As the title suggests, the story returns to some of the core icons of the Gernsback tradition of technological utopianism. A young reporter seeks to document the remains of a future which never came to pass, the future foretold at the New York Worlds Fair and in films like Things To Come. As he investigates further, he finds himself staring face to face with that future as a \"semiotic ghost\" and he is horrified by his vision of a man and a woman from that other future: <\/p>\n
They were blond. They were standing beside their car, an aluminum avocado with a central shark-fin rudder jutting up from its spine and smooth black tires like a child's toy. He had his arm around her waist and was gesturing toward the city. They were both in white: loose clothing, bare legs, spotless white sun shoes. . . . They were heirs to the Dream. They were white, blond, and they probably had blue eyes. . . . Here, we'd gone on and on, in a dream logic that knew nothing of pollution, the finite bounds of fossil fuel, of foreign wars it was possible to lose. They were smug, happy, and utterly content with themselves and their world. . . . Behind me, the illuminated city: searchlights swept the sky for the sheer joy of it. I imagined them thronging the plaza of white marble, orderly and alert, their bright eyes shining with enthusiasm for their floodlit avenues and silver cars. It had all the sinister fruitiness of Hitler Youth propaganda. <\/p>\n
The images of a technological utopia of white marble, glass, and steel, have devolved here into a dehumanizing utopia, a world closer to the regimentation of Nazi Germany than to the visions of corporate America. \"The Gernsback Continuum\" was a radical text, an assertion that science fiction had to challenge and perhaps surrender its utopian and optimistic impulses, that it must speak to an age full of ambivalent feelings towards technology, a world created by intimate machines and digital media, a disorderly world where various groups from complex cultural backgrounds must interact and struggle for control. <\/p>\n
The cyberpunk writers set their stories in the near future, not the distant future of the Gernsback tradition. One can understand something of how science fiction has evolved by comparing the time-frames in older science fiction with those of contemporary writers. The genre first emerged in response to the dramatic changes occurring in the late 19th and early 20th century. Still, the earliest science fiction writers told stories set thousands and even millions of years in the future, in order to envision social and technological change. The time frame has dwindled, decade by decade; much contemporary science fiction is set only twenty or thirty years in the future. We now live in a state of constant change, and the anxiety\/thrill of permanent transition shapes the science fiction we read and write. <\/p>\n
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Cyberpunk - MIT<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" As the title suggests, the story returns to some of the core icons of the Gernsback tradition of technological utopianism. A young reporter seeks to document the remains of a future which never came to pass, the future foretold at the New York Worlds Fair and in films like Things To Come. As he investigates further, he finds himself staring face to face with that future as a \"semiotic ghost\" and he is horrified by his vision of a man and a woman from that other future: They were blond Continue reading