Marcel Duchamp

La mariée mis à nu par ses célibataires, même



"Straylight reminded Case of deserted early morning shopping centers he’d known as a teenager, low-density places where the small hours brought a fitful stillness, a kind of numb expectancy, a tension that left you watching insects swarm around caged bulbs above the entrance of darkened shops. Fringe places, just past the borders of the Sprawl, too far from the all-night click and shudder of the hot core. There was that same sense of being surrounded by the sleeping inhabitants of a waking world he had no interest in visiting or knowing, of dull business temporarily suspended, of futility and repetition soon to wake again.

Molly had slowed now, either knowing that she was nearing her goal or out of concern for her leg. The pain was starting to work its jagged way back through the endorphins, and he wasn’t sure what that meant. She didn’t speak, kept her teeth clenched, and carefully regulated her breathing. She’d passed many things that Case hadn’t understood, but his curiosity was gone.

There had been a room filled with shelves of books, a million flat leaves of yellowing paper pressed between bindings of cloth or leather, the shelves marked at intervals by labels that followed a code of letters and numbers; a crowded gallery where Case had stared, through Molly’s incurious eyes, at a shattered, dust-stenciled sheet of glass, a thing labeled — her gaze had tracked the brass plaque automatically — “La mariee mise a nu par ses celibataires, meme.”

She’d reached out and touched this, her artificial nails clicking against the Lexan sandwich protecting the broken glass. There had been what was obviously the entrance to Tessier-Ashpool’s cryogenic compound, circular doors of black glass trimmed with chrome. She’d seen no one since the two Africans and their cart, and for Case they’d taken on a sort of imaginary life; he pictured them gliding gently through the halls of Straylight, their smooth dark skulls gleaming, nodding, while the one still sang his tired little song. And none of this was anything like the Villa Straylight he would have expected, some cross between Cath’s fairy tale castle and a half-remembered childhood fantasy of the Yakuza’s inner sanctum"

William Gibson, "Neuromancer", 1985

[ In July to October, 2006, I plan a series of posts celebrating the 20th anniversary of the William Gibson "Sprawl Trilogy". This is one of such posts. To find the other posts just search for the link near the upper right corner of any page of this blog. Click HERE for more details ]

links:

http://en.wikipedia.org/wiki/The_Large_Glass

http://en.wikipedia.org/wiki/Philadelphia_Museum_of_Art

http://www.philamuseum.org/collections/permanent/51474.html