbringing. Some of you will know that Gibson grew up in rural Appalachia, in a small town that was, in his own words, "a place where modernity had arrived to some extent but was deeply distrusted." Finding the atmosphere stifling and seeking refuge in sci-fi, this creative rebellion led Gibson to immerse himself in counter culture, which we see very strongly coming out in the Bridge trilogy. In The Peripheral we've gone back to rural Appalachia, not much changed from today, in some ways not much changed from Gibson's childhood, with its drug-based local economy, and returning veterans the worse for wear but making do; beloved mama on meds, slowly aging; "the boys" getting themselves into trouble but always ready to help others out of it; fried eggs in the local diner. Camo. I believe Gibson, well past his rebellious years and with the wisdom that comes with age, has delved into his oldest memories and painted a loving picture of the environments and people of his youth, with all their virtues and flaws, in a place where the future only trickles in, can only touch the outside of things. Those in the future looking back at it can only shake their heads, wondering that such a time was. Perhaps Gibson, peering all the way back over 3 magnificent trilogies, does too. There are occasionally moments of the Gibson of old; the first chapter when he describes the trailer is strong with that particular flavor, and serves as a kind of bridge from the Bigendian trilogy. Some portions of the farther-future timeline are compelling, like the Medici, and gratifyingly unsettling, like the Pacific garbage-patch world and its denizens. But there are chapters where one feels that his heart's simply not in it and he's moving through the plot, solidly but not masterfully. It's a good book, but feels more like something co-written by Gibson might be. It rallies a bit by the end; overall I was softly let down. But maybe that's what Gibson is sensing about the future these days... a quiet exhaustion, a vague sense that times are bad and worse times are inexorably approaching, but in the mean time life going on after the hangovers from all tomorrow's parties have subsided.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #45,221 in Books ( See Top 100 in Books ) #131 in Technothrillers (Books) #142 in Hard Science Fiction (Books) #177 in Cyberpunk Science Fiction (Books) |
| Customer Reviews | 4.4 out of 5 stars 11,594 Reviews |

## Images

![The Peripheral (The Jackpot Trilogy) - Image 1](https://m.media-amazon.com/images/I/71fDg3hk32L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ I swore I was never going to like cyberpunk. I read Gibson's COUNT ZERO and VIRUAL ...
*by J***Z on May 9, 2015*

