“In My Country” by Thomas Ha in Clarkesworld magazine.
As an aside, and totally unrelated to why this is an important story (and especially so right now), this piece both explains and perfectly epitomizes why I love the stories I love, and what’s missing from those I don’t love, for whatever that is worth.
Burning Chrome was a favorite of mine in the mid-1990s, when I first read the title story in an Oxford sci-fi anthology I found for a couple bucks at a used bookstore.
Before that decade (and century, and millennium) was done, I’d read every one of these stories more than once, fascinated with the future Gibson painted, one I could see just around the corner. Some of these stories (like “Johnny Mnemonic” and “Burning Chrome” and “Dogfight”) I read over and over and over again. The best of these (esp. those last two) are really solid, tight, classic noir tales (albeit ones modeled after Jim Thompson’s The Grifters more than Dashiel Hammett’s gumshoes). The rest are, at best, stylistic sketching exercises; they more often have punchlines than plots. Gibson wrote all but three of these stories before Neuromancer, his debut and breakout novel (published in 1984.) Prior to 1982, Gibson doesn’t appear to have precisely known what a plot is. I’m not sure he’d argue with me on that; he’s said himself that although he’d been writing “stories” since the 1970s, the first one that was actually a proper story was ”Burning Chrome” (published in 1982, and basically a prototype for Neuromancer).
Cyberpunk is a future that looks an awful lot like the past, especially now (although even then, Gibson was firmly rooted in the past, sometimes formally—as with “The Gernsback Continuum”, other times