The girl in the black vinyl minidress, shit-kicker boots and neon hair braids told me she was a cyberpunk. “Wow,” I answered, shouting over the club’s thumping techno-trance beat, “I love William Gibson.” I may as well have namechecked Samuel Taylor Coleridge at a Metallica gig. She stared at me for a while, then shouted back “I’m not into the Bee Gees.”
Pop culture rarely recognises its influences, especially when they are literary. But it’s a testament to just how closely attuned William’s Gibson’s work was to the zeitgeist, that in 1992 cyberpunk was manifesting in the cultural interface where 80s goth met 90s techno.