I have a confession to make. I've never read NEUROMANCER. I was one of those who had to be pulled kicking and screaming into the cyberpunk era. I didn't want to read cyberpunk at all. Not only didn't I read NEUROMANCER, but I didn't read the other really big cyberpunk novel of the day, Neal Stephenson's SNOW CRASH. I wanted my space ships, I wanted my aliens, I wanted my galactic space opera. What the heck was this cyberpunk stuff, and why was it getting in my science fiction? I swore I was never going to like cyberpunk. I read Gibson's COUNT ZERO and VIRUAL LIGHT. I read Stephenson's THE DIAMOND AGE. I decided I didn't like the style OR the subject matter. Heck, I even tried to read THE DIFFERENCE ENGINE, by both Sterling and Gibson, and I decided that steampunk (yes, that was steampunk, but no one seems to credit it that way these days, at least not that I hear) was a waste of my time too. That was 30 years ago. Times change. People change. Writers change. Genres change. I don't mind reading steampunk these days - I feel that some of it is really pretty good. I absolutely loved ANATHEM by Neal Stephenson, although I generally don't read his books because they are monstrous doorstops that I don't have time for. And I tried Gibson again. THE PERIPHERAL was being talked about on podcasts, in blogs, and everywhere else that I pay attention to in the field. It was getting good reviews, and it was being hailed as "Gibson's return to undeniable science fiction". I was dubious of that last statement, as I didn't think anything else he wrote was science fiction, so how can he return to it? But as I said, things change. And since this was the year I was going to get ahead of the game by reading novels that would assuredly be on the Hugo ballot, I figured I would give it a try (and as far as getting ahead of the game, well, we all know how THAT turned out). And wouldn't you know, I liked it. THE PERIPHERAL takes place in a not too distant future. Well, I should rephrase that. It takes place in two futures: one not too distant, and one a century or so further on. The near-ish future, in America, or some form of it, is a bit of a mess. There's the drug trade, an updated version of what the reader presumes is WalMart, and a very bleak economy. The further along future that we see is in London, after an event called The Jackpot had killed off a great portion of the world's population. We begin in the near future. Flynne lives with her brother Burton and her mother. Burton is a military veteran who suffers from trauma he suffered while serving in the U.S. Military. He is getting aid from the U.S. government because he's not supposed to be able to work. He has, however, found a job beta testing some video game software for a Colombian outfit called Coldiron. One day he goes off to be part of a protest group against a religious organization, and asks Flynne to cover for him on the job for a few days. His job in the game is that of security. He tells Flynne to keep an eye on a particular tower and fend off little nano-paparazzi type devices. However, on the second day of the job she witnesses a murder, and something doesn't seem quite right to her about it. And off we go into the story. THE PERIPHERAL is a murder mystery, pure and simple. Well, maybe not so pure and simple, since we *are* talking a) science fiction, and b) science fiction by William Gibson. It's probably not too much of a spoiler to say that the murder was in the future, a future life is also stark and bleak - never mind just a bit weird - due to The Jackpot. One of the devices that the future has is some sort of mysterious server, built by the Chinese (but never really visited in detail or explained at all in the book) that allows residents of that future to travel back and interact with various different pasts, which may or may not be their own past (It really is all a bit wonky but kind of cool. I didn't let myself get too distracted by the lack of details or even the not quite understanding of how pasts and that particular future relate. It was better that way.), call "stubs". People who do that are called "continua enthusiasts", and while in the novel we don't much deal with them, the people we deal with do have to go back to the past to try and figure out what they can about the murder that took place. I'll tell you what - this is a really cool story with some really neat concepts. While the idea of telling a story that takes place in two separate times is not new, the way of the two timelines interacting with each other is new - at least to me. Yeah, it's a bit of "hand-wavium", but hand-wavium is a time honored tradition in our field, and it is acceptable some times and not in others. I think it works well here. The future is populated with a bunch of interesting - at least to me - characters, including an investigator, Lowbeer, who reminds me a lot of Paula Myo from Peter F. Hamilton's novels. The novel is not without its faults, minor though they be. The first 100 pages or so (yes, I looked while I was listening to the audiobook) were a bit of a slog to get through. Gibson introduces new terminology that makes readers scratch their heads for awhile until they figure out just what it is he is talking about (although it could be argued that a science fiction reader, especially one who reads Gibson, should not only be used to it by now, but shouldn't need anything spelled out for them anyway), and it does take awhile to figure out that Gibson is switching back and forth between two timelines. However, once all that stuff is squared away and the reader figures out the basics, the story moves along at a pretty good pace, and is a good read. The conclusion was, for me, satisfying. Gibson wraps everything up fairly nicely with a little bow, which is something many writers don't do these days (although it can be argued that this is a standalone novel - for which I am grateful - and he darn well should tie things up nicely). As far as the narration goes, well, I didn't think anyone was going to top R.C. Bray, the narrator of THE MARTIAN. I was wrong. Lorelei King was magnificent. She handled the voices of the different characters terrifically, in my opinion. The pacing was terrific, and I loved the accent. She didn't intrude upon the story; rather, she enhanced it from the very beginning. I would hope I run across her in other audiobooks I listen to in the future. NEUROMANCER was one of those novels that comes along once a generation that changes the face of the field of science fiction, at least that's what I'm told. I will have to go back and read it, 30+ years after the fact. THE PERIPHERAL is not that kind of novel, but it doesn't have to be. It just is what it is - a terrific book.

