Editing Neuromancer

{{Short description|1984 science fiction novel by William Gibson}}
{{Other uses}}
{{Use mdy dates|date=March 2025}}
{{Infobox book
| name              = Neuromancer
| image             = Neuromancer (Book).jpg
| caption           = First edition cover
| author            = [[William Gibson]]
| language          = English
| cover_artist      = [[James Warhola]]
| series            = [[Sprawl trilogy]]
| genre             = [[Science fiction]] ([[cyberpunk]])
| subject           = 
| pub_date          = July 1, 1984
| publisher         = [[Ace Books]]
| media_type        = 
| pages             = 271
| isbn              = 
| oclc              = 
| dewey             = 
| congress          = 
| preceded_by       = {{noitalic|"[[Burning Chrome]]" (1982)}}
| followed_by       = [[Count Zero]] {{noitalic|(1986)}}
}}

'''''Neuromancer''''' is a 1984 [[science fiction]] novel by American-Canadian author [[William Gibson]]. Set in a near-future [[dystopia]], the narrative follows Case, a computer [[hacker]] enlisted into a crew by a powerful [[artificial intelligence]] and a traumatised former soldier to complete a high-stakes heist. It was Gibson's debut novel and, following its success, served as the first entry in the [[Sprawl trilogy]], followed by ''[[Count Zero]]'' (1986) and ''[[Mona Lisa Overdrive]]'' (1988).

Gibson had primarily written [[countercultural]] short stories for science-fiction periodicals before ''Neuromancer''. Influences on the novel include the detective stories of [[Raymond Chandler]], the comic art of [[Jean Giraud]], and [[William S. Burroughs]]'s ''[[Naked Lunch]]'' (1959). ''Neuromancer'' expanded and popularised the setting and concepts of an earlier Gibson story, "[[Burning Chrome]]" (1981), which introduced [[cyberspace]]—a digital space traversable by humans—and "jacking in", a bio-mechanical method of interfacing with computers.

''Neuromancer'' is agreed as a foundational work of early [[cyberpunk]], although critics differ on whether the novel ignited the genre or if it was lifted by its inevitable rise. They agree it highlighted the genre's key features, like the placement of technological advancement against societal decay and criminality. Gibson's novel also defined the major conventions and language of the genre—cyberspace, jacking in, and [[Intrusion Countermeasures Electronics|ICE]]. Critics discuss the novel in the historical context of the 1970s and 1980s, a period marked by [[conservatism]], [[deregulation]], and [[free-market economics]].

''Neuromancer'' was released without significant hype but became an underground hit through [[word of mouth]]. Following release, it received critical acclaim and transformed the science-fiction genre. Mainstream recognition raised Gibson from relative obscurity. It remains the first and only novel to win the [[Hugo Award for Best Novel|Hugo Award]] and [[Nebula Award for Best Novel|Nebula Award]] for Best Novel, and the [[Philip K. Dick Award]] for best original [[paperback]]. It remains an enduring classic and was named one of ''[[Time (magazine)|Time]]''{{'s}} All-Time 100 Novels.

== Background ==

=== Author and composition ===
[[File:Uncle_Gibby.jpg|thumb|138x138px|Gibson in 2007 ]]
In 1981, while working as a teaching assistant at his alma mater, the [[University of British Columbia]], Gibson's [[Nebula Award]]-nominated short story "[[Johnny Mnemonic]]" introduced one of ''Neuromancer''{{'s}} main characters, [[Molly Millions|Molly]].{{Sfn|Smith|2014|p=11}} "Johnny Mnemonic" infused elements of crime fiction, like marginalised communities and criminal society, with technology, blurring the boundary of human and machine.{{Sfn|Miller|2016|p=41}} The setting of the Sprawl and the concept of [[cyberspace]] first appeared in [[Omni (magazine)|''Omni'']] the following year in his short story "[[Burning Chrome]]",{{Sfn|Miller|2016|p=4}} and were popularised by ''Neuromancer''.{{Sfn|McFarlane|Murphy|Schmeink|2020|p=1}} Later in 1981, Gibson was commissioned to write a novel by science-fiction editor [[Terry Carr]] for his second series of [[Ace Science Fiction Specials]]; he submitted an outline later that year with the working title ''Jacked In'', eventually renaming it ''Neuromancer''.{{Sfn|Smith|2014|p=12}}{{Efn|This change was at his publisher's suggestion, hoping to avoid the sexual connotation of the phrase "jacking off".{{Sfn|Smith|2014|p=12}}}} Gibson did not understand computing or networking in much detail, primarily wanting the shared vocabulary surrounding the topics.{{Sfn|Cavallaro |2000|p=70}}

The novel underwent considerable revision, with Gibson saying he rewrote the first two-thirds twelve times to ensure there was both stylistic consistency and a "vaguely plausible" plot.{{Sfn|McCaffery|1991|p=271}}  Gibson's sought to eliminate "clunk", contracting his prose to ensure "individual parts carry more weight". He did not write the novel with a concrete outline, or initially know how it would end,{{Sfn|McCaffery|1991|p=272}} writing the novel in "blind animal panic" because he thought it would fail if he did not hold the reader's attention.{{Sfn|Murphy|2024|p=2}} Gibson added the novel's final sentence ("He never saw Molly again.") to prevent himself from writing a sequel.{{Sfn|Gibson|2003}}{{Efn|Molly appears in the ''Sprawl'' trilogy's third entry, ''[[Mona Lisa Overdrive]]'', reporting that Case retired and married.{{Sfn|Murphy|2024|p=9}}}}

=== Inspiration ===
''Neuromancer'' has many literary progenitors. Detective fiction, like the work of [[Raymond Chandler]], is frequently cited as an influence on ''Neuromancer.'' For example, critics note similarities between Gibson's Case and Chandler's [[Philip Marlowe]]: Case is described as a "cowboy" and a "detective" and is involved in a heist;{{Sfn|Nazare|2003|p=386}} Molly, the novel's primary female character, has connections to the "molls" of 1940s [[film noir]].{{Sfn|McCaffery|1991|pp=14–15}} Case's illegal practices, like theft and murder, situate him within a wider tradition of transgressive detectives, like the [[opiate]] addiction of [[Arthur Conan Doyle]]'s [[Sherlock Holmes]].{{Sfn|Myers|2001|p=889}} Gibson stated that the [[pulp noir]] core of the novel was key to engaging his readers, and cited the works of [[Dashiell Hammett]] and [[Robert Stone (novelist)|Robert Stone]] as major influences on its style.{{Sfn|Wallace-Wells|2014|p=215}}{{Efn|Robert Stone's work is associated with settings that included great social turbulence, most famously the Vietnam War.{{Sfn|Weber|2015}}}} For dialogue, the author incorporated late 1960s [[Toronto]] drug dealer and [[Motorcycle club|biker]] [[slang]] into the novel.{{Sfn|Whalen|1992|p=86}}

