By Carlen Lavigne
This research of cyberpunk technological know-how fiction written among 1981 and 2003 positions women's cyberpunk within the better 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 particularly feminist. Novels are tested inside their cultural contexts; their content material is in comparison to broader controversies inside modern feminism, and their subject matters are published as reflections of feminist discourse round the flip of the twenty first century. Chapters disguise issues similar to globalization, digital fact, cyborg tradition, environmentalism, faith, motherhood and queer rights. Interviews with feminist cyberpunk authors are supplied, revealing either their motivations for writing and their stories with enthusiasts. The learn treats feminist cyberpunk as a different automobile for reading modern women's concerns and analyzes feminist technology fiction as a fancy resource of political principles.
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Extra info for Cyberpunk Women, Feminism and Science Fiction: A Critical Study
It is this sort of distinction that furthers the idea of 36 2. Contributions and Critiques Cadigan’s writing like a woman — not because her work is somehow more “feminine,” in the stereotypical sense, but because her writing is, for multiple reasons, recognizably different from that of her male colleagues. The arguments made by critics such as McCallum and Balsamo demonstrate clearly that Cadigan’s work can and has been analyzed as separate and “female”— despite the author’s own protests to the contrary.
There was, however, one notable exception to the boys’ club: Pat Cadigan. 6 The attention generated by this position has apparently been somewhat grating; in her introduction to the 2002 anthology The Ultimate Cyberpunk, she writes: Sometimes, gender is a red herring. Sometimes, evaluating an area of the arts by counting the number of men or women active in it is to miss the point entirely.... Cyberpunk was never concerned with the biology of the writers involved, regardless of what anyone might think.
She “sins” for rock and roll, allowing new bands to play music powered only by computer chips and imagination, but she feels her losses acutely. Likewise, in “Freezone,” Shirley’s Rickenharp pleads for the preservation of old-style rock ’n’ roll when he ﬁghts — futilely — to prevent his band from taking on a “wire dancer” and conforming to new, “minimalist” styles of music; an aging rocker, he longs for the glory days of the past much as Gina dreams of the Rolling Stones. On a basic level, the two texts are nearly identical in theme.