Time to Frolic Afield once again for my monthly article on The Cultural Gutter! As a fan of cyberpunk from the 1980s, I often wonder if there’s any decent example of the genre that makes sense in what is basically our post-cyberpunk reality. Cyberpunk for a Cyberpunk World looks at why cyberpunk didn’t survive, why it should have, and how David Louis Edelman’s Jump 225 trilogy is the best example of post-millennial cyberpunk literature
In the early 1990s, I read Neuromancer. I read it enthusiastically, devoured every word , and fell in love not so much with the story, which was good, but with William Gibson’s razor-sharp acumen with the written word, with his style, and above all, with his ability to articulately describe sensations and scenes in ways no one had ever thought of, and yet made absolute and perfect sense and conveyed exactly certain feelings and visions that could not, it would seem, ever have been described any other way. At least not effectively. And yet, despite my unbridled passion for the book, when I started talking about it to someone a few months ago during one of those late-night sessions where conversation devolves into fuzzy reminiscence about setting motherboard jumpers and using VAX terminals, I discovered that all I had were vague impressions. Besides the names of a couple characters and a thing about spacefarin’ Rastafarians, I remembered absolutely nothing about the book.