William Gibson - Distrust That Particular Flavor

I think it worked, the binge cure. Possibly because getting serious about choosing serious watches made the shuffling of pages a chore rather than a pleasure. Whereas before I’d been able to veg out, in the style of watching some version of the Shopping Channel that actually interested me, I now felt as though I were buying real estate. Investing. Collecting.

I’d always hoped that I wouldn’t turn into the sort of person who collected anything.

I no longer open to watches on eBay first thing in the morning. Days go by without my contributing so much as a single hit.

Or maybe I just have enough wristwatches.

I wonder, though, at the extent to which eBay facilitated my passage through this particular consumer obsession. Into it and out the other side in a little under a year. How long would it have taken me to get up to speed on vintage watches without eBay? Would I have started attending watch shows? Would I have had to travel? Would it have taken years? Would I have gotten into it at all?

Probably not.

In Istanbul, one chill misty morning in 1970, I stood in Kapali Carsi, the grand bazaar, under a Sony sign bristling with alien futurity, and stared deep into a cube of plate glass filled with tiny, ancient, fascinating things.

Hanging in that ancient venue, a place whose onsite café, I was told, had been open, twenty-four hours a day, three hundred and sixty-five days a year, literally for centuries, the Sony sign — very large, very proto- Blade Runner , illuminated in some way I hadn’t seen before — made a deep impression. I’d been living on a Greek island, an archaeological protectorate where cars were prohibited, vacationing in the past.

The glass cube was one man’s shop. He was a dealer in curios, and from within it he would reluctantly fetch, like the human equivalent of those robotic cranes in amusement arcades, objects I indicated that I wished to examine. He used a long pair of spring-loaded faux-ivory chopsticks, antiques themselves, their warped tips lent traction by wrappings of rubber bands.

And with these he plucked up, and I purchased, a single stone bead of great beauty, the color of apricot, with bright mineral blood at its core, to make a necklace for the girl I’d later marry, and an excessively mechanical Swiss cigarette lighter, circa 1911 or so, broken, its hallmarked silver case crudely soldered with strange, Eastern, aftermarket sigils.

And in that moment, I think, were all the elements of a real futurity: all the elements of the world toward which we were heading — an emerging technology, a map that was about to evert, to swallow the territory it represented. The technology that sign foreshadowed would become the venue, the city itself. And the bazaar within it.

But I’m glad we still have a place for things to change hands. Even here, in this territory the map became.

Gosh, but could this article ever do with a haircut. It’s at least twice as long as it needs to be: dripping with wholly extraneous detail. I must have had really quite a lot of coffee. Sorry about that. Although it does detail my mysteriously belated arrival in cyberspace, should anyone ever be interested, while forever proving how little I actually knew (or know) about any of that stuff.

I had very little idea of what I was talking about, when I wrote this. This tends to be the case when I discuss newly emergent technologies, and is always the case when one makes generalizations about depths of specialist knowledge one is still scarcely aware of. I stood, at the time of writing this, unknowingly, on a precipice. I was about to learn quite a bit about vintage watches. To the extent that I think I can now honestly say that I’ve forgotten more about vintage watches than I currently know. This overlong, over-caffeinated piece was mainly an expression of that, of excitement at the start of a long, steep, delightfully unnecessary learning curve.

People who’ve read this piece often assume that I subsequently became a collector of watches. I didn’t, at least not in my own view. Collections of things, and their collectors, have generally tended to give me the willies. I sometimes, usually only temporarily, accumulate things in some one category, but the real pursuit is in the learning curve. The dive into esoterica. The quest for expertise. This one lasted, in its purest form, for five or six years. None of the eBay purchases documented here proved to be “keepers.” Not even close.

As it happened, I wound up buying and selling quite a few old watches, and bits and pieces of old watches, an activity that gradually introduced to me a peculiarly various global crew of actual über-experts. It was… Pynchonian! I never found Lot 49, but I did meet at least two guys who claim to have been there when it sold (one of whom believed it to have been a clever forgery, christened up from parts of two others). Really quite deeply and wonderfully weird, and resulting in some lasting and highly enjoyable friendships.

Today I own no more watches than fingers, and am gradually but actively de-acquisitioning (watches, please, not fingers) so I am pleased to assume that I’ve cleared the virus.

I WISH I HAD A THOUSAND-YEN note for every journalist who, over the past decade, has asked me whether Japan is still as futurologically sexy as it seemed to be in the Eighties. If I did, I’d take one of these spotlessly lace-upholstered taxis over to the Ginza and buy my wife a small box of the most expensive Belgian chocolates in the universe.

I’m back to Tokyo tonight to refresh my sense of place, check out the post-Bubble city, professionally resharpen that handy Japanese edge. If you believe, as I do, that all cultural change is essentially technology-driven, you pay attention to Japan. There are reasons for that, and they run deep.

Dining late, in a plastic-draped gypsy noodle stall in Shinjuku, the classic cliché better-than- Blade Runner Tokyo street set, I scope my neighbor’s phone as he checks his text messages. Wafer-thin, Kandy Kolor pearlescent white, complexly curvilinear, totally ephemeral looking, its screen seethes with a miniature version of Shinjuku’s neon light show. He’s got the rosary-like anticancer charm attached; most people here do, believing it deflects microwaves, grounding them away from the brain. It looks great, in terms of a novelist’s need for props, but it may not actually be that next-generation in terms of what I’m used to back home.

Tokyo has been my handiest prop shop for as long as I’ve been writing: sheer eye candy. You can see more chronological strata of futuristic design in a Tokyo streetscape than anywhere else in the world. Like successive layers of Tomorrowlands, older ones showing through when the newer ones start to peel.

So the pearlescent phone with the cancer thingy gets drafted straight into props, but what about Japan itself? The Bubble’s gone, successive economic plans sputter and wobble to the same halt, one political scandal follows another…. Is that the future?

Yes. Part of it, and not necessarily ours, but definitely yes. The Japanese love “futuristic” things precisely because they’ve been living in the future for such a very long time now. History, that other form of speculative fiction, explains why.