William Gibson's interview

Some excerpt from an interview of William Gibson that I found relevant:

"trying to get a handle on our sort of increasingly confused and confusing present. (...) when I started, one of the assumptions that I had was that science fiction is necessarily always about the day in which it was written. And that was my conviction from having read a lot of old science fiction. 19th century science fiction obviously expresses all of the concerns and the neuroses of the 19th century and science fiction from the 1940's is the 1940's. George Orwell's 1984 is really 1948, the year in which he wrote (...) There's a character in my previous novel, Pattern Recognition , who argues that we can't culturally have futures the way that we used to have futures because we don't have a present in the sense that we used to have a present. Things are moving too quickly for us to have a present to stand on from which we can say, "oh, the future, it's over there and it looks like this." (...) I would find that spookier if I had been believing all along that those sort of dystopian themes in science fiction were about some sort of vision of the future. I think they were actually like being perceived in the past when that stuff was being written. 1984 is a powerful book precisely because Orwell didn't have to make a lot of shit up. He had Nazi Germany and the Soviet Union under Stalin as models for what he was doing. He only had to dress it up a little bit, sort of pile it up in a certain way to say, "this is the future." But the reason it's powerful is that it resonates of history. It doesn't resonate back from the future, it resonates out of modern history. And the power with which it resonates is directly contingent on the sort of point-for-point mimesis, like sort of point-for-point realism, in terms of what we know happened. (...) When you're writing about a present, whether it's imaginary or not, and there's some major imaginary elements in Spook Country , the rules are different. It isn't the same. I have to come up with something that allows me to suspend my disbelief in my fantastic narrative and which I hope will allow the reader to suspend their disbelief. So actually, it is more work. It requires a different sort of examination of my own sense of the world outside myself."

Why do I blog this? some good points there (especially regarding the process of writing about present/future), although I am curious about the "things are moving too quickly to have a present".