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The Routledge Companion to Cyberpunk Culture

Anna McFarlane, Graham J. Murphy, Lars Schmeink

The Mirrorshades Collective

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781351139885-3 Graham J. Murphy Published online on: 05 Dec 2019

How to cite :- Graham J. Murphy. 05 Dec 2019, The Mirrorshades Collective from: The Routledge Companion to Cyberpunk Culture Routledge Accessed on: 29 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781351139885-3

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“ Look, this is is this Look, , and was was , and A hole ” Ahole Gibson, - - - -

Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 Cheap Truth Cheap in Denim’ ‘Sue as writing Shiner, Lewis (#2).Similarly, exhaustion” “intellectual from (#1) suffering and torpor” a“reptilian in stuck being both as sf describes Omniaveritas,’ ‘Vincent plume de nom his under Truthof Cheap issues two first the In stories. their sell and establishment the there. there. were known even not had readers which of some boundaries, It pushed unpredictable. it was that Omni for editor fiction as influence Datlow’s of account athorough provides Ashley Mike Dozois. Gardner and Datlow mainstream. the enter to destined was Movement the meant output, Rucker’s steady and Shirley’s, Shiner’s, Sterling’s, Neuromancer with success Gibson’s say overwhelming we can hindsight, of beauty the With Award. Dick K. 1984 Philip the and Award 1985 Hugo the also but Novel, Best for Award 1985 Nebula the Gibson’s novel only won not debut for: longed they victory Nebula the witnessed Movement the called being informally) (and internally was what of rest the and Shiner win: to determined was generation upstart the abattle Novel as Best science fiction increasingly focused on humans interfacing with the very technologies that that technologies the very with interfacing on humans focused increasingly fiction science Omni leadership, her 49), under and (Ashley SF” Punk of “Queen the became quickly Datlow paper “Cyberpunk or Cyberjunk?” (Heuser 231–34). These examples (among many) are testament testament are many) (among 231–34). examples (Heuser These Cyberjunk?” or “Cyberpunk paper a deliver to year next the revisit 1985, avenuehewould in conference annual Association’s search ­ Jack (with panel acyberpunk on appeared again Shirley and Bear, and Cadigan, Shirley, Shiner, Sterling, with mancer Neuro after year the Sterling; and Gibson of sf’ ‘punk the on University State Carolina North Neuromancer work-in-progress his from read ­Gibson (1982) Con where Armadillo at up cropped sf’ ‘punk to devoted apanel example, For 1980s. the of start the least at since emerged had that 47) (Ashley field” the pervading was [that] sf in force new the of “spirit or sensibility punk apulsing popularize (1983)—he helped ­“Cyberpunk” cyberpunk term the coin didn’t certainly Dozois While cyberpunk the of favor in ment’ The for Eighties” the in Fiction “Science wrote Dozois Gardner later, years few A popularizing. were articles nonfiction The Movement authors’ early successes, however, owe much to two influential editors: Ellen Ellen editors: influential however, owe two to much successes, early authors’ Movement The racotta feet. Up against the wall, Heinlein! (#10) Heinlein! wall, the Up against feet. racotta ter giant’s the shatter to Nebulas the in avictory only it needs humanity; and imagination, literacy, for out crying is revolution SF The place. his in rise will more thousands a Gibson, smites that […]. Heinlein Dann Jack every and For Shiner, Lewis Gibson, William are them against arrayed Robinson; Stanley Kim of urgency moist-eyed the to Niven Larry of vapidity California the to Heinlein Robert of babblings senile the from range repression of voices The admirable—and that makes it an exciting time for sf as agenre. as sf for time exciting it an makes that admirable—and are them take who those again once and risk-taking, literary for time is a it again Once Stuff. Old Same the out turning to keep satisfied not writers, ambitious all are they thing, one For differences. real) (admittedly the than noticeable more and stronger much are them between esthetics and goals in […] Bear similarities [Greg] the Cadigan, [Pat] Shiner, Gibson, Sterling, as to ‘cyberpunks’— referred been haveoccasion on who stuff, high-tech hard-edged, zarre bi of purveyors the be would ‘school’ esthetic aself-willed to here thing closest the About ’s publication, NASFiC (North American Science Fiction Convention) featured a panel apanel featured Convention) Fiction Science American (North NASFiC ’s publication, Omni became the pre-eminent market for those writers who were not traditional” (41). traditional” not were who writers those for market pre-eminent the became Williamson, Norman Spinrad, and Gregory Benford) at the Science Fiction Re Fiction Science the at Benford) Gregory and Spinrad, Norman Williamson,