### ⭐⭐⭐⭐ The future, deconstructed. Perhaps Gibson too.
*by A***R on October 31, 2014*

I was a late discoverer of Gibson, but happened upon his existing body of work at just the right time in my 20's to be profoundly swept into the poetry of his wordsmithing and edginess of his entrancing creative vision. The Sprawl trilogy was like that first swig of redbull. That first plunge into the cold wave. It didn't just describe a future, it grasped the sheer potential of the nascent digital revolution and swung counter culture edginess honed to razor sharpness with so much creative force that it scored a notch into reality itself. Life did imitate art. "Cyberspace" happened. The Bridge trilogy which followed was more solidly anchored in the world we know; bustling with life, more focused on how that other cyberspace world touches and overlaps with our own, how they complement each other, distinctions eventually breaking down, as in Idoru. We see more stories about people getting by, one way and the other, in the crazy world ours just might become. An older and more reflective Gibson wrote the Bigendian trilogy. He had lived more years in this world, seen the times come to a fork in the future and not go down a path like that of which he wrote. The future is no longer the Sprawl, no longer neo-Tokyo, no longer jacked in, drugged up, surviving in stitchpunk colonies on a broken bridge or lounging in the edgiest of designer clubs, but Gibson had found it, hiding, becoming, here and there in our midst, and written of those who walked those unseen paths just out of sight of our daily commute. *mild spoilers, should not affect your experience with the novel* This book is none of those things. I found it a bit unsettling, as if Gibson has lost faith in the future. In one timeline the future almost doesn't matter; in the other it only happens because of a (rather strained and undeveloped, as if Gibson recognizes the details are ultimately unimportant) protracted global cataclysm from which a minority are to adapt and survive. But I think I understand what's happening. I believe Gibson is making peace with his upbringing. Some of you will know that Gibson grew up in rural Appalachia, in a small town that was, in his own words, "a place where modernity had arrived to some extent but was deeply distrusted." Finding the atmosphere stifling and seeking refuge in sci-fi, this creative rebellion led Gibson to immerse himself in counter culture, which we see very strongly coming out in the Bridge trilogy. In The Peripheral we've gone back to rural Appalachia, not much changed from today, in some ways not much changed from Gibson's childhood, with its drug-based local economy, and returning veterans the worse for wear but making do; beloved mama on meds, slowly aging; "the boys" getting themselves into trouble but always ready to help others out of it; fried eggs in the local diner. Camo. I believe Gibson, well past his rebellious years and with the wisdom that comes with age, has delved into his oldest memories and painted a loving picture of the environments and people of his youth, with all their virtues and flaws, in a place where the future only trickles in, can only touch the outside of things. Those in the future looking back at it can only shake their heads, wondering that such a time was. Perhaps Gibson, peering all the way back over 3 magnificent trilogies, does too. There are occasionally moments of the Gibson of old; the first chapter when he describes the trailer is strong with that particular flavor, and serves as a kind of bridge from the Bigendian trilogy. Some portions of the farther-future timeline are compelling, like the Medici, and gratifyingly unsettling, like the Pacific garbage-patch world and its denizens. But there are chapters where one feels that his heart's simply not in it and he's moving through the plot, solidly but not masterfully. It's a good book, but feels more like something co-written by Gibson might be. It rallies a bit by the end; overall I was softly let down. But maybe that's what Gibson is sensing about the future these days... a quiet exhaustion, a vague sense that times are bad and worse times are inexorably approaching, but in the mean time life going on after the hangovers from all tomorrow's parties have subsided.

### ⭐⭐⭐⭐⭐ Not for Gibson neophytes: a return to form (Sprawl trilogy) with nostalgia/maturity (Bigend trilogy)
*by C***L on January 14, 2015*

