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Snow Crash Neal Stephenson 2015553380958 Books

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Snow Crash Neal Stephenson 2015553380958 Books

Neal Stephenson writes science fiction that requires a certain level of attention and concentration to follow and stay on top of. You can’t lay a Stephenson novel down for a few days and hope to come back and take up where you left off. This is not pulp science fiction.

In this audacious novel, Stephenson crafts a dystopian Earth near the end of the 20th century. Most civilization has broken down and even in the United States, society has devolved into semi-sovereign “franchulates” (franchise consulates) and “burbclaves” (suburban enclaves). A rampant form of pure capitalism reigns, with private ownership of roads and police protection. Existing alongside this “free for all” is a Metaverse, an on-line world governed largely by hackers. Now, dystopia coupled with virtual reality is nothing new, however Stephenson takes it up a notch, weaving Sumerian and Old Testament mythology throughout the story.

Some may find elements of Stephenson’s world silly, and some of it is pretty far out there, but much of it comes across as biting satire and I found it enormously entertaining. The “heroes” of the story are Hiro Protagonist, a freelance stringer for Central Intelligence Corporation (a privatized successor to the Library of Congress), a computer software designer and the greatest sword fighter in the world (in the Metaverse) and Y.T., a souped up skateboard riding 15 year old courier.

With the help of the Mafia (Cosa Nostra, Inc.) and assorted other supremely interesting characters, Hiro and Y.T. discover a new designer drug, Snow Crash, whose purpose is to inject a virus into the deepest level of the brain, acting much the same as a computer virus. Seeking to prevent spread of the virus, Hiro and Y.T. cross swords with Bob Rife, the richest man on the planet, who seeks to use Snow Crash to exert total control over the world's population. Elements of economic theory, religion, virtual reality, Sumerian mythology and linguistics take this story out of the realm of anything you’ve ever experienced. Four and a half stars, rounded up to five simply on the basis of its originality, scope and audacity.


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Snow Crash Neal Stephenson 2015553380958 Books Reviews

I haven't read anything of Stephenson's since Seveneves. Before that my only other exposure was with Anathem.

With those two books as my previous experience I was a little hesitant to dive into one of Neal's massive tomes with endless paragraphs of info dump and esoteric scientific explanations.

I was PLEASENTLY surprised to find none of that. Yes, there are large chunks of Stephenson's verbose prose. But while action packed and with an amazing world that only Stephenson can build this was still "light" compared to those novels.

A semi-dystopian future where the US is chopped into different enclaves and the mafia are the good guys this story blends real world action with VR/Matrix/Ready Player One simulated drama.
How many books have you read where the Hero/Protagonist's name is Hiro Protagonist? If you think that means the book is just a satire and the characters are one-dimensional, you couldn't be more wrong. Set in a not-too-unrecognizable dystopian future where conglomerates run entire neighborhoods like mini fifedoms, Hiro is a super hacker in the Matrix like world much of the population inhabits, as well as the real one. One of the best books I've read on a recommendation, and glad I did. Still holds up after multiple readings. Neal Stephenson at his absolute finest, you'll be hooked on his style as soon as you're finished with this one. Waiting for the movie adaptation still, seems like it's in development hell for a while. Until then, read the book - it's got humor, history, religion, anthropology, futurism, and a lot more for any reader willing to peek into Stephenson's world.
The Bad

Tonal shifts. “Snow Crash” starts with some legendary levels of satire, but the consistency for said tone drops off after 50 or 60 pages. The satire remains, but the more the novel progresses, the more an afterthought that satire seems. In the middle of the book, the tone becomes one of ‘discovery/revelation’ that persists until the end… at which point the tone graduates to ‘let’s get this over.’ The shifts are never quite abrupt, but are somewhat stark.

Changing voice. “Snow Crash” never quite feels like it’s written by three different people, but the beginning, middle and end all feel radically different from one another. Some difference is to be expected as a story nearly 500 pages in the telling is unraveled… but there’s a difference between progression of events having a subtle impact on how the story is told and the feeling that the author is changing how they’re drafting the story in their own mind.