Gibson's prose style—fast-paced, fragmented imagery—resembles the styles of [[William S. Burroughs]] and [[J. G. Ballard]].{{Sfn|Smith|2014|p=12}} Burroughs's ''[[Naked Lunch]]'' (1959) is frequently cited by critics as an influence on ''Neuromancer'',{{Sfn|Wood|1996|p=11}} including by one as its "principal source", as a literary predecessor of Gibson's "cyberspace".{{Sfn|Wood|1996|p=11}} Gibson's conception of cyberspace was compared by [[Samuel R. Delany]] to [[Roger Zelazny]]'s early short stories; Delany and other critics have explored the character of Molly as a development on the cyborg assassin of [[Joanna Russ]]'s ''[[The Female Man]]'' (1975).{{Sfn|Latham|2020|p=8}}{{Sfn|Murphy|2024|pp=10–11}}{{Efn|According to Latham, Delany comments that Gibson appeared "blind to any mention" of discussions on the matter.}}

Visual media likewise impacted the style of ''Neuromancer''. Gibson has repeatedly mentioned the artwork of the 1970s French magazine [[Métal hurlant|''Métal Hurlant'']],{{Sfn|Gibson|De Haven|Jensen|1989}} with critics noting the proto-cyberpunk aesthetic of [[Jean Giraud|Jean "Moebius" Giraud]]'s "The Long Tomorrow" (1976), republished in the American ''[[Heavy Metal (magazine)|Heavy Metal]]'' magazine in 1977.{{Sfn|Higgins|Iung|2020|p=91}}  [[John Carpenter]]'s ''[[Escape from New York]]'' (1981) influenced Gibson's approach to world-building, pointing to throwaway lines that suggested much about the film's world and its history beyond the narrative itself.{{Sfn|Smith|2014|p=42}} Upon seeing [[Ridley Scott]]'s ''[[Blade Runner]]'' (1982), Gibson worried readers would think he had copied the film's "fine visual texture".{{Sfn|Smith|2014|p=42}} Gibson wrote in his introduction to the graphic novel of ''Neuromancer'' that ''Blade Runner'' was not a conscious influence;{{Sfn|Gibson|De Haven|Jensen|1989}} in a later interview, he recounted a lunch with Scott where they both acknowledged a shared debt to Moebius's work in ''Métal Hurlant''.{{Sfn|Murphy|2024|p=16}}

==Plot==
[[File:Neuromancer Brazilian cover.jpg|thumb|upright|Cover of a Brazilian edition, depicting the "razorgirl" [[Molly Millions|Molly]]]]

Case is a low-level [[hustler]] in the dystopian [[Organized crime|underworld]] of [[Chiba (city)|Chiba City]], Japan. Once a talented [[hacker (computer security)|computer hacker]] and "console cowboy", Case was caught stealing from his employer, who retaliated by damaging Case's [[central nervous system]], leaving him unable to access the [[virtual reality]] [[Dataspaces|dataspace]] called the "matrix". Case is approached by [[Molly Millions|Molly]], an augmented "razorgirl" and [[mercenary]] on behalf of a shadowy US ex-military officer named Armitage, who offers to cure Case in exchange for his services as a hacker. Case undergoes the cure, but discovers that Armitage has sabotaged him with a time-delayed poison. If Case completes the job, Armitage will disarm the poison; if not, he will find himself crippled again.

Armitage has Case and Molly steal a [[Read-only memory|ROM]] module that contains the [[Mind transfer|saved consciousness]] of one of Case's mentors, legendary hacker McCoy Pauley. Suspicious of his motives and the unusual nature of the job, Molly and Case begin to investigate Armitage on the side. They discover that Armitage is actually Colonel Willis Corto, the only survivor of the failed anti-Soviet mission "Screaming Fist". He was returned to the United States for extensive psychotherapy and reconstructive surgery, but snapped after learning that the government had been aware the mission would likely fail and went ahead with it regardless. He killed his handler and disappeared into the criminal underworld, eventually resurfacing under the name Armitage.

In [[Istanbul]], the team recruits Peter Riviera, a [[Psychopathy|sociopathic]] thief and drug addict. The trail leads Case to Wintermute, an artificial intelligence created by the eccentric Tessier-Ashpool family. The Tessier-Ashpools spend their time in rotating [[cryonic]] preservation in their home, the Villa Straylight. The Villa is located on Freeside, a [[O'Neill cylinder|cylindrical space habitat]] which functions as a [[Las Vegas Strip|Las Vegas]]-style space resort for the wealthy.

Wintermute reveals itself to Case and explains that it is one half of a super-[[Artificial intelligence|AI]] entity planned by the family. It is programmed with a need to merge with its other half, Neuromancer, but because of the severe restrictions placed on AI programs by the Turing Registry, it cannot achieve this on its own. It has manipulated and recruited Armitage and his team to bring it into contact with Neuromancer, access to which is physically secured within the Villa Straylight. Case is tasked with entering cyberspace to pierce the software barriers around Neuromancer with an [[Intrusion Countermeasures Electronics|icebreaker]] program. Riviera is to obtain the password to the physical terminal from Lady 3Jane Marie-France Tessier-Ashpool, the only member of the family awake and at the Villa.

Armitage's personality starts to disintegrate and he begins to believe he is back in Screaming Fist. It is revealed that Wintermute had originally contacted Corto through a computer during his psychotherapy, during which time he manipulated Corto to create the Armitage persona. As Corto breaks through, he becomes violently unstable and Wintermute ejects him into space.

Riviera meets Lady 3Jane and betrays the team, helping Lady 3Jane and Hideo, her [[ninja]] bodyguard, capture Molly. Under orders from Wintermute, Case tracks Molly down. Neuromancer traps Case within a [[simulated reality]] after he enters cyberspace. He finds the consciousness of Linda Lee, his girlfriend from Chiba City, who was murdered by one of his underworld contacts. He also meets Neuromancer, who takes the form of a young boy. Neuromancer tries to convince Case to remain in the virtual world with Linda, but Case refuses.