Washington Post Washington and explains that “[w]hat was typical about Omni about typical “[w]hat was that explains and label: #10 (1985), Neuromancer viewed (December 30, 1984) and (un)officially jettisoned ‘Move jettisoned (un)officially 1984) and 30, (December Graham J. Murphy J. Graham 16 ; John Kessel delivered a lecture in 1983 to in alecture delivered Kessel ; John —that honor goes to Bruce Bethke’s Bethke’s Bruce to goes honor —that ’s Nebula Award nomination for for nomination Award ’s Nebula , circa 1983, Sterling, 1983, Sterling, , circa ’s science fiction was was fiction ’s science , coupled with with , coupled Omni ’s ’s ’s ’s - - - - - Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 Mirrorshades: The Cyberpunk Mirrorshades: Anthology The collection edited Sterling’s published Books Ace wave that this during it is and sf, in force electrifying apotentially as emergence cyberpunk’s to in in them including and Movement the of part them making by Filippo Di Paul and Bear, Greg Kelly, Patrick James as such people hesurprised so and twelve, include to problem no be it would “said Sterling testified Hartwell collection. amarketable publish to needed were authors/stories more told was but anthology, acyberpunk for idea an with Hartwell David editor sf famed approached Mirrorshades even 145). a collection, Kelly As in (qtd. years” in Speculative/Fiction to come to gimmick licity pub best the than less or more “nothing cyberpunk called has Brin David 52); similarly, (Ashley technoglitz’” by ‘bedazzled was fiction their that fact the beyond attached been had label punk cyber the whom to writers various the between vision of commonality no “see could Benford (38). Gregory arms” open with ranks the to welcomed He was it. for loved him they and style, cyberpunks’ the invented independently “had and clique Movement-era the from isolated was who agent afree as Bear characterized Swanwick own” (43); their of one similarly, as him claimed have and craziness, clear-eyed and excess, daring, his for love him cyberpunks However, the himself. by all subgenre aone-man rather but all, at “no cyberpunk as Rucker Rudy described of vision coherent any offer it ever Did alike: fans and pundits, critics, for tensions key cyberpunk’s of web.” creative aloose in involved are and other each like and know who writers of abunch just really “is collection the that contention acrimonious Petto’s Martin with level some on agree to not hard it is and stories, of range diverse incredibly Mirrorshades “Petra”). Bear: love (Greg seeking hybrids gargoyle-human of weirdness the and Orbit”), Winter Star, “Red Gibson: and (Sterling station space aging an aboard living at chance second a finds who cosmonaut aRussian of struggles the Lives”), “Stone legacy Filippo: Di (Paul familial extend or “Solstice”) Kelly: Patrick (James mortality escape and try to intervention genetic of use the “400 Boys”), Laidlaw: (Marc gang street afuturistic in living of experience the Houdini”), of “Tales (Rucker: Houdini Harry about vignettes Voices Wake Us”), bizarre ­Human (Tom “ hosts human their over taking intelligences artificial militaristic include tales Mirrorshades the of scan aquick Indeed, us” (ix). stretch and lop to wait critics fiendish where Procrustes, of bed uneasy an is label our us, of rest the For fiction. aPlatonic only is person this exist; not does writer’ cyberpunk ‘typical “the that Preface the of start very the at adamant is Sterling example, For collection. the opens that Preface Sterling’s in evident plainly are respectability and rebelliousness between needle this thread to trying of difficulties The mainstream. the becoming slowly was that movement popular(ized) increasingly an and margins the from mainstream the at sneer to content authors of group a rebellious between a tension is emerges what and sensibilities, competing integrate and contours cyberpunk’s map to attempt Sterling’s also It is stories: of a collection than more is Mirrorshades Filippo. Di Paul and Kelly, Patrick James Laidlaw, Tom Marc ers Maddox, newcom cyberpunk and Bear and Cadigan as allies such as well Rucker—as and Shiner, ­Shirley, ading as a literary movement” ( movement” aliterary as ading masquer strategy “a but marketing nothing been it has that perception the with struggled always was tapping into a “spirit of the new force in sf [that] was pervading the field” (Ashley 47), and and 47), (Ashley field” the pervading was [that] sf in force new the of a“spirit into tapping was instead, anthology; this with licity pub up drumming subsequently and recruiting clearly was Sterling if even gimmick, publicity Snake-Eyes”), a chance encounter with a biogenetically engineered mermaid (Shiner: “Till “Till (Shiner: mermaid engineered abiogenetically with encounter achance ­Snake-Eyes”), cyberpunk Mirrorshades In spite of such damning criticism, however, the stories in Sterling’s Sterling’s in stories however, the criticism, damning such of spite In The The It is this narrative diversity or, perhaps more dismissively, incoherence that highlights another another highlights that incoherence dismissively, more or, perhaps diversity narrative this It is Mirrorshades ’s origins are tainted with opportunism: As James Patrick Kelly explains it, Sterling Sterling it, explains Kelly Patrick James As opportunism: with tainted are ’s origins when it first exploded onto the scene in the 1980s? Michael Swanwick, for example, example, for Swanwick, Michael the in 1980s? scene the onto exploded it first when ” (qtd. in Kelly 145). Kelly in ” (qtd. collection includes the original Movement-era cadre—Gibson, Sterling, Sterling, cadre—Gibson, Movement-era original the includes collection Benford The Mirrorshades The Mirrorshades 1

