Back in the 1980s, the field of science fiction was all afroth over a movement that proclaimed itself as cyberpunk. Reviewers both inside and far outside the genre went into paroxysms over this new movement, crediting it with everything from 'gritty, sharp-edged realism,' to 'high-gloss textures,' to inventing the trope of an angry tomorrow, symbolized by the angry young man of the streets.
Setting aside egregious exaggerations and heaps of heavy-breathing hype, this literary movement surely made the field more interesting for a while. Haughty literary mavens, who normally snub sci-fi condescended to discover these daring writers of dark, heroic, slashing prose, including William Gibson, author of Neuromancer, a tale filled with stark, vivid imagery about a future dominated by oppressive corporate structures. A future in which control over access to information outweighed the importance of political or military power.
It was a heady time, even for those of us who were shunted, willy-nilly, into the category of 'the opposition.' I was happy to grant interviews to reporters from national magazines, seeking quotes from critics of the cyberpunk movement. Whatever. I dutifully played my part, double-teaming the establishment. Hey, free publicity is fine!
In retrospect, the Cyberpunk Movement was probably the finest free promotion campaign ever waged on behalf of science fiction. Brilliantly managed, and backed by some works of estimable value, it snared and reeled in countless new readers, while opening fresh opportunities in Hollywood and the visual arts. True, the self-important rhetoric and whines of persecution sounded ironic — at times even hilarious. However, the CP rebels did shake things up. We owe them a debt.
Ah, but were they original?
Name any point of interest in the history of Western culture, and you'll likely see a similar pattern. In retrospect, the trial of Socrates was all about a "punk" of sorts, with a reputation for extravagant behavior, satirizing standard values, and spewing unconventional new metaphors. The young writers of the Enlightenment, back in the eighteenth century, saw themselves toppling a stagnant order, using the fresh light of scientific reason to dispel superstition. Indeed, the followers of Locke and Jefferson rattled the world.
When these men grew older, and mighty in success, along came the romantics — typified by Shelley, Byron and others, young men who derided Reason as an oppressive cudgel wielded by fogeys and old farts. Science was portrayed as a chain that aimed to shackle the vaulting ambitions of the human soul. Indeed, science fiction was born amid this tussle, with Mary Shelley's seminal Frankenstein, emerging literally in the middle of the Romantic movement, containing within it SF's perpetual answer to romanticism — that progress will happen and the only way to deal with it will be wisdom.
The Romantic movement was more, of course, than simply cultural recidivism — more than a grandson allying himself with his grandfather in common hatred of papa. Predictability would take all the fun out of being a rebel! Still, there is a certain inevitability about these cycles. There will never be a shortage of young men and women, eager to announce new revelations. No matter how fine the accomplishments of their parents, bright newcomers will always be ready to proclaim themselves prophets of a new age.
All the more so for the loose confederacy of genres known as Speculative Fiction! After all, SF is the literature of change — in the human condition and in the universe as a whole. By its nature, it must encourage fresh ideas or perish. So SF had the "New Wave" authors of the sixties — Ellison, Zelazny, Silverberg — who decried the prior emphasis on gadgetry and plot, proclaiming the discovery of something called style. Language became their palliate. Their colors would be passion, stirred in the reader's soul.
Naturally, the Old Farts thought a lot of this was straight bull. They had spent half a lifetime ardently fighting for the freedom to speculate about mankind's relationship with technology and space and time — and now these young whippersnappers were just taking that freedom for granted. Worse, they were strutting about as if they were the true innovators!
Indeed, the best New Wave writers were wonderfully inventive, contributing something vital to our genre, just when it was needed most. They raised new issues, posed new quandaries, precisely because those prior battles had been won. The best of the old guard did not grouse when the newcomers came by, flaunting new, gaudy plumage. Rather, they smiled, remembering what it was to be young. And they said, "Come on over here, son. Sit down and tell me all about it."
To continue reading, please see THROUGH STRANGER EYES, a collection of book reviews, introductions and essays on popular culture, which was released in the Western Hemisphere by Nimble Books and in the Eastern Hemisphere by Altair (Australia). Included are those infamous articles about Tolkien and Star Wars, sober reflections on Jared Diamond's Collapse, and Rebecca Solnit's River of Shadows, scientific ponderings on Feynman and Gott, appraisals of Brunner, Resnick, Zelazny, Verne, and Orwell... all the way to fun riffs on the Matrix and Buffy!
"The Matrix: Tomorrow May Be Different" (excerpt published here) first appeared in Exploring the Matrix: Visions of the Cyber Present, edited by Karen Haber and published in 2003 by iBooks; and reprinted in Brin's THROUGH STRANGER EYES, a collection of book reviews, introductions and essays on popular culture.
Copyright © 2003 by David Brin. All rights reserved.
David Brin blogs at Contrary Brin and posts social media comments on Facebook, Twitter, Quora, and MeWe specifically to discuss the political and scientific issues he raises in these articles. If you come and argue rationally, you're voting, implicitly, for a civilization that values open minds and discussions among equals.
David Brin, Through Stranger Eyes
William Gibson, Neuromancer (book #ad)
Karen Haber, ed., Exploring the Matrix: Visions of the Cyber Present (book #ad)
Mary Shelley, Frankenstein (book #ad)
Neal Stephenson, In the Beginning ... Was the Command Line
Alfred Bester, The Stars My Destination
Neal Stephenson, Cryptonomicon
William Gibson, Count Zero
Philip N. Klein, Coding the Matrix: Linear Algebra through Computer Science Applications
Matt Lawrence, Like a Splinter in Your Mind
Catherine Constable, Adapting Philosophy
David Brin's science fiction novels have been New York Times Bestsellers, winning multiple Hugo, Nebula and other awards. At least a dozen have been translated into more than twenty languages. They range from bold and prophetic explorations of our near-future to Brin's Uplift series, envisioning galactic issues of sapience and destiny (and star-faring dolphins!).
Short stories and novellas have different rhythms and artistic flavor, and Brin's short stories and novellas, several of which earned Hugo and other awards, exploit that difference to explore a wider range of real and vividly speculative ideas. Many have been selected for anthologies and reprints, and most have been published in anthology form.
Since 2004, David Brin has maintained a blog about science, technology, science fiction, books, and the future — themes his science fiction and nonfiction writings continue to explore.
Who could've predicted that social media — indeed, all of our online society — would play such an important role in the 21st Century — restoring the voices of advisors and influencers! Lively and intelligent comments spill over onto Brin's social media pages.
David Brin's Ph.D in Physics from the University of California at San Diego (the lab of nobelist Hannes Alfven) followed a masters in optics and an undergraduate degree in astrophysics from Caltech. Every science show that depicts a comet now portrays the model developed in Brin's PhD research.
Brin's non-fiction book, The Transparent Society: Will Technology Force Us to Choose Between Freedom and Privacy?, continues to receive acclaim for its accuracy in predicting 21st Century concerns about online security, secrecy, accountability and privacy.
Brin speaks plausibly and entertainingly about trends in technology and society to audiences willing to confront the challenges that our rambunctious civilization will face in the decades ahead. He also talks about the field of science fiction, especially in relation to his own novels and stories. To date he has presented at more than 200 meetings, conferences, corporate retreats and other gatherings.
Brin advises corporations and governmental and private defense- and security-related agencies about information-age issues, scientific trends, future social and political trends, and education. Urban Developer Magazine named him one of four World's Best Futurists, and he was appraised as "#1 influencer" in Onalytica's Top 100 report of Artificial Intelligence influencers, brands & publications. Past consultations include Google, Microsoft, Procter & Gamble, and many others.
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