With Wintermute guiding them, Case goes to confront Lady 3Jane, Riviera, and Hideo. Riviera tries to kill Case, but Lady 3Jane is sympathetic towards Case and Molly, and Hideo protects him. Riviera flees, and Molly explains that he is doomed anyway, as she had [[Mickey Finn (drugs)|spiked]] his drugs with a lethal toxin. The team makes it to the computer terminal. Case enters cyberspace to guide the icebreaker; Lady 3Jane gives her password, and the lock opens. Wintermute unites with Neuromancer, becoming a [[Superintelligence|superconsciousness]]. The poison in Case's bloodstream is washed out and he and Molly are profusely paid, while Pauley's ROM construct is apparently erased at his own request.

Molly leaves Case, who finds a new girlfriend and resumes his hacking work. Wintermute/Neuromancer contacts him, claiming it has become "the sum total of the works, the whole show" and is looking for others like itself. Scanning recorded transmissions, the super-AI finds a [[Communication with extraterrestrial intelligence|transmission]] from the [[Alpha Centauri]] star system, not being decoded or interpreted before. This implies that the counterpart in the Centauri system is another, alien super-AI, so first contact is being made between AI-s, instead of humankind and alien lifeforms.

While logged into cyberspace, Case glimpses Neuromancer standing in the distance with Linda Lee, and himself. He also hears inhuman laughter, which suggests that Pauley still lives. The sighting implies that Neuromancer created a copy of Case's consciousness, which now exists in cyberspace with those of Linda and Pauley.

== Genre ==
{{Main|Cyberpunk}}
When Gibson was writing ''Neuromancer'', the term "cyberpunk" did not exist. Coined by [[Bruce Bethke]] for a short-story title,{{Sfn|Semley|2019|p=61}} the term "cyberpunk" was popularised by [[Gardner Dozois]] in a 1984 ''[[The Washington Post]]'' article, using the term to describe Gibson, [[Bruce Sterling]], [[Lewis Shiner]], and [[Greg Bear]].{{Sfn|Shiner|1992|p=17}} Gibson communicated via letter with these individuals, sharing ideas, criticism and praise with Sterling, Shiner, and, additionally, [[Rudy Rucker]].{{Sfn|Murphy|2020|pp=15–16}} This created a kind of shared outlook through recurring themes and motifs.{{Sfn|Sterling|1986|p=xi}} As with the [[New Wave (science fiction)|New Wave]], the term could reflect a desire for the writers to be distinguished from the "old farts" previously eminent in science fiction.{{Sfn|Csiscery-Ronay, Jr.|1991|p=184}}The cyberpunk style contrasted control and communications technologies with the rebellious, countercultural punk aesthetic,{{Sfn|Murphy|2024|p=7}} and used metaphor to blur the boundaries of human and machine: "drugs and sex and other thrills turn you on, you get a buzz, you get wired, you space out, you go on automatic".{{Sfn|Csiscery-Ronay, Jr.|1991|p=190}}

Although frequently cited as the quintessential cyberpunk novel, ''Neuromancer''{{'s}} prototype status has provided wider analytical significance, extending beyond the cyberpunk movement.{{Sfn|Slusser|Shippey|1992|p=13}} Owing to its clear influences, critics have discussed the novel and its structure in relation to pulp literature.{{Sfn|Alkon|1992|p=76}}

== Context and interpretation ==
=== Political and economic ===
''Neuromancer'', its sequels and other cyberpunk stories are often discussed within the socio-economic context of the 1980s, a period of economic restructuring,{{Sfn|Rosenthal|1991|pp=90–91}}{{Sfn|Rieder|2020|p=338}} corporate globalization,{{Sfn|O'Connell|2020|p=287-286}} and government deregulation.{{Sfn|Moylan|2010|p=82-83}}{{Sfn|Moylan|2010|p=89}} In the 1990s, a particularly influential view was that the novel reflected the "dilemmas of [[Post-Fordism|post-Fordist]] work and life",{{Sfn|Rosenthal|1991|p=99}}{{Sfn|Moylan|2010|p=94}} with Gibson reflecting or recreating the societal change brought on by the economic and industrial changes of the 1970s and 1980s.{{Sfn|Rosenthal|1991|p=99}}{{Sfn|Moylan|2010|pp=93–94}} Cyberspace's reliance on the circulation of data can be understood as a metaphor for the global circulation of [[financial capital]],{{Sfn|O'Connell|2020|p=287-286}}{{Sfn|Bould|2010|p=120}} and its [[addictiveness]] parodies the culture of [[Workaholic|workaholism]] among [[Silicon Valley]] developers.{{Sfn|Rosenthal|1991|p=99}} His protagonists have been identified as resembling contract workers,{{Sfn|Rieder|2020|p=338}} with Case dependent on [[diazepam]] to cope with the barrage of "relentless and fragmented data [and] get through the workday".{{Sfn|Rosenthal|1991|p=90}} The novel's characters represent the [[professional–managerial class]] and the novel was popular with the demographic.{{Sfn|Murphy|2024|p=103}}{{Sfn|Strombeck|2010|pp=278–279}}

While the novel represents anxiety about societal change, it is not generally viewed as being about resisting it. Gibson's protagonists do not threaten the social order of his worlds.{{Sfn|Moylan|2010|pp=92–93}} Corporations view the novel's freelance criminal protagonists as another tool at their disposal.{{Sfn|Rosenthal|1991|p=99}} Gibson's inexperience as an author led to the novel capturing the essence of 1980s inequality but reinforcing and appealing to the dominant power structure,{{Sfn|Moylan|2010|p=94}} leaving his  "dead-cynicism [and] fashionable survival".{{Sfn|Moylan|2010|p=94}} Caroline Alphin writes that human life is worth whatever it is worth to an employer.{{Sfn|Alphin|2021|p=26}} After his nervous system is damaged and he loses his ability to work as a hacker, Case must murder people for money to replenish his [[human capital]] because of [[Chiba (city)|Chiba City]]'s [[Neoliberalism|neoliberalist]] order,{{Sfn|Alphin|2021|p=26-27}} expanding that death in the novel is represented as "failure to maximise one's human capital".{{Sfn|Alphin|2021|p=27}} The novel shows that human minds can be saved to a [[CD-ROM]], preserving deceased or unwilling people's technical skills for at-will use by corporations.{{Sfn|Alphin|2021|p=26}}