Mirrorshades stories is testament to Sterling’s claim: The widely varied varied widely The claim: Sterling’s to testament is stories , qtd. in Kelly 145). Kelly in , qtd. bears witness to the claims that early cyberpunk cyberpunk early that claims the to witness bears 17 and, more broadly, cyberpunk have therefore therefore have cyberpunk broadly, more and, Collective Mirrorshades are no mere mere no are (1986). , however, shows an an shows Maddox: ­Maddox: - - - - - Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 utopian promises of yesteryear’s science fiction, this spectral future “had all the sinister fruitiness fruitiness sinister the all “had future spectral this fiction, science yesteryear’s of promises utopian the of (9).spite lose” In to possible was it wars foreign of fuel, fossil of bounds finite the pollution, of nothing knew that logic adream […]. in on, and on Dream gone the we’d to Here, Heirs were “[T]hey decades: earlier of sf the in all-too-familiar been have would that city afuturistic of front in standing family American blue-eyed (likely) and blond, awhite, reveals visions ghostly rator’s nar the of one when forth shines attitude restless story’s The own” (29–30). their of alife on taken and off split have that imagery cultural deep of bits phantoms, “semiotic as timeline(s) alternate the explains who Kihn Merv friend his to him sends which timeline, alternate an from America an of visions seeing however, hebegins project, the into further gets narrator the 5). As (Gibson dreams” broken of architecture An happened. never that a“1980s pass, to came never that future fictional science apromised of detritus architectural the photograph to Downes Dialta publisher by hired photojournalist American an is protagonist The sensibility. Movement-turned-cyberpunk by Mirrorshades espoused tone defiant the establishes story former The ­Mirrorshades.” in “Mozart Shiner’s Lewis and Sterling Bruce and Continuum” Gernsback Gibson’s “The (xiii). self” the of nature the of humanity, nature the redefining radically techniques neurochemistry— intelligence, artificial interfaces, brain-computer invasion: mind of theme ful power more even The alteration. genetic surgery, cosmetic circuitry, implanted limbs, prosthetic invasion: body of theme “The incoherence: narrative to claims critics’ the belie that cyberpunk through running themes twocentral identifies Sterling cyberpunk, of (or marketing!) summation concise most the perhaps In (xiii). overlap” rocker the and hacker computer the where realm the from comes Cyberpunk roots. its to close energetic, “spontaneous, as cyberpunk contextualize Toffler’s Future Shock Alvin futurist in espoused music; scratch and hip-hop of tech street jarring the in underground; hacker the in video; rock in ture: cul pop “Eighties to cyberpunk links (x–xi). He also underground” pop modern the and tech, high of realm the separate: formerly were that worlds of “overlapping the integrating by esthetic” bricoleurs Cyberpunk’s late-1970s: wave the of punk the to cyberpunk links desperately, perhaps insistently, Sterling instead, (or sales); book respectability of name the form. established an becoming slowly was and margins the from away moving quickly shades Truth Cheap in description earlier Shiner’s Lewis from opinion (x), acontrary Heinlein” Robert and Anderson, Poul Niven, Larry of olation extrap steely “the to shout-out appreciative an gives healso Rob by Latham, chapter previous the Delany,R. Samuel Ellison, Harlan as precursors cyberpunk such evokes Sterling (xv). While reform” modern a but invasion an not it is genre; SF the within from risen has Cyberpunk potential. with seething always but buried sometimes elements fiction, science in present already elements of extension “a natural as cyberpunk of writes Sterling tone, conciliatory most his (x–xi). In roots” to return a sense some in is and “cyberpunk field” SF the of tradition and lore the in “steeped are authors Cheap Truth Cheap of rhetoric rebellious the Mirrorshades the stretch and lop to it proceeded as legitimacy and shape coherent some cyberpunk giving in instrumental nevertheless was Preface Sterling’s fiction, aPlatonic been have indeed may author cyberpunk quintessential the While accord. own its on achieved have not otherwise it might that movements 1980s-era with savvy promotional keen Sterling’s with coupled days earliest cyberpunk’s in input Dozois’s respective and Datlow’s doubt no is there The Cyberpunk Anthology Cyberpunk as The itself promotes that anthology an befits as vapidity.’ Finally, These themes are notable when comparing the two stories that bookend Mirrorshades bookend that stories two the comparing when notable are themes These The was an opportunity for Sterling to seize some control over the cyberpunk narrative as it was it was as narrative cyberpunk over the control some seize to Sterling for opportunity an was

in the synthesizer rock of London and Tokyo” (xi–xii). Drawing upon the ‘future shock’ shock’ ‘future the upon Drawing Tokyo” and London (xi–xii). of rock synthesizer the in Mirrorshades Norman Spinrad, J.G. Ballard, and Thomas Pynchon, many of whom are addressed in in addressed are whom of many Pynchon, Thomas and J.G. Ballard, Spinrad, Norman collective, however, isn’t all about trading in leather jackets for cardigans in in cardigans for jackets leather in trading about however, isn’t all collective, contributors for its own purposes. For example, toning down down toning example, For purposes. own its for contributors , Sterling is careful in his Preface to explain the Mirrorshades the explain to Preface his in careful is , Sterling Mirrorshades Graham J. Murphy J. Graham of Heinlein’s ‘senile babblings’ and Niven’s and ­ babblings’ ‘senile Heinlein’s of 18 (1980), Sterling helps helps Wave (1980), Third (1970) Sterling The and helped position cyberpunk at the forefront of of forefront the at cyberpunk position helped prized “their garage-band garage-band “their prized ‘California ‘California : and the the and ­William , Mirror - - - - -

Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 Cheap Truth Cheap of pages the saturating rebelliousness the of reminiscent (9). amanner In Youth propaganda” Hitler of in the exclusive section and—in the second-string places around the edge—for technickis from the the from technickis edge—for the around places second-string the and—in section rich exclusive the the for in distractions pleasant in “dealt that Ocean Atlantic the in platforms drilling offshore of ’n rock his of downfall Synners Award-winning Clarke C. Arthur novel Eclipse his from excerpt an On” (1984), “Rock former (1985) the Cadigan’s Pat and “Freezone” Shirley’s John cyberpunk—are resources. nonhuman) and (human mining and exploiting ruthlessly enterprises capitalist late rig de becomes what exhibiting also while xiv–xv) (Sterling unthinkable” merly for the [and] surreal, the bizarre, “the prizing cyberpunk of example aprime therefore is shades” Mirror in “Mozart shoulder. Toinette over his unconscious an carrying Realtime toward tunnel the down retreating Rice is story the of image final The studios. recording finest the to access and women, cars, capitalism: neoliberal of trappings the all with him rewards also but century 18th the from salvation promises only not that Realtime from contract record anew charts!—and the on Billboard his to thanks repercussions any escapes Mozart but Masonistas, the by capture Rice’s orchestrated Mozart learns also Rice century. 18th alternate the of out pulling are megacorporations the find to Salzburg to returns Rice Army. Trans-Temporal the join to Khan Genghis abandoned seemingly Noyon has who Jebe aHarley-riding by rescued heis until least at and bikinis leather of merits the as discussions scintillating such includes ‘Toinette,’ which with athon mar sexual aweeklong After 228). (224, sunglasses” mirrored and jacket, camo […] jeans, faded wig boy’s the outmoded replaced had that cut hedgehog a“bristling now who sports composer famous the Mozart, Amadeus of way by Wolfgang Antoinette Marie meeting on fixated appears he instead, quibbles; Jefferson’s for little cares Rice (226–27). reappear!” to never fortresses, your into disappearing art of works and minerals our country, great our of people the seducing goods manufactured cheap your sides, all on machinery we find Instead happiness. own our pursue to freedom the and equality and liberty us guaranteed “[y]ou that upset is president, first America’s as George Washington replaced has who Jefferson, Thomas example, for expansion; corporate of benefits the reaping not are who those from resentment growing causes which ‘Realtime,’ from interventions capital these to thanks shattered completely been has history global Consequently, (328) Austria” 18th-century of) (a version overwhelms future American the of Acceleration Great the and expansion, capitalist of logic inflexible the in “standing-reserve than more nothing as past Companion this to contribution her for writes Hollinger Veronica As artwork. not-yet-priceless away spiriting or oil as resources natural such consuming by chiefly profit, corporate for pasts alternate exploit to mechanics temporal utilize that rations megacorpo by Salzburg 18th-century an of management the overseeing is Rice, protagonist, The capitalism. neoliberal of condemnation story’s the fuel to harnessed ruthlessly and apparent gleefully both is Mirrorshades” in “Mozart of iconography punk the Continuum” Gernsback Preface. his in cultivate to trying was Sterling roots those undercuts Continuum” Gernsback “The in sneer Gibson’s punkish sentence, deft one in and direction, same the in aimed often were yells rebel their if even another, one with eye to eye see always didn’t (x–xi). Punks roots” to areturn sense some in “is cyberpunk that Preface the in claims Sterling’s rejects ways some in and collection the in stories subsequent the for tone the Mirrorshades being of virtue by and doing, so In Youth propaganda. Hitler to comparisons forth calling by 1920s–1950s the of sf Age and Golden Age Pulp the by inspired futures fictional science the of visions antiseptic rejects masterfully The most thematically similar stories in Mirrorshades in stories similar thematically most The “The of subtlety the unlike only timelines, alternate features also Mirrorshades” in “Mozart Vogue magazine, Rice is betrayed by the object of his obsession and is captured by Masonistas, Masonistas, by captured is and obsession his of object the by betrayed is Rice magazine, when sf’s elder statesmen were engaging in scoffing dismissiveness, Gibson Gibson dismissiveness, scoffing in engaging were statesmen elder sf’s when roll band as it performs its last concert on Freezone, a floating aggregation aggregation afloating Freezone, on concert last its it performs as band roll and the latter a thematic preview of Cadigan’s future novel, the the novel, future Cadigan’s of preview athematic latter the and The Mirrorshades The (1991). Shirley’s story follows Rick Rickenharp and the the and Rickenharp Rick follows (1991). story Shirley’s ’s lead-off story, “The Gernsback Continuum” sets sets Continuum” Gernsback “The story, ’s lead-off 19 Collective —or, dare I say, the most quintessentially quintessentially Isay, most the dare —or, , “Mozart in Mirrorshades” positions the the positions Mirrorshades” in , “Mozart u success—he is #5 is success—he eur in cyberpunk: cyberpunk: in - - - - . Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 drug-induced haze. drug-induced ­sensibility the In ration. Corpo Security International Alliance Second The alerting without Freezone escape to trying are who characters of set anew with Freezone in himself lose and mescaline blue drop to left ­ story the of end the by all, After pioneers. punk for and ­exhausting exhilarating both are that margins the in again themselves finding déclassé, are punk and ­ swagger, revolutionary his all for that acceptance apalpable is there hand, other the on tides; musical changing of face the in die over and roll simply to sensibility apunk allow to refusal his in rebellious defiantly is Shirley) (and Rickenharp hand, one the On sentiments: conflicting Billboard mainstream them bring can who dancer music, and he breaks with his band after they finally decide to go minimono to decide finally they after band his with hebreaks and music, or Flare 145–46). (Shirley torso” and legs and arms his of contractions muscular the by triggered were speakers hidden from pealing wails […]. funereal inverted long, The strings its with apuppet like look [them] making floor, stage the on pickups “impulse-translation the into wired physically are musicians their 145), while (Shirley sameness” cookie-cutter the wristfones, black the jumpsuits, corporate commodification of rock of commodification corporate Top 40 Billboard the from freedom seeking desperately also is she Rickenharp, to manner parable styled styled imono flare the for respect 144). ­ (Shirley better” the colors more The originality. individuality, expressed that way some in and possible as [the] of head top over the sical style bucking the waning trend known as the flare the as known trend waning the bucking style sical minimono go should band the whether on center squabbles The band. the doomed have bles squab internal with coupled recordings twoprevious their from figures sales declining a lifetime, of show the perform band his and (141–42). Rickenharp Although Rickenharp” Like performers. ­ semi-illicit afew sheltered also places second-string The rigs. drill ers that Gina is trying to bury it alive, but the debate is futile: Gina is marched off to continue continue to off marched is Gina futile: is debate the but it alive, bury to trying is Gina that ers tempt for Man-O-War, who she accuses of killing rock ’n rock killing of accuses she who Man-O-War, for tempt con her knew” (41). never they expresses and one, Gina third the finished we’d time the by done all Deal out. came tape first the after right Misbegotten buy to start conglomerate his War had rock at chances Misbegotten’s ruins and attention Man-O-War’s attracts sinning her to work Misbegotten band talent-stifled sinner arunaway as spoon greasy aGreek in Recognized rock can Gina band, the into plug literally to her allow that sockets implanted to Thanks War’s success. public asinner As Man-O-War: with contract exploitative minimono Gina, the first-person narrator of Cadigan’s “Rock On,” is also seeking escape, and in a com in a and escape, seeking also On,”is “Rock Cadigan’s of narrator first-person the Gina, Mount Olympus. (39–40) Olympus. Mount to up them boost and imaginings their take synthesizer the Let bother? why and to, wanted really they unless instruments play to […]. have didn’t they end, brain the the In from straight ’n rock the head, in stuff the as weren’t […]. good as trouble much tapes the And too shows, the forget road, the Forget wanted. they whenever screens it their on play could world the around all babies tube the all so vision, and it up, sound picking machines the and Man-O-War him made that bone and meat the him giving wires, the through Man-O-War and the “stultifying regularity of their canned music” ­ music” canned their of regularity “stultifying the and minimono