If you've never read Gibson before, this is NOT the place to start. I remember the first time I read Neuromancer. Jeeze, like 30 years ago now. Reading Neuromancer and its often dense, cinematic prose often made me with for a glossary with the book, like there had been when I read my older brother's late 60s paperback copy of Anthony Burgess' A Clockwork Orange. But Burgess' was using Anglicized Russian as British English slang in that book -- you really needed the glossary. For Gibson, everything is written in English, so you get no glossary. You have to figure out the meanings of new/invented/esoteric terms from the context of the prose. Now, it's got it's confusing, hallucinatory aspects that make it akin to reading Burroughs sometimes (but without all the drugs and homosexual sex). But Burroughs' stuff also was frustrating to read because of the cut-up, disjointed narrative style. Gibson's stuff is far more tightly plotted and less hallucinatory. Figuring out the meanings of terms from the prose and context is less an issue in this novel than in some of Gibson's previous novels (like The Sprawl trilogy novels). But it is definitely much more of an issue here than it was with in the last three "Bigend" trillogy novels combined. I did not have a problem figuring out terms/actions from the context with this novel. For people who are already aware of topics as disparate but technologically reliant as social media's geolocation capabilities, social media mood indication/tracking, advancements in 3D printing, and concepts such as string/mbrane theories of physics (in a PBS TV kind of way) and possible parellel multiple universes, this book should not be difficult to read. For everyone else, yeah... it will be a problem. I recently had a friend -- who hadn't re-read any of Gibson's first 3-6 novels since she originally read them, 30-ish years ago -- complain about 3 things with respect to this book. I, however, recently re-acquired ALL of his books in ebook format, after having lost paperback and hardcover copies over the years. So I was in a unique position to respond to her arguments. First, she said the first 100 pages of The Peripheral were unnecessarily dense. My response to that was: no, not really, unless you've forgotten how he *used* to write. Because this is not a new style for him -- it's more a return to form. Second, she objected to the fact that under all the scifi trappings, it's "just a murder mystery." Well, you could say any of his previous novels had, "under the trappings," some fairly routine pulp-ish or noir-ish plots. Criminal pulled in/tempted by just "one last job." Corporate espionage and extraction of human workers who represent intellectual capital to these corporations. That kind of thing. In my opinion, there are two mysteries in this novel: the murder mystery (which is the obvious mystery) and the underlying, shadow mystery, which is revealed in dribs and drabs until very near the end: the myster of The Jackpot -- what it is, how it happened, who it affected. Ironically, the biggest mystery -- communication between people of one near future multiverse, and the people of a far future multiverse -- is simply set up as a given. (If anything in this novel is a deus ex machina, I suppose that is). So the mystery is never explained. Third and last, she objected to what she felt was a Disney-ish happy ending. But, I argued, virtually all of Gibson's otherwise highly dystopian visions of the future end similarly: the bad guys don't entirely win, and the good guys don't entirely lose. Which is, I guess, just another way of saying the bad guys kind of lose, and the good guys kind of win. But one senses that the struggle and lives of the characters continue after you finish the book, and nothing feels too deus ex machina (except, in this novel, maybe some of the givens). Let me put it this way: If you already know and pretty much love Gibson's previous stuff, I don't think this will disappoint. If, however, Gibson's writing (especially the early stuff) put you off, then you'll probably hate this novel, too. I loved it. Gibson has always been so expertly, specifically, and hauntingly able to describe the nostalgia of anachronistic characters and to chart the narratives of those people whose changing personal circumstances have left them with uncertain footing in either a not entirely friendly world, or an outright hostile one, as they try to secure some piece of stability and/or security for themselves amid an often constantly changing landscape. He's always written relatable and often quite compelling heroines, the vast majority of whom were not stereotypical scifi babes. He has also always extrapolated from current and historical sociopolitical and economical trends -- especially with respect to technological innovation -- to provide a glimpse of the growing, ever-sharpening class divisions that our world has rapidly devolved into. Much of what he presented as mere backstory or incidental detail in his Sprawl trilogy novels (and even in later workrs) has come to pass. He obviously has class politics, and to me, Gibson seems to be one of those ex-working class intellectuals who never lost touch with the fact that -- had he never become successful as a writer -- he'd probably would have worked some kind of blue collar or civil servant/wage slave type job his whole life, because that's what he was headed for. So he has remarkable sympathy for those square-peg-round-hole drones who get caught up in things larger than themselves, especially those who've had a taste of "the good life" and then otherwise blew it, lost it, or had it somehow snatched away. Yet he never comes across as overtly or explicity adhering to any 'ism;' he never comes across from that kind of tiresome first-raised pro-blue-collar/almost anti-intellectual pride, either. That's probably because, for many of his protagonists, it's their intellect, their brainy skills, that got them out of whatever backwater, wrong-side-of-town situation they were originally born into. The way he writes his dystopian futures -- which are all merely extrapolations of things that are already true now -- "it is what it is." There's no agenda-pushing by Gibson, it's just a very dry recitation of the surrounding details that gradually weave into a whole where you see how the poor get poorer and the rich get richer, and you come to realize that is what we all would observe ourselves about our current world, if we were only paying attention. So when one of his underdog protagonists finally achieves some level of security, you feel like it's been really earned... and much of the time, those underdogs are trying to pull another person or two or more up with them, or sometimes, enlighten an entire group even as they merely pursue their own trajectory. It's that warmth and strange optimism amid all the doomy gloomy dystopia that has always kind of made Gibson's stuff moody, haunting, and ultimately very fulfilling reading for me. These are some of the things I've always really admired about him.

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