=== Technological ===
Gibson's generation was the first to write science fiction at a time when the genre's concepts were becoming part of daily life.{{Sfn|McCaffery1991|p=12}} Gibson recognised, and benefitted from, the growing public fascination with the evolving technology landscape,{{Sfn|Omry|2022|p=69}} and used these concerns to "create an entire cultural vocabulary",{{Sfn|Omry|2022|p=69}} merging the language of human experience with the electronic.{{Sfn|Csiscery-Ronay, Jr.|1991|p=190}}{{Efn|"drugs and sex [...] turn you on, you get a buzz, you get wired, you space out, you go on automatic."{{Sfn|Csiscery-Ronay, Jr.|1991|p=190}}}} Bruce Sterling relates the cyborg to the increasing use of technology that directly interfaces with the human body, citing [[contact lenses]] and the [[Walkman|Sony Walkman]].{{Sfn|Sterling|1986|p=8}}

=== Race ===
Some critics consider ''Neuromancer''{{'s}} depiction of an in-orbit [[Rastafarianism|Rastafarian]] cluster called Zion. Scholar Andrew Strombeck writes that their vocabulary is distinct from the [[jargon]] used elsewhere, but notes that the portrayal embodies stereotypes about Rastafarians. He highlights both the group's origin as a [[Labour movement|labor protest movement]] and that they are the only group to perform [[Manual labour|manual labor]] in the novel.{{Sfn|Strombeck|2010|p=280}} Their society could provide an alternative to corporate hegemony but ultimately form "another node in the capitalist network".{{Sfn|Murphy|2024|p=73-74}}{{Sfn|Moylan|2010|p=89}} [[Samuel R. Delany]], an [[African Americans|African-American]] writer, criticized the portrayal.{{Sfn|Murphy|2024|p=74-75}}{{Efn|Delany wrote: "Rastas—he never calls them Rastafarians, by the way, only using the slang term—are described as having “shrunken hearts,” and their bones are brittle with “calcium loss.” Their music, Zion Dub, can be wholly analyzed and reproduced by the Artificial Intelligence, Wintermute (who, in the book, stands in for a multinational corporation), so completely that the Rastas themselves cannot tell the difference—in fact the multinational mimic job is so fine that with it Wintermute can make the Rastas do precisely what it wants, in this case help a drugged-out white hood and sleazebag get from here to there. As a group, they seem to be computer illiterates: when one of their number, Aerol, momentarily jacks into Case’s computer and sees cyberspace, what he perceives is “Babylon”—city of sin and destruction—which, while it makes its ironic comment on the book, is nevertheless tantamount to saying that Aerol is completely without power or knowledge to cope with the real world of Gibson’s novel: indeed, through their pseudo-religious beliefs, they are effectively barred from cyberspace.  From what we see, women are not a part of the Rasta colony at all. Nor do we ever see more than four of them together—so that they do not even have a group presence. Of the three chapters in which they appear, no more than three pages are actually devoted to describing them or their colony."{{Sfn|Murphy|2024|p=74-75}}}} [[Tom Moylan]] notes that ''Neuromancer'' loses its "critical edge" in exploring Zion's within the primary narrative,{{Sfn|Moylan|2010|p=92-93}} and describes a pattern in Gibson's ''Sprawl'' trilogy of including the racial [[Other (philosophy)|Other]] but limiting their role to "happy helper".{{Sfn|Moylan|2010|p=93-94}}

== Reception ==
''Neuromancer'' was released to immense critical success, becoming the only novel ever to win the "triple crown"—[[Hugo Award for Best Novel]], the [[Nebula Award for Best Novel]] and the [[Philip K. Dick Award]] for original paperback fiction.{{Sfn|McCaffery|1991|p=263}}{{Sfn|Renegar| Dionisopoulos|2011|p=11}}{{Efn|This achievement was described by the ''[[Mail & Guardian]]'' as "the sci-fi writer's version of winning the [[Prix Goncourt|Goncourt]], [[Booker Prize|Booker]] and [[Pulitzer Prize|Pulitzer]] prizes in the same year".{{Sfn|Walker|1996}} According to Philip K. Dick Award judge [[Robert J. Sawyer]] on his blog, this award is unfeasible as an achievement due to differences in eligibility criteria.{{Sfn|Sawyer|2016}}}} It was nominated or shortlisted for virtually every other science-fiction prize,{{Sfn|Murphy|2024|p=2}} including the 1984 [[BSFA Award for Best Novel]].{{Sfn|Omry|2022|p=68}}{{Sfn|Liptak|2014}} Released "without fanfare" as a [[Paperback|mass-market paperback]], ''Neuromancer'' gained an audience primarily through word of mouth,{{Sfn|Liptak|2014}} coinciding with the boom in personal computing.{{Sfn|Butler|2004|p=212}} ''The Observer'' noted that ''[[The New York Times]]'' didn't mention the novel until 10 years after release,{{Sfn|Adams|2007}} but contemporary reviews were largely positive. ''The Observer'' and ''The Evening Sun'', agreed that the novel presented a compelling image of a near-future.{{Sfn|The Evening Sun|1984|p=10}}{{Sfn|Johnston|1984|p=28}} One critic compared Gibson's cyberspace to   [[Disney Corporation|Disney]]'s [[Tron]] (1982).{{Sfn|The Evening Sun|1984|p=10}} It appealed to people who were fans of Gibson's short stories,{{Sfn|Newsday|1984}} and found success with readers who were not previously interested in computer fiction.{{Sfn|The Roanoke Times|1983}} Gibson recorded an abridged version of the novel as cassette-based audiobook in 1995, which a reviewer for [[Wired (magazine)|''Wired'']] found somewhat disappointing but repeated praise for the novel itself.{{Sfn|Pleshaw|1995}}

== Impact ==
The novel catalysed the cyberpunk movement, influencing artists across virtually all forms of media, including film, literature, visual art, fashion and video gaming.{{Sfn|Omry|2022|p=69}} It has been described as "the quintessential cyberpunk novel",{{Sfn|Melzer|2020|p=291}} and the "archetypal cyberpunk work",{{Sfn|Person|1998}} and the most notable 1980s science-fiction novel.{{Sfn|Ruddick|1994|p=84}} [[Edward Bryant]] sarcastically referred to subsequent cyberpunk works as NOGS—novels of Gibsonian sensibility.{{Sfn|Shiner|1992|p=22}} In 2005, [[Time (magazine)|''Time'']] named ''Neuromancer'' one of its All-Time 100 Novels.{{Sfn|Grossman|2005}}