will is a moot distinction: Neither style speaks to Rickenharp’s identification with punk punk with identification Rickenharp’s to speaks style Neither distinction: amoot is ­ end, there is very little sense, at least in this excerpt from Eclipse from excerpt this in least at sense, little very is there end, fans are easily recognizable by their “flat-black, flat-gray, monochrome tunics and and tunics monochrome flat-gray, “flat-black, their by recognizable easily are fans actually get you anywhere beyond wandering a recommissioned oil rig in a a in rig oil arecommissioned wandering beyond you anywhere get actually , in part because he is more apt to bed flare women, but has no patience for min for patience no has but women, flare bed to apt more heis because part , in 2 ’n roll. Gina is a human synthesizer, a synthesizer, a human is Gina roll. Graham J. Murphy J. Graham 20 glory. “Freezone” is therefore caught between between caught therefore is “Freezone” glory. skills. Unfortunately, Gina’s latest side-project side-project Gina’s latest Unfortunately, skills. , she is the cybernetic talent behind Man-O- behind talent cybernetic the is , she whose adherents wear their “hair up “hair their wear adherents whose , Gina is forced by the members of the the of members the by forced is , Gina roll, all the while Man-O-War count Man-O-War while the all roll, (Shirley Rickenharp is unceremoniously unceremoniously is Rickenharp hangers-on and a few hundred hundred afew and hangers-on

, that emphasized the wearer’s wearer’s the emphasized , that 145). The monochromatically 145). monochromatically The Rickenharp expresses some some expresses Rickenharp ’n sinner and yearn for awire for yearn and roll glory: “Man-O- glory: roll , 3 locked into an an into locked , that a punk apunk , that Rickenharp Rickenharp roll visions visions roll , amu , as far far , as ------

Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 in in Yaszek writes Lisa as Or, conventions. and assumptions heteronormative cyberpunk’s lenged chal that cyberpunk’ a‘feminist calls Cadora Karen what of expression an was that others and ­ Mary Mixon, Laura Cadigan, from wave writings of early-1990s and a late-1980s 315) (314; cyberpunk” of whiteness the challenging resolutely imaginings, their in settings racialized consciously us “offer that reform” social and revolution of sites as biological) or (technical cultural speculative black describe to way however, “another Afrocyberpunk, of emergence the in sees ender Delany’ (x) and ‘the jarring tech of hip hop’ (xii) make it impervious to claims of racism” (313). racism” of claims to it impervious make hop’ (xii) hip of tech jarring ‘the (x) and Delany’ in clude ex to others by designed resolutely mode literary a demystifies characters his for color skin brown thal Dorsey’s “(Learning About) Machine Sex” (1988), Sex” [Lisa] and Machine About) “(Learning ­Dorsey’s Lavender’s Isiah of subject the is and overlooked been largely has race to approach hostile, outwardly not if ’ with acomplicity conceal ness subversive apparent and slickness Its all. at radical not end, the in is, fiction “cyberpunk argued ingly article her in (151). Nixon, Nicola later, invisible” but years Afew all were characters lesbian and gay and characters, female strong of number the and characters male strong of number the between disparity power […] ahuge and was there sexuality, gender, of conventions “heteronormative cyberpunk’s upon remarks Kelly (173). Similarly, history” of expense the at done be only can ­themselves—which unto movement feminist whole the sublate to trying were writers male these though as seems Gibson’s] Chrome Burning [William to introduction his it from elided course of (inadvertently Sterling Bruce when furor a such created obliteration “whose influence an cyberpunk, upon sf of feminist 1970s influence under-acknowledged the on commented has Delany R. Samuel diversity. of lack unmistakable its problems: initial cyberpunk’s of one lights the marketplace. the serving at the front and center of their cyberpunk worlds” (35). worlds” cyberpunk their of center and front the at In this regard, Mirrorshades regard, this In admits.” Shiner than deader even is ‘cyberpunk’ sense, this in And envelops. it actively beckon; merely not does Respectability terms. in acontradiction is day of light the in underground An success. for punishment standard the it is Bohemia; in story old an is too This underground. a­ longer no “are seventies, and sixties their now in are but essay his wrote Sterling when forties their in were whom of most pioneers, cyberpunk the (1991), that heacknowledged Nineties” the in “Cyberpunk essay his in when, certificate death cyberpunk’s to signatory added an provided certainly now?” (209). Sterling dead is cyberpunk Iguess “So asked reportedly Shiner Bear, and Rucker, Cadigan, Sterling, Shiner, featuring panel conference cyberpunk a fractious after 1985 when, as back far as grave cyberpunk’s digging already was Rucker, however, Shiner to According colonies.” orbital decayed and protagonists amphetamine-loving leather-jacketed, street-wise, corporations, multinational by government chips), computer (biological wetware implant formula: into “form turn to began quickly Writers coroner’s report: damning most the is (1991) Ex-Cyberpunk” an of “Confessions editorial York Times New Shiner’s Lewis publication. Mirrorshades of time the by cuts paper athousand by died already had cyberpunk that idea the Mirrorshades: The CyberpunkMirrorshades: Anthology The “Feminist ­“Feminist It is this widespread homogeneity that later writers reformed, if not outright rejected, ­ rejected, outright not if reformed, writers later that homogeneity widespread this It is As the only woman-authored story in the Mirrorshades the in story woman-authored only the As The Cyberpunk Anthology Cyberpunk The self-promotion, its of By virtue Gorgon Child Gorgon (1983), black authors—a decision purposefully made by Bruce Sterling in his codifying of cyberpunk of codifying his in Sterling Bruce by made purposefully decision authors—a black “Cyberpunk: Preparing the Ground for Revolution or Keeping the Boys Satisfied?,” convinc Satisfied?,” Boys the Keeping or Revolution for Ground the Preparing ­“Cyberpunk:

out her contract as Man-O-War’s sinner Man-O-War’s as contract her out cyberspace, simulations, and/or virtual realities realities and/or virtual simulations, cyberspace, to attention particular with only practices, in this Companion this in chapter Theory” Race “Critical Jones’s Escape Plans “[Gwyneth] as works such Cyberpunk,” (1989), Firedance and may actually be regarded as cyberpunk’s funeral procession, perhaps perhaps procession, funeral cyberpunk’s as regarded be actually may 80s conservatism” (231). At the same time, cyberpunk’s problematic, problematic, cyberpunk’s (231). time, same the At conservatism” 80s The Mirrorshades The

(1986), use of black and and black of use Barnes’s that (1993), writes Lavender as if mentioning ‘the visionary ‘the mentioning if as , and corporate rock ’ rock corporate , and 21 Collective collection, Cadigan’s “Rock On” high “Rock Cadigan’s collection, . Focusing on Steven Barnes’s Streetle Barnes’s Steven on . Focusing may have also been contributing to to contributing been also have may Mason’s Arachne Mason’s n roll continues to dominate dominate to continues n roll [collection]. Sometimes it it Sometimes [collection]. (1986), [Candas Jane] Jane] (1986), [Candas shimmer of Samuel Samuel of shimmer (1990) women put Rosenblum, Rosenblum, Bohemian Bohemian including . ’s own Lav …?) …?) ------

Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 post-cyberpunk. Sterling’s Preface to to Preface Sterling’s post-cyberpunk. and/or cyberpunk, postcolonial cyberpunk, third-wave and second- cyberpunk, feminist as labels such use we whether improvisations, and redefinitions endless seemingly offer to continues that vii)— Hollinger and (Attebery improvisation” jazzlike and redefinition endless to themselves lend that action and character, setting, meaningful of combinations are parabolas motifs, than complex more themes, than “more concrete aparabola—i.e., as of thought be also can cyberpunk nately, Alter xvi). (Foster practices’” political and historical economic, social, cultural, other of ‘a with variety practices textual of articulation “a historical is which formation acultural instead, but, components formal or distinct around organized sub-genre or agenre much so not embody punk ical Perspectives Cyberpunk: Crit Beyond New collections, previous two my also but Culture Cyberpunk to Companion Routledge The only not informing premise acentral xiv), (Foster formation” cultural generalized amore into change asea experience as die much so “didn’t cyberpunk ensured that motifs visual albeit imperfectly and not-unproblematically, with the cyberpunk futures that surround us. surround that futures cyberpunk the with not-unproblematically, and imperfectly albeit Mirrorshades fiction, of worlds cyberpunk the like increasingly looks world techno- our as and (ix), Procrustes” of bed uneasy an is “label cyberpunk the again, that, Anthology Cyberpunk The but invasion, mind and invasion body of Mirrorshades that recognize and back look we can hindsight, In Schmeink). Science Fiction Rebels: The Story of the Science-Fiction Magazines from 1981 from Magazines Science-Fiction the of Story The Rebels: Fiction Science Mike. Ashley, 4 3 2 1 audience. vast a to motifs visual its and cyberpunk expose to games—continue video and books, comic shows, television cyberpunk—films, visual similarly, 21st century; the into well forth carried has that directions new in cyberpunk literary push would who authors of generations new forth ushered that a1990s in evident is afterlife That (xii). afterlife” persistent sub-genre’s the explains perhaps which technology, information by shaped as the world with engaging of capable afiction of need in been more never “we have Cyberpunk, of Change(s) Sea “The in Iwrote and Vint Sherryl As premature. were eulogies however, cyberpunk’s waned; 1980s the as cyberpunk from themselves Mirrorshades the of members many so that reason this for arguably is It commercialization. and acceptance conventional of altar the upon sacrificed rebelliousness upstart its mainstream, gone quickly had that aMovement for tombstone, its even Parabolas of Science Fiction Science of Parabolas Fiction.” Science of “Parabolas Hollinger. Veronica and Brian Attebery, Brown, Steven P. “Before the Lights Came On: Observations of a Synergy.” a Synergy.” of Observations On: Came Lights P. the Steven “Before Brown, 2016. In the end, the the end, the In Brian Attebery and Veronica Hollinger. Wesleyan UP, pp. vii–xv. 2013, Wesleyan Hollinger. Veronica and Attebery Brian pp. Fiction Science Postmodern and Cyberpunk of A Casebook (2018), edited by Graham J. Murphy and Lars Schmeink. Lars and Murphy J. Graham by (2018), Culture edited Visual and Cyberpunk and/or collection this in entries other consult please details, more For “sinner.” spelled is On” “Rock Synners novel her in to “synner” spelling the modifies later Cadigan Although for details. Petto see “Freezone,” Shirley’s in overtones sexist the of reading accurate, less no but adamning, For and he when I conversation social in a Hartwell David by me to confirmed essentially was account This

