TECHNOLOGY AND THE VULNERABLE BODY IN FEMINIST POST-CYBERPUNK SF BLEEDING CHROME: TECHNOLOGY AND THE VULNERABLE BODY IN FEMINIST POST-CYBERPUNK SCIENCE FICTION By KATHRYN ALLAN, B.A., B.A., M.A. A Thesis Submitted to the School ofGraduate Studies in Partial Fulfillment ofthe Requirements for the Degree Doctor ofPhilosophy McMaster University © Copyright by Kathryn Allan, September 2010 DOCTOR OF PHILOSOPHY (2010) McMaster University (English) Hamilton, Ontario TITLE: Bleeding Chrome: Technology and the Vulnerable Body in Feminist Post-Cyberpunk Science Fiction AUTHOR: Kathryn Allan, B.A., B.A. (University of Calgary), M.A. (McMaster University) SUPERVISOR: Associate Professor Catherine Grise NUMBER OF PAGES: v,225 11 ABSTRACT Emerging out of feminist and cyberpunk science fiction of the 1980s, feminist post-cyberpunk SF is a subgenre that is rife with anxieties over novel technologies (such as cloning, genetically modified foods, nanotechnology, virtual reality, telepresence, and artificial intelligence), as they infiltrate daily life and threaten to transform the definition ofhuman being. In this project, Larissa Lai's Salt Fish Girl, Nalo Hopkinson's Midnight Robber, Tricia Sullivan's Maul, and Laura Mixon's Proxies are read as indicative examples of feminist post-cyberpunk, as they all give voice to the increasing shared cultural preoccupation with technology and the body. The thesis is particularly interested in the way these texts expose - and insist upon - the vulnerability ofthe fleshy body, rather than perpetuate notions oftechnophilia and technological transcendence. Drawing on the (corporeal) feminist theory ofElizabeth Grosz and Margrit Shildrick (in particular her theorization of the vulnerable body), and on the feminist posthumanist work ofN. Katherine Hayles and Elaine Graham, this thesis focuses attention on issues of technological embodiment and the changing definition ofwhat constitutes human corporeal experience and embodiment. Ultimately, the thesis proposes that feminist post­ cyberpunk condemns the exploitation and control of, what Shildrick terms, the "visibly vulnerable" body and insists on recognizing the vulnerability ofthe flesh as a defining trait of what constitutes human being. 111 ACKNOWLEDGEMENTS First, I want to thank my three amazing committee members: Dr. Catherine Grise, Dr. Sarah Brophy, and Dr. Janice Hladki. Cathy, I appreciate all of your support, both professional and personal, over the past several years and offering me the chance to get to know both you and your family. You made academia feel a lot less lonely! Sarah, thanks for being a constant and faithful mentor to me (for 7 years!). Your keen eye for editing and generous, insightful feedback helped shape this project to something worth sharing. Janice, we have worked together for my entire Ph.D. and the lessons I have learned from you go far beyond the professional. I deeply appreciate your commitment to equality and compassion (both in and out ofacademia) and your unrelenting belief and support in me. Lastly, I owe great thanks and love to my partner, Andrew J. Holden. You are my greatest source of strength and courage. Without your love and dogged encouragement, I simply would not have made it through these past 5 years so well. We are both a little worse for the wear after all ofour trials, but I take such comfort in knowing that wherever we end up in life, we will be there together. lV TABLE OF CONTENTS page CHAPTER ONE: 1 Bleeding Chrome: Reading the Body in Feminist Post-Cyberpunk CHAPTER TWO: 53 Technological Transgressions: Liminality and the Posthuman CHAPTER THREE: 103 Mothering Monsters: Technology, Reproduction, and the Maternal Body CHAPTER FOUR: 150 Technology as Cure? Virtuality, Proxies, and the Vulnerable Body CONCLUSION: 204 Visceral Intellects: Feminist Post-Cyberpunk and an Uncertain Future WORKS CITED AND CONSULTED 215 v PhD Thesis - K. Allan McMaster - English CHAPTER ONE Bleeding Chrome: Reading the Body in Feminist Post-Cyberpunk The matrix folds itself around me like an origami trick. And the loft smells of sweat and burning circuitry. I thought I heard Chrome scream, a raw metal sound, but I couldn't have. (Gibson, "Burning Chrome" 200) Not only is my own unity ofbeing uncertain, but what has seemed intolerable, even unthinkable, is precisely constitutive ofmy self. The notion ofan irreducible vulnerability as the necessary condition ofa fully corporeal becoming - of my self and always with others - shatters the ideal ofthe selfs clean and proper body; and it calls finally for the willingness to engage in an ethics ofrisk. (Shildrick, Embodying the Monster 86) Admission one: I am a newcomer to the world of science fiction. It was just over three years ago when I read my first science fiction novel, Neuromancer by William Gibson. Up until that time, my exposure to science fiction was primarily through blockbuster movies and a handful oftelevision series. Then, while watching an old episode ofStar Trek: The Next Generation, I suddenly decided to turn my academic attention to the vast body of science fiction literature. In