Wandering plot. Why did Hiro need to go to Oregon to learn that thing about Raven? The Raft was cool, but did it need to occupy so much time or focus for the reader to grasp its significance or otherwise appreciate the information Stephenson was offering? There are a couple of other plot points that beg the question ‘why that’ or ‘why present it this way,’ but the goal is to remain as spoiler-free as possible, so those points will remain unmentioned. There is a fair amount of wandering/meandering in the storytelling that’s hit or miss; for every enjoyable moment of superfluous world building or character development, there is a head-scratching moment to offset it.

The Good

The Deliverator (the first ~50 pages, really). Y.T. The ideas behind Babel, protolanguage and religion, in general.

The Takeaway

Entertaining if a bit dated (as far as many of the technical predictions or conventions are concerned). “Snow Crash” was no doubt a hell of a read when it was released immensely entertaining; rife with observations and commentary regarding the era in which it was written (much of which is still shockingly relevant); offering statements about how we got to where we are; great observations about people, their hopes, dreams and motivations.

Recommended for fans of cyberpunk; those interested in a topical examination of neurolinguistics; people looking for a wild, trippy ride that will trigger some fierce 90s nostalgia. Anyone that enjoyed “Neuromancer” or “Lexicon” may want to give “Snow Crash” a shot.

“It was, of course, nothing more than sexism, the especially virulent type espoused by male techies who sincerely believe that they are too smart to be sexists.”

“Software development, like professional sports, has a way of making thirty-year old men feel decrepit.”

“To condense fact from the vapor of nuance.”

“The Deliverator lets out an involuntary roar and puts the hammer down. His emotions tell him to go back and kill that manager, get his swords out of the trunk, dive in through the little sliding window like a ninja, track him down through the moiling chaos of the microwaved franchise and confront him in a climactic thick-crust apocalypse. But he thinks the same thing when someone cuts him off on the freeway, and he’s never done it-yet.”

“They do a lot of talking about Jesus, but like many self-described Christian churches, it has nothing to do with Christianity except that they use his name. It’s a postrational religion.”
Neal Stephenson writes science fiction that requires a certain level of attention and concentration to follow and stay on top of. You can’t lay a Stephenson novel down for a few days and hope to come back and take up where you left off. This is not pulp science fiction.

In this audacious novel, Stephenson crafts a dystopian Earth near the end of the 20th century. Most civilization has broken down and even in the United States, society has devolved into semi-sovereign “franchulates” (franchise consulates) and “burbclaves” (suburban enclaves). A rampant form of pure capitalism reigns, with private ownership of roads and police protection. Existing alongside this “free for all” is a Metaverse, an on-line world governed largely by hackers. Now, dystopia coupled with virtual reality is nothing new, however Stephenson takes it up a notch, weaving Sumerian and Old Testament mythology throughout the story.

Some may find elements of Stephenson’s world silly, and some of it is pretty far out there, but much of it comes across as biting satire and I found it enormously entertaining. The “heroes” of the story are Hiro Protagonist, a freelance stringer for Central Intelligence Corporation (a privatized successor to the Library of Congress), a computer software designer and the greatest sword fighter in the world (in the Metaverse) and Y.T., a souped up skateboard riding 15 year old courier.

With the help of the Mafia (Cosa Nostra, Inc.) and assorted other supremely interesting characters, Hiro and Y.T. discover a new designer drug, Snow Crash, whose purpose is to inject a virus into the deepest level of the brain, acting much the same as a computer virus. Seeking to prevent spread of the virus, Hiro and Y.T. cross swords with Bob Rife, the richest man on the planet, who seeks to use Snow Crash to exert total control over the world's population. Elements of economic theory, religion, virtual reality, Sumerian mythology and linguistics take this story out of the realm of anything you’ve ever experienced. Four and a half stars, rounded up to five simply on the basis of its originality, scope and audacity.