Style
In his earlier novels Stephenson deals heavily in pop culture-laden metaphors and imagery and in quick, hip dialogue, as well as in extended narrative monologues. The tone of his books is generally more irreverent and less serious than that of previous cyberpunk novels, notably those of William Gibson.
Stephenson's books tend to have elaborate, inventive plots drawing on numerous technological and sociological ideas at the same time. This distinguishes him from other mainstream science fiction authors who tend to focus on a few technological or social changes in isolation from others. The discursive nature of his writing, together with significant plot and character complexity and an abundance of detail suggests a baroque writing style, which Stephenson brought fully to bear in the three-volume Baroque Cycle. His book The Diamond Age follows a simpler plot but features "neo-Victorian" characters and employs Victorian-era literary conceits. In keeping with the baroque style, Stephenson's books have become longer as he has gained recognition. For example, the paperback editions of Cryptonomicon are over eleven hundred pages long with the novel containing various digressions, including a lengthy erotic story about antique furniture and stockings.
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Famous quotes containing the word style:
“All my stories are webs of style and none seems at first blush to contain much kinetic matter.... For me “style” is matter.”
—Vladimir Nabokov (1899–1977)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
—Marcel Proust (1871–1922)
“To translate, one must have a style of his own, for otherwise the translation will have no rhythm or nuance, which come from the process of artistically thinking through and molding the sentences; they cannot be reconstituted by piecemeal imitation. The problem of translation is to retreat to a simpler tenor of one’s own style and creatively adjust this to one’s author.”
—Paul Goodman (1911–1972)