The novel's immense success, alongside the continuous output work of other early cyberpunk writers—most commonly listed as [[Bruce Sterling]], [[Lewis Shiner]], [[John Shirley]] and [[Rudy Rucker]]—virtually guaranteed the genre's immediate survival.{{Sfn|Murphy|2020|pp=15–16}} In particular, ''Neuromancer'' provided future cyberpunk stories with a basic structure and vocabulary: protagonists who interface with computer hardware using a biological port, circumvent anti-hacking protocols ([[Intrusion Countermeasures Electronics]], or ICE) and navigate a three-dimensional virtual world (cyberspace).{{Sfn|Omry|2022|p=69}}

Motifs and terminology popularised by the novel—the matrix, flatlining, cranial jack, biological microchips and traversal in cyberspace—were replicated or parodied by other authors.{{Sfn|Murphy|2024|p=12}}{{Sfn|Cavallaro|2000|p=69}} Developments anticipated by the novel include reality TV, nanomachines and virtual communities. It inspired early computer programmers in the creation of [[the Internet]] and impacted early computer culture.{{Sfn|Murphy|2024|p=12-13}}{{Sfn|Murphy|2024|p=8}}{{Sfn|Murphy|2024|p=41}} Gibson has rejected the novel's characterisation as impactful on real-life technologists, reasoning that the ideas came "from the same place [he] got them".{{Sfn|Perez|2012}} In 1992, [[John Perry Barlow]], co-founder of the [[Electronic Frontier Foundation]], introduced the term "cyberspace" to the [[US Intelligence Community]] during a speech in 1992, mentioning ''Neuromancer'' directly.{{Sfn|Streeter|2005|pp=757–758}} To Gibson's dismay,{{Efn|Gibson said "technical people" had missed "several layers of irony".{{Sfn|Cavallaro|2000|pp=66–67}}}} the term provided a name for a product by [[Autodesk]].{{Sfn|Cavallaro|2000|p=66-67}} 

==Adaptations==
[[File:Neuromancer TGN.jpg|thumb|Cover art of volume one of the [[Tom De Haven|Tom de Haven]] and Jensen graphic novel adaptation, published by [[Marvel Comics]] in 1989|261x261px]]
In 1989, [[Marvel Comics|Marvel]]'s [[Epic Comics]] imprint published a 48-page [[graphic novel]] version by [[Tom De Haven|Tom de Haven]] and [[Bruce Jensen]]. It only covers the first two chapters, "Chiba City Blues" and "The Shopping Expedition", and was never continued.{{Sfn|Murphy|2024|p=16}}  A loosely based [[Neuromancer (video game)|video game adaptation of the same name]] was published in 1988 by [[Interplay Entertainment]] for the [[Apple II]] and [[Commodore 64]].{{Sfn|Alexander|2014}}

While ''Neuromancer'' has never been adapted into a film, there have been several attempts; several journalists have described the novel as "unfilmable".{{Sfn|Anthony|2008}}{{Sfn|Child|2010}} British director [[Chris Cunningham]] and musician [[Aphex Twin]] were attached to the project, providing the script and soundtrack, respectively.{{Sfn|Kinnear|2013}} While Cunningham's script gained Gibson's blessing, Cunningham ultimately withdrew over not being given [[final cut privilege]].{{Sfn|Child|2010}} Actor [[Hayden Christensen]] was rumoured to be attached.{{Sfn|Anthony|2008}} Other directors with previous connections to aborted film projects include [[Chuck Russell]], [[Vincenzo Natali]] and, most recently, [[Deadpool (film)|''Deadpool'']] director [[Tim Miller (director)|Tim Miller]] in 2017.{{Sfn|Kinnear|2013}}{{Sfn|Hamman|2025}}{{Sfn|Couch|2017}} Natali, who also had Gibson blessing, spent several years the project; offers were extended to actors [[Liam Neeson]] and [[Mark Wahlberg]] until Natali became unavailable.{{Sfn|Child|2012}}

In February 2024, [[Apple Inc|Apple]] announced that it had greenlit [[Neuromancer (TV series)|a 10-episode series]] for [[Apple TV+]], co-produced by [[Skydance Television]], [[Anonymous Content]], and DreamCrew Entertainment, with [[J. D. Dillard]] joining Roland as co-showrunner.{{Sfn|Cordero|2024a}} The announced cast includes [[Callum Turner]] as Case,{{Sfn|Otterman|2024}} [[Briana Middleton]] as Molly,{{Sfn|Andreeva|2024}} [[Joseph Lee (actor)|Joseph Lee]] as Hideo,{{Sfn|Cordero|2024b}} [[Mark Strong]] as Armitage,{{Sfn|Andreeva|2024}} and [[Clémence Poésy]] as Marie-France Tessier.''{{Sfn|Petski|2025}}''