both sat on the Executive Board for the International Association for the Fantastic in the Arts (2007–10). Arts the in Fantastic the for Association International the for Board Executive the on sat both 173–177. (co-edited with Lars Lars with (co-edited Culture Visual and Cyberpunk and Vint) Sherryl with (co-edited 4 Mirrorshades collective provided the genetic material for a range of literary and and literary of a range for material genetic the provided collective Mirrorshades Graham J. Murphy J. Graham Works Cited Notes 22 may have committed early cyberpunk to the axis axis the to cyberpunk early committed have may collective made concerted efforts to distance distance to efforts concerted made collective , edited by Larry McCaffery. Duke UP, Duke 1991, McCaffery. Larry by , edited also exemplifies Sterling’s point point Sterling’s exemplifies also Storming the Reality Studio: Studio: Reality the Storming continues to resonate, resonate, to continues and 1980s-era cyber 1980s-era and , the first appearance in appearance first , the – 1990 . Liverpool UP, . Liverpool , edited by by , edited saturated ­saturated - - - Downloaded By: 10.3.98.104 At: 04:39 29 Sep 2021; For: 9781351139885, chapter3, 10.4324/9781351139885-3 Cheap Truth Cheap Editorial. Denim). Sue (as Lewis Shiner, Rucker Bitter von Rudolf of Autobiography The Scrolls: Rudy. Nested Rucker, “ Martin. Petto, New York Times New Ex-Cyberpunk.” an of “Confessions Lewis. Shiner, Science Satisfied?” Boys the Keeping or Revolution for Ground the Preparing “Cyberpunk: Nicola. Nixon, Real “Some R. Samuel Delany, Studies Fiction Science Cyberpunk.” “Feminist Karen. Cadora, On.” Mirrorshades: “Rock Pat. Cyberpunk The Anthology Cadigan, Beyond Cyberpunk: New Critical Perspectives Critical New Cyberpunk: Beyond Cyberpunk.” of Change(s) Sea ———. “The Perspectives Critical New Cyberpunk: Beyond eds. Vint, Sherryl and J. Graham Murphy, Culture Visual and Cyberpunk eds. Schmeink, Lars and J. Graham Murphy, Theory.” Race “Critical Isiah. Lavender, Cheap Truth Cheap Desperation.” Complete of Honesty the with Criticism Literary Cheap ———. “Dirt Truth Cheap Editorial. Omniaveritas). Vincent (as Bruce Sterling, Mirrorshades: “Freezone.” John. CyberpunkShirley, The Anthology Fiction Science and Postmodern the of Intersection the at Cyberpunk Geographies: Virtual Sabine. Heuser, Strange Divisions and Alien Territories: The Sub-Genres of of Sub-Genres The Territories: Alien and Divisions Strange Cyberpunk?” Owns “Who Patrick. James Kelly, Anthropocene.” the in “Ecology Veronica. Hollinger, Mirrorshades: Cyberpunk The Continuum.” Anthology Gernsback “The William. Gibson, Theory Vernacular as Posthumanism Cyberfolk: of Souls The Thomas. Foster, Post Washington The Eighties.” the in Fiction “Science Gardner. Dozois, Sterling, Bruce. “Cyberpunk in the Nineties.” Interzone Nineties.” the in “Cyberpunk Bruce. Sterling, Isaac Asimov’s Science Fiction Magazine Fiction Science Asimov’s Isaac Postmoderns.” the to “A Guide User’s Michael. Swanwick, Mirrorshades.” in “Mozart Shiner. Lewis and Bruce Sterling, Mirrorshades: Cyberpunk The ———. Preface. Anthology The Routledge Companion to Cyberpunk Culture Cyberpunk to Companion Routledge The Cyberpunk.” “Feminist Lisa. Yaszek, thingisnice.wordpress.com/tag/mirrorshades/. ego/on_line_zines/cheap10.html. Studies Fiction pp. 2010, xi–xviii. Routledge, Vint. Sherryl and Murphy J. pp. 308–16. pp. 2020, Routledge, Schmeink. Lars and Murphy, J. Graham McFarlane, com/totse/en/ego/on_line_zines/cheap01.html. Saxat.txt. pp. 1–11. 1988, Ace, Sterling. pp. Science Fiction Science 2003. science-fiction-in-the-eighties/526c3a06-f123-4668-9127-33e33f57e313/?utm_term=.216b92991532. Post Comics Some and Fiction, Science ­Totse.com, 2018, Jan. 30 totseans.com/totse/en/ego/on_line_zines/cheap09.html. pp. by Anna McFarlane, Graham J. Murphy, and Lars Schmeink. Routledge Schmeink. Lars and Murphy, J. Graham McFarlane, Anna by by Bruce Sterling. Ace, 1988, pp. 223–239. 1988, Ace, Sterling. Bruce by interzone.txt. no. 8, 1986, pp. 20–50. 1986, 8, no. McFarlane, Graham J. Murphy, and Lars Schmeink. Routledge, 2020, pp. 32–40 2020, Routledge, Schmeink. Lars and Murphy, J. Graham ­McFarlane, 34–42. 139–177. Archives, 30 Jan. 2018, Jan. www.washingtonpost.com/archive/entertainment/books/1984/12/30/ 30 Archives, , edited by Keith Brooke. Palgrave Macmillan, 2012, pp. 144–155. 2012, Macmillan, Palgrave Brooke. Keith by , edited , vol. 19, no. 2, 1992, pp. 219–35. 19,, vol. 1992, 2, no. Mirrorshades: Cyberpunk The Anthology Silent Interviews: On Language, Race, Sex, Sex, Race, Language, On Interviews: Silent Interview.” Eye SF …: The Mothers . Wesleyan UP, pp. 1994, 164–85. . Wesleyan The Mirrorshades The The Routledge Companion to Cyberpunk Culture Cyberpunk to Companion Routledge The 23 #10. Totse.com, 30 Jan. 2018, totseans.com/totse/en/ 2018, Jan. #10. 30 Totse.com, , no. 48, 1991, http://lib.ru/ pp. 48, 39–41, , no. , edited by Bruce Sterling. Ace, 1988, pp. ix–xvi. 1988, Ace, Sterling. Bruce by , edited The Routledge Companion to Cyberpunk Culture Cyberpunk to Companion Routledge The 2011, 5May www.every Nice, Is .” Everything Collective , vol. 22, no. 3, 1995, pp. 3, no. 357–72. 22, , vol. Mirrorshades: Cyberpunk The Anthology , 7 Jan. 1991, lysator.liu.se/lsff/mb-nr10/ , 7Jan. , edited by Bruce Sterling. Ace, 1988, 1988, Ace, Sterling. Bruce by , edited #1. Totse.com, 30 Jan. 2018, totseans. 2018, Jan. #1. 30 Totse.com, , edited by Bruce Sterling. Ace, 1988, 1988, Ace, Sterling. Bruce by , edited . U of Minnesota P, 2005. Minnesota . Uof . PS Publishing, 2011. Publishing, . PS . Routledge, 2018. . Routledge, The Washington Washington The 1984. Dec. , 30 , 2020, pp. 326–34. , 2020, . . Routledge, 2010. . Routledge, , edited by Graham Graham by , edited , edited by Anna Anna by , edited , edited by Bruce Bruce by , edited , edited by Anna Anna by , edited ­STERLINGB/ . Rodopi, . Rodopi, , vol. 10, , vol. , edited , edited , edited , edited #2. #2.