By Carlen Lavigne
This research of cyberpunk technology fiction written among 1981 and 2003 positions women's cyberpunk within the greater cultural dialogue of feminist concerns. It lines the origins of the style, experiences the severe reactions and descriptions the ways that women's cyberpunk advances issues of view which are in particular feminist. Novels are tested inside of their cultural contexts; their content material is in comparison to broader controversies inside of modern feminism, and their topics are published as reflections of feminist discourse round the flip of the twenty first century. Chapters disguise subject matters akin to globalization, digital truth, cyborg tradition, environmentalism, faith, motherhood and queer rights. Interviews with feminist cyberpunk authors are supplied, revealing either their motivations for writing and their studies with fanatics. The research treats feminist cyberpunk as a distinct car for interpreting modern women's concerns and analyzes feminist technological know-how fiction as a fancy resource of political principles.
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Extra info for Cyberpunk Women, Feminism and Science Fiction: A Critical Study
Certain common themes unite the genre, keeping it as a genre — themes such as cyborgs/artiﬁcial intelligence and the “human” condition, embodiment and virtual reality, and capitalist globalization. However, women authors tend to explore these ideas differently, with more emphasis on the importance of the body in identity and relationships, and the importance of community support in the face of alienating multinational capitalism. Cadigan’s earlier work lacks some major threads that would later be introduced by authors (including herself ) in the 1990s — queer rights, environmental conservationism, reproduction and the family unit, religion and mythology — but this is not surprising, considering its position at the roots of the cyberpunk movement.
I don’t want to draw so far away from the human race,” she says (299); however, while her male cohorts ﬁnd the change horrifying, she ﬁnds her release from gendered expectations to be a more balanced combination of frightening and exhilarating. In its historical context, “No Woman Born” is marked by the beginning of the post-war era, images of Rosie the Riveter, 28 2. Contributions and Critiques and uncertainties surrounding the future of women in the workplace; it serves as “a subtle extension of a World War II ideology of technologically-enhanced feminine strength” (Howell 157).
Author Lewis Shiner derided new authors as shallow imitators, calling their work formulaic and arguing that cyberpunk was supposed to be about more than black leather and head chips. The ﬁrst wave was over, and attention shifted elsewhere until the ﬂurry of new academic theories attracted by the retroactive stylings of 1999’s The Matrix. But as Roger Luckhurst somewhat wryly notes, cyberpunk has been declared dead several times since 1986, “leaving only the problem of what to call the huge bulk of cyberpunk written long after this date” (204).
Cyberpunk Women, Feminism and Science Fiction: A Critical Study by Carlen Lavigne