==Notes and references==
===Notes===
{{notelist}}

===References===
{{Reflist}}

==Bibliography==
=== Books ===
{{refbegin}}
* {{Cite book |last=Alphin |first=Caroline |title=Neoliberalism and Cyberpunk Science Fiction: Living on the Edge of Burnout |date=2021 |publisher=Routledge |isbn=978-0-367-49099-7 |location=New York}}
* {{Cite book |last=Cavallaro |first=Dani |title=Cyberpunk and cyberculture: science fiction and the work of William Gibson |date=2000 |publisher=Athlone Press  |isbn=978-0-485-00412-0 |location=London}}
* {{Cite book |last1=Gibson |first1=William |title=William Gibson's Neuromancer, The Graphic Novel: Volume 1 |last2=De Haven |first2=Tom |last3=Jensen |first3=Bruce |publisher=Epic Comics |year=1989 |chapter=Introduction}}
* {{Cite book |title=Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science fiction |date=1991 |publisher=Duke University Press |isbn=978-0-8223-1158-4 |editor-last=McCaffery |editor-first=Larry |location=Durham}}
** {{harvc | in=McCaffery | first=Istvan | last=Csiscery-Ronay, Jr. | chapter=Cyberpunk and Neuromanticism | pages=182-193| year=1991}}
** {{harvc | in=McCaffery | first=Hollinger | last=Veronica | chapter=“Cybernetic Deconstructions: Cyberpunk and Postmodernism | pages=203-218| year=1991}}
* {{Cite book |title=The Routledge companion to cyberpunk culture |date=2020 |publisher=Routledge, Taylor & Francis Group |isbn=978-0-8153-5193-1 |editor-last=McFarlane |editor-first=Anna |series=Routledge companions |location=New York London |editor-last2=Murphy |editor-first2=Graham J. |editor-last3=Schmeink |editor-first3=Lars}}
** {{harvc|last1=Latham|first1=Rob|in=McFarlane|in2=Murphy|in3=Schmeink|chapter=Literary Precursors|pages=7–14|year=2020}} 
** {{harvc |last1=Murphy |first1=Graham J. |in=McFarlane |in2= Murphy |in3=Schmeink | chapter=The Mirrorshades Collective |pages=15-23 |year=2020}}
** {{harvc |editor-last1=McFarlane |editor-first1=Anna | |last1= Higgins| last2= Iung| first1=David M. |first2= Matthew |in=McFarlane |in2=Murphy |in3=Schmeink |chapter=Comic Books|pages=91–101|year=2020}}
** {{harvc |last1=Melzer |first1=Patricia |in=McFarlane |in2= Murphy |in3=Schmeink | chapter=Cyborg Feminism |pages=291-299 |year=2020}}
** {{harvc |last1=O'Connell |first1=Hugh Charles |in=McFarlane |in2= Murphy |in3=Schmeink | chapter=Cyborg Feminism |pages=282-290 |year=2020}}
** {{harvc |last1=Rieder |first1=John |in=McFarlane |in2= Murphy |in3=Schmeink | chapter=Empire |pages=335-344 |year=2020}}
* {{Cite book |title=Fifty Key Figures in Cyberpunk Culture |date=2022 |publisher=Routledge, Taylor & Francis Group |isbn=978-1-003-09118-9 |editor-last=McFarlane |editor-first=Anna |location=New York, NY |editor-last2=Murphy |editor-first2=Graham J. |editor-last3=Schmeink |editor-first3=Lars}}
** {{harvc |last=Omry |first=Keren |in=McFarlane |in2=Murphy |in3=Schmeink |chapter=William Gibson |pages=68-73 |year=2022}} 
* {{Cite book |last=Miller |first=Gerald Alva |title=Understanding William Gibson |date=2016 |publisher=The University of South Carolina Press |isbn=978-1-61117-633-9 |series=Understanding contemporary American literature |location=Columbia, South Carolina}}
* {{Cite book |last=Murphy |first=Graham J. |title=William Gibson's "Neuromancer": A Critical Companion |date=2024 |publisher=Springer Nature Switzerland |isbn=978-3-031-56626-4 |edition=1st ed. 2024 |series=Palgrave Science Fiction and Fantasy: A New Canon |location=Cham}}
* {{Cite book |last1=Slusser |first1=George Edgar |last2=Shippey |first2=Thomas Alan |title=Fiction 2000: cyberpunk and the future of narrative |date=1992 |publisher=University of Georgia press |isbn=978-0-8203-1425-9 |location=Athens, (Ga.)}}
** {{harvc |last=Shiner |first=Lewis | in1=Slusser |in2=Shippey |year=1992 |chapter=Inside the Movement: Past, Presence and Future |pages=17-25}}
** {{harvc |last=Csicsery-Ronay, Jr. |first=Istvan | in1=Slusser |in2=Shippey |year=1992 |chapter=Futuristic Flu, or, the Revenge of the Future |pages=26-45}}
** {{harvc |last=Alkon |first=Paul | in1=Slusser |in2=Shippey |year=1992 |chapter=Deus Ex Machina in William Gibson's Neuromancer |pages=75-88}}
* {{Cite book |title=Beyond Cyberpunk: New Critical Perspectives |date=2010 |publisher=Routledge |isbn=978-0-203-85196-8 |editor-last1=Murphy |editor-first1=Graham J. |editor-last2=Vint |editor-first2=Sherryl |series=Routledge studies in contemporary literature |location=New York}}
** {{harvc |last=Moylan |first=Tom | in1=Murphy |in2=Vint |year=2010 |chapter=Global Economy, Local Texts: Utopian/Dystopian Tension in William Gibson's Cyberpunk Trilogy |pages=81-94}}
** {{harvc |last=Bould |first=Mark | in1=Murphy |in2=Vint |year=2010 |chapter=Why Neo Flies, and Why He Shouldn't: The Critique of Cyberpun in Gwyneth Jones' Escape Plans and M. John Harrison's Signs of Life |pages=116-134}}
* {{Cite book |editor-last=Smith |editor-first=Patrick A. |title=Conversations with William Gibson  |date=2014 |publisher=University press of Mississippi |isbn=978-1-62846-015-5 |series=Literary conversations series |location=Jackson}}
** {{harvc|last1=Wallace-Wells |first1=David |in=Smith |chapter=Interview with David Wallace-Wells |pages=198-228 |year=2014 |author-link=David Wallace-Wells}} 
* {{Cite book |title=Mirrorshades: The Cyberpunk Anthology |publisher=[[Ace Books]] |year=1986 |isbn=0-441-53382-5 |editor-last=Sterling |editor-first=Bruce |edition=1st |location=New York}}
{{refend}}

