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William Gibson's feat of imagination, embodied by the seminal "cyberpunk" novel Neuromancer and subsequent sci-fi techno titles, was in presaging the Information Age and coining some of its language even as he remained a technological laggard who eschewed computers.

The new novel from William Gibson, "one of the most visionary, original, and quietly influential writers currently working." (The Boston Globe)

Hollis Henry worked for the global marketing magnate Hubertus Bigend once before. She never meant to repeat the experience. But she's broke, and Bigend never feels it's beneath him to use whatever power comes his way — in this case, the power of money to bring Hollis onto his team again. Not that she knows what the "team" is up to, not at first.

Milgrim is even more thoroughly owned by Bigend. He's worth owning for his useful gift of seeming to disappear in almost any setting, and his Russian is perfectly idiomatic - so much so that he spoke Russian with his therapist, in the secret Swiss clinic where Bigend paid for him to be cured of the addiction that would have killed him.

Garreth has a passion for extreme sports. Most recently he jumped off the highest building in the world, opening his chute at the last moment, and he has a new thighbone made of rattan baked into bone, entirely experimental, to show for it. Garreth isn't owned by Bigend at all. Garreth has friends from whom he can call in the kinds of favors that a man like Bigend will find he needs, when things go unexpectedly sideways, in a world a man like Bigend is accustomed to controlling.

As when a Department of Defense contract for combat-wear turns out to be the gateway drug for arms dealers so shadowy that even Bigend, whose subtlety and power in the private sector would be hard to overstate, finds himself outmaneuvered and adrift in a seriously dangerous world.

The Barnes & Noble Review

Like a wizard employing a hieratic numerology to craft his spells, William Gibson likes to work in threes. Far from being impelled by the publishing industry's fascination with commercial trilogies -- for, indeed, his triplets are not even marketed as such, but only observed in retrospect -- Gibson's focus on sequential cycles of three novels seems to arise from his need to employ shifting angles of attack, to make lateral feints and forays against and into his abstruse subject matter.