episode "11001001," the Enterprise crew encounters an alien species, the Binars, who exclusively use binary code to communicate between themselves and their technology. Oddly enough, the Binars are a genderless species as their reproduction, like their communication, mimics that ofthe asexual computer. I began to wonder about the intersection ofgender and technology in the Star Trek universe and the ways in which it reflects our cultural preoccupations and anxieties. The proverbial lightning struck and, half way through my PhD program, 1 PhD Thesis - K. Allan McMaster - English I changed my thesis topic and started reading all the science fiction that I could get my hands on. Admission two: This thesis has been three years in the making. It might have been four, but I lost an entire year to illness so I do not like counting that one. Ofthe three years that I claim as productive, I have spent more than half of that time coping with persistent health problems. There have been countless days, weeks, and months spent in pain and frustration. The temptation to give up and stop my research and writing has always been present. I have become wary of academia, an institution that I observe all too often ignores the suffering ofbodies. I have hated not having the concentration to write and meet my deadlines. I have resented spending my pain-free time writing instead ofenjoying other aspects of my life. So what has saved this project from the dustbin ofunfinished dissertations? In addition to the unfailing support and encouragement ofmy supervisory committee and my family and friends, it has been my new found love for science fiction. I can honestly say that science fiction - in particular, feminist science fiction - has rekindled my love ofreading, sparked my imagination, and perhaps most important, faithfully kept me company during all those hours when I could do nothing else but read. I am writing this thesis as a testament to why science fiction matters, both for myself and for society at large. When all the aliens go home and the technology finally breaks down, we are left with only our vulnerable bodies to comfort and protect. Ultimately, the best science fiction 2 PhD Thesis - K. Allan McMaster - English explores what it means to be human, and in this thesis I want to uncover both the horror and the hope inherent in such critical introspection. Emerging out of feminist and cyberpunk science fiction ofthe 1980s, feminist post-cyberpunk SF1 is rife with anxieties over novel technologies ­ cloning, genetically modified foods, nanotechnology, virtual reality, telepresence, and artificial intelligence to name a few - as they infiltrate daily life and threaten to transform the definition ofhuman being. In this project, I read the ways in which Larissa Lai's Salt Fish Girl, Nalo Hopkinson's Midnight Robber, Tricia Sullivan's Maul, and Laura Mixon's Proxies all give voice to the increasing shared cultural preoccupation with technology and the body. I am particularly interested in the way these texts expose - and insist upon - the vulnerability of the fleshy body, rather than perpetuate notions oftechnophilia and technological transcendence. Feminist post-cyberpunk challenges the reader's perceptions of what it means to be human, asking: What constitutes human being? Can individual subjectivity be technologically mediated (in virtual environments, for instance) and still be considered human? What happens to corporeal boundaries when technology becomes part ofthe body? How do different kinds of bodies ­ gendered, raced, classed, and abled - interface with technology and to what ends? 1 Throughout this thesis, I will be using the abbreviation of SF for science fiction. As Brian Attebery wryly notes in Decoding Gender in Science Fiction: "One can easily label oneself an outsider by misusing a key element - by, for instance, wearing an earring in the wrong place or abbreviating science fiction as sci-fi rather than SF" (3). 3 PhD Thesis - K. Allan McMaster - English In order to address these predominantly ontological questions, I frame my analysis ofthe narratives with the two primary theoretical areas ofcorporeal feminism and posthumanism, and with the secondary area ofpostcolonialism. At the centre ofthis project, however, is an examination ofvulnerability as theorized by Margrit Shildrick in Embodying the Monster: Encounters with the Vulnerable Self. Shildrick investigates the ways in which the monstrous other both defines and threatens the normative, arguing: "Where normative embodiment has hitherto seemed to guarantee individual autonomous selfhood, what is monstrous in all its forms -hybrid creatures, conjoined twins, human clones, cyborg embodiment and others - disrupts the notions of separation and distinction that underlie such claims" (2). Using the apt phrase "normative anxiety" (29) to refer to the fear invoked by encounters with the monstrous (in all its subjective forms), Shildrick proposes that while all beings are vulnerable, normative subjectivity elides its own vulnerability by repositioning it as a quality of the monstrous other (68).