William Gibson, l'auteur de Zero History, est en interview pour deux sites, A. V. Club et Boing Boing. 

Voici quelques morceaux choisis : 

Citation:

INTERVIEWER  You’ve written that science fiction is never about the future, that it is always instead a treatment of the present.  GIBSON  There are dedicated futurists who feel very seriously that they are extrapolating a future history. My position is that you can’t do that without having the present to stand on. Nobody can know the real future. And novels set in imaginary futures are necessarily about the moment in which they are written. As soon as a work is complete, it will begin to acquire a patina of anachronism. I know that from the moment I add the final period, the text is moving steadily forward into the real future.  There was an effort in the seventies to lose the usage science fiction and champion speculative fiction. Of course, all fiction is speculative, and all history, too—endlessly subject to revision. Particularly given all of the emerging technology today, in a hundred years the long span of human history will look fabulously different from the version we have now. If things go on the way they’re going, and technology keeps emerging, we’ll eventually have a near-total sorting of humanity’s attic.  In my lifetime I’ve been able to watch completely different narratives of history emerge. The history now of what World War II was about and how it actually took place is radically different from the history I was taught in elementary school. If you read the Victorians writing about themselves, they’re describing something that never existed. The Victorians didn’t think of themselves as sexually repressed, and they didn’t think of themselves as racist. They didn’t think of themselves as colonialists. They thought of themselves as the crown of creation.  Of course, we might be Victorians, too.

Citation:

The A.V. Club: The title of your conversation at the Chicago Humanities festival is “Technology’s Tomorrow: Sci-Fi With William Gibson.” So what’s next for science fiction?  William Gibson: I don’t actually think of science fiction as primarily a predictive form. That’s its cultural reputation and that’s what lots of people believe it is, but my approach has always been that it’s invariably about the day it was written in. Regardless of what the author tells us, it can’t really be anything else. There’s no way it can be about the future, except it pretends to be the future. It’s like reading 1984. What it’s actually about is 1948, the year it was written. You see Orwell responding to various aspects of the world he lived in, which was changing, since the world always is. You can see that he got some of it right, but a lot doesn’t really fit with our experiences at all. Our experience today is the result of emergent technologies driving us somewhere.  AVC: Is there any particular technology you’d like to see that would make your life better?  WG: My mind doesn’t work that way. I watch for emergent technologies and pay attention to what people say they’ll be good for, then see what we actually use them for. It never occurred to me that a tiny telephone with a wireless transceiver would do whatever it is that it’s done to us. [Laughs.]  One of the funniest things about Neuromancer, which I wrote in 1984, is that there are no cell phones. If I were a 14-year-old reading it today, I’d be about two chapters in and think, “What happened to all the cell phones?” Becoming quaint so quickly in science fiction is unavoidable. Either we won’t see the technologies that are emerging ahead of us, or we won’t be able to see the uses that people will put them to, which are almost never what they were intended for.

Citation:

INTERVIEWER  What do you think of Neuromancer today?  GIBSON  When I look at Neuromancer I see a Soap Box Derby car. I felt, writing it, like I had two-by-fours and an old bicycle wheel and I’m supposed to build something that will catch a Ferrari. This is not going to fly, I thought. But I tried to do it anyway, and I produced this garage artifact, which, amazingly, is still running to this day.  Even so, I got to the end of it, and I didn’t care what it meant, I didn’t even know if it made any sense as a narrative. I didn’t have this huge feeling of, Wow, I just wrote a novel! I didn’t think it might win an award. I just thought, Phew! Now I can figure out how to write an actual novel.

L'interview sur A. V. Club 
L'interview sur Boing Boing