=== Articles===
{{refbegin}}
* {{Cite journal |last=Butler |first=Andrew M. |date=2004 |title=Between the "Deaths" of Science Fiction: A Skeptical View of the Possibility for Anti-Genres |url=https://www.jstor.org/stable/43310245 |journal=Journal of the Fantastic in the Arts |volume=15 |issue=3 (59) |pages=208–216 |jstor=43310245 |issn=0897-0521}}
* {{Cite journal |last=Myers |first=Tony |date=2001 |title=The Postmodern Imaginary in William Gibson's "Neuromancer" |url=https://www.jstor.org/stable/26286501 |journal=Modern Fiction Studies |volume=47 |issue=4 |pages=887–909 |jstor=26286501 |issn=0026-7724}}
* {{Cite journal |last=Nazare |first=Joe |date=2003 |title=Marlowe in Mirrorshades: The Cyberpunk (re-) Vision of Chandler |url=https://www.jstor.org/stable/29533587 |journal=Studies in the Novel |volume=35 |issue=3 |pages=383–404 |jstor=29533587 |issn=0039-3827}}
* {{Cite journal |last=Person |first=Lawrence |date=1998 |title=Notes Toward a Postcyberpunk Manifesto |url=http://features.slashdot.org/article.pl?sid=99/10/08/2123255 |journal=[[Nova Express (fanzine)|Nova Express]] |volume=4 |issue=4 |access-date=2007-11-06}}
* {{Cite journal |last1=Renegar |first1=Valerie R. |last2=Dionisopoulos |first2=George N. |date=2011-09-01 |title=The Dream of a Cyberpunk Future? Entelechy, Dialectical Tension, and the Comic Corrective in William Gibson's Neuromancer |url=https://www.tandfonline.com/doi/abs/10.1080/1041794x.2010.500342 |journal=Southern Communication Journal |volume=76 |issue=4 |pages=323–341 |doi=10.1080/1041794x.2010.500342 |issn=1041-794X}}
* {{Cite journal |last=Rosenthal |first=Pam |date=March 1991 |title=Jacked In: Fordism, Cyberpunk, Marxism |journal=Socialist Review |volume=21 |issue=1 |pages=79–103}}
* {{Cite journal |last=Ruddick |first=Nicholas |date=1994 |title=Putting the Bits Together: Information Theory, "Neuromancer", and Science Fiction |url=https://www.jstor.org/stable/43308200 |journal=Journal of the Fantastic in the Arts |volume=3 |issue=3/4 (11/12) |pages=84–92 |jstor=43308200 |issn=0897-0521}}
* {{Cite journal |last=Semley |first=John |date=2019 |title=Cyberpunk is Dead: At the inglorious end of a once-promising genre |url=https://www.jstor.org/stable/26842284 |journal=The Baffler |issue=48 |pages=58–67 |jstor=26842284 |issn=1059-9789}}
* {{Cite journal |last=Streeter |first=Thomas |date=2005 |title=The Moment of Wired |url=https://www.jstor.org/stable/10.1086/444514 |journal=Critical Inquiry |volume=31 |issue=4 |pages=755–779 |doi=10.1086/444514 |jstor=10.1086/444514 |issn=0093-1896}}
* {{Cite journal |last=Strombeck |first=Andrew |date=2010 |title=The Network and the Archive: The Specter of Imperial Management in William Gibson's "Neuromancer" |url=https://www.jstor.org/stable/25746410 |journal=Science Fiction Studies |volume=37 |issue=2 |pages=275–295 |doi=10.1525/sfs.37.2.0271 |jstor=25746410 |issn=0091-7729}}
* {{Cite journal |last=Wood |first=Brent |date=1996 |title=William S. Burroughs and the Language of Cyberpunk |url=https://www.jstor.org/stable/4240476 |journal=Science Fiction Studies |volume=23 |issue=1 |pages=11–26 |doi=10.1525/sfs.23.1.0011 |jstor=4240476 |issn=0091-7729}}
* {{Cite journal |last=Whalen |first=Terence |date=1992 |title=The Future of a Commodity: Notes toward a Critique of Cyberpunk and the Information Age |url=https://www.jstor.org/stable/4240123 |journal=Science Fiction Studies |volume=19 |issue=1 |pages=75–88 |jstor=4240123 |issn=0091-7729}}
{{refend}}

=== News ===
{{refbegin}}
* {{Cite news |last=Adams |first=Tim |date=2007-08-12 |title=Space to think |url=https://www.theguardian.com/books/2007/aug/12/sciencefictionfantasyandhorror.features |access-date=2025-01-14 |work=The Observer |language=en-GB |issn=0029-7712}}
* {{cite web |last1=Andreeva |first1=Nellie |title=''Neuromancer'': Briana Middleton Joins Callum Turner In Apple TV+ Series |url=https://deadline.com/2024/06/briana-middleton-neuromancer-apple-tv-1235986115/ |website=[[Deadline Hollywood]] |date=June 28, 2024}}
* {{Cite news |last=Cordero |first=Rosy |date=2024b |title='Beef's Joseph Lee Joins Leading Cast Of Apple TV+ Drama 'Neuromancer' |url=https://deadline.com/2024/12/joseph-lee-apple-tv-drama-neuromancer-1236238370/  |website=Deadline }}
* {{Cite web |last=Cordero|first=Rosy|title=Apple Greenlights New Sci-Fi Drama Series 'Neuromancer' Based On William Gibson Novel|url=https://deadline.com/2024/02/apple-greenlights-neuromancer-series-1235840840/|website=Deadline Hollywood|date=2024a|access-date=February 28, 2024}}
* {{Cite web |last=Liptak |first=Andrew |title=30 Years of William Gibson's Neuromancer |url=https://www.kirkusreviews.com/news-and-features/articles/30-years-william-gibsons-ineuromanceri/ |date=2014 |website=Kirkus Reviews |language=en}}
* {{Cite web |last=Perez |first=Hugo |date=2012-01-08 |title=Power in This Weird Grey Box: William Gibson's First Technology Memory |url=https://www.vice.com/en/article/power-in-this-weird-grey-box-william-gibson-s-first-technology-memory/ |website=VICE }} 
* {{Cite web |last=Petski |first=Denise |date=2025-03-06 |title=Clémence Poésy Joins ‘Neuromancer’ Apple TV+ Series |url=https://deadline.com/2025/03/clemence-poesy-neuromancer-apple-tv-series-1236312847/ |access-date=2025-05-17 |website=Deadline }}
* {{Cite web |last=Walker |first=Martin |date=1996-09-03 |title=Blade Runner on electro-steroids |url=https://mg.co.za/article/1996-09-03-blade-runner-on-electrosteroids/ |access-date=2025-01-13 |website=The Mail & Guardian}}
* {{cite web | url = https://variety.com/2024/tv/news/callum-turner-neuromancer-series-apple-tv-plus-1235979735/ | title = Callum Turner to Star in 'Neuromancer' Series at Apple TV+ | first = Joe | last = Otterman | date = April 23, 2024 | accessdate = April 26, 2024 | work = [[Variety (magazine)|Variety]] }}
* {{Cite news |last=Weber |first=Bruce |date=2015-01-11 |title=Robert Stone, Novelist of the Vietnam Era and Beyond, Dies at 77 |url=https://www.nytimes.com/2015/01/11/nyregion/robert-stone-novelist-inspired-by-war-dies-at-77-.html |access-date=2025-01-12 |work=The New York Times |language=en-US |issn=0362-4331}}
{{refend}}

===Reviews===
{{refbegin}}
* {{Cite news |date=1984-06-29 |title=Novel probes future computers |url=https://www.newspapers.com/article/the-evening-sun-novel-probes-future-comp/163142161/ |access-date=2025-01-16 |work=The Evening Sun |pages=10 |ref={{harvid|The Evening Sun|1984}}}}
* {{Cite news |date=1984-12-23 |title=Science fiction |last= Johnston |first=Kelvin  |url=https://www.newspapers.com/article/the-observer-science-fiction-by-kelvin-j/163143032/ |access-date=2025-01-16 |work=The Observer |pages=28}} 
* {{Cite news |date=1983-09-26 |title=Sci-fi |url=https://www.newspapers.com/article/the-roanoke-times-sci-fi/163142127/ |access-date=2025-01-16 |work=The Roanoke Times |pages=5|ref={{harvid|The Roanoke Times|1983}}}}
* {{Cite news |date=1984-07-08 |title=Science Fiction |url=https://www.newspapers.com/article/newsday-science-fiction/163142381/ |access-date=2025-01-16 |work=Newsday |pages=150|ref={{harvid|Newsday|1984}}}}
{{refend}}

=== Websites===
{{refbegin}}
* {{Cite news |last=Alexander |first=Leigh |date=2014-09-03 |title=Lo-Fi Let's Play: Neuromancer |url=https://www.rockpapershotgun.com/lets-play-neuromancer |work=[[Rock, Paper, Shotgun]] }}
* {{Cite news |last=Anthony |first=James |date=2008-01-11 |title=In cyberspace, no one can hear the Neuromancer fans scream |url=https://www.theguardian.com/film/filmblog/2008/jan/11/incyberspacenoonecanheartheneuromancerfansscream |access-date=2025-05-17 |work=[[The Guardian]] |issn=0261-3077}}
* {{Cite news |last=Child |first=Ben |date=2010-05-14 |title=Is William Gibson's Neuromancer too vast for the big screen? |url=https://www.theguardian.com/film/filmblog/2010/may/14/william-gibson-neuromancer-vincenzo-natali |access-date=2025-05-17 |work=The Guardian |issn=0261-3077 }}
* {{Cite news |last=Child |first=Ben |date=2012-08-02 |title=Will Liam Neeson and Mark Wahlberg be plugging into Neuromancer? |url=https://www.theguardian.com/film/filmblog/2012/aug/02/liam-neeson-mark-wahlberg-neuromancer |access-date=2025-05-17 |work=The Guardian |issn=0261-3077}}
* {{Cite web |last=Gibson |first=Wiliam |date=January 8, 2003 |title=William Gibson Blog |url=http://www.williamgibsonbooks.com/blog/2003_01_01_archive.asp#90158337 |url-status=dead |archive-url=https://web.archive.org/web/20070926221513/http://www.williamgibsonbooks.com/blog/2003_01_01_archive.asp#90158337 |archive-date=September 26, 2007 |access-date=January 13, 2025 |website=William Gibson Books}}
* {{Cite news |last=Couch |first=Aaron |title='Deadpool' Director Tim Miller to Adapt 'Neuromancer' for Fox |url=http://www.hollywoodreporter.com/heat-vision/deadpool-director-tim-miller-adapt-neuromancer-fox-1028185 |magazine=Hollywood Reporter |date=2017 |accessdate=January 14, 2025}}
* {{Cite web |last=Hamman |first=Cody |date=2025-03-20 |title=Neuromancer: Apple TV’s William Gibson adaptation adds Dane DeHaan |url=https://www.joblo.com/neuromancer-dane-dehaan/ |access-date=2025-05-17 |website=[[JoBlo.com|JoBlo]] }} 
* {{Cite web |last=Kinnear |first=Simon |date=2013-10-14 |title=50 Amazing Unmade Movies |url=https://www.gamesradar.com/50-unmade-movies/2/ |access-date=2025-05-17 |website=GamesRadar+ }} 
* {{Cite news |last=Pleshaw |first=Gregory J. |title=Neuromancer Speaks! |url=https://www.wired.com/1995/01/neuromancer-speaks/ |year=1995 |access-date=2025-05-17 |work=Wired |issn=1059-1028}}
* {{Cite web |last=Sawyer |first=Robert |author-link=Robert J. Sawyer |date=January 13, 2016 |title=Hugo / Nebula / PKDick overlap — and SF's true Triple Crown |url=https://sfwriter.com/blog/?p=4882 |access-date=January 14, 2025 |website=Robert J. Sawyer}}
* {{Cite web |last=Grossman |first=Lev |title=Is Full List one of the All-TIME 100 Best Novels? |url=https://entertainment.time.com/2005/10/16/all-time-100-novels/slide/all/ |access-date=2025-01-16 |magazine=Time |year=2005|issn=0040-781X}}
{{refend}}

== Further reading ==
* {{Cite journal |last=Canavan |first=Gerry |date=2013 |title=Superseding Cyberpunk |url=https://www.jstor.org/stable/10.5621/sciefictstud.40.1.0169 |journal=Science Fiction Studies |volume=40 |issue=1 |pages=169–172 |doi=10.5621/sciefictstud.40.1.0169 |jstor=10.5621/sciefictstud.40.1.0169 |issn=0091-7729 }}
* {{Cite journal |last=Hollinger |first=Veronica |date=July 1999 |title=Contemporary Trends in Science Fiction Criticism, 1980–1999 |url=http://www.depauw.edu/sfs/backissues/78/hollinger78art.htm |journal=Science Fiction Studies |volume=26 |issue=78 |access-date=2007-11-06}}
* {{Cite journal |last=Punday |first=Daniel |date=2000 |title=The Narrative Construction of Cyberspace: Reading Neuromancer, Reading Cyberspace Debates |url=https://www.jstor.org/stable/379040 |journal=College English |volume=63 |issue=2 |pages=194–213 |doi=10.2307/379040 |jstor=379040 |issn=0010-0994}}
* {{Cite journal |last=Youngquist |first=Paul |date=2012 |title=Cyberpunk, War, and Money: Neal Stephenson's Cryptonomicon |url=https://muse.jhu.edu/pub/19/article/483327/pdf |journal=Contemporary Literature |volume=53 |issue=2 |pages=319–347 |doi=10.1353/cli.2012.0011 |issn=1548-9949}}

==External links==
{{Wikiquote}}
{{Portal|Internet|Speculative fiction}}
* {{ISFDB title|1475}}
* [http://www.antonraubenweiss.com/gibson/01neuromancer.html ''Neuromancer''] at the William Gibson Aleph, featuring cover art and adaptations
* [http://www.worldswithoutend.com/novel.asp?ID=32 ''Neuromancer''] at Worlds Without End
* [http://www.goodreads.com/book/show/22328.Neuromancer ''Neuromancer''] at Goodreads
* [https://brians.wsu.edu/2016/10/12/study-guide-for-william-gibson-neuromancer-1984/ Study Guide for William Gibson: ''Neuromancer'' (1984)] by Paul Brians of Washington State University
<references group="lower-alpha" />

{{William Gibson}}
{{Hugo Award Best Novel 1981–1990}}
{{Nebula Award Best Novel}}
{{Philip K. Dick Award}}
{{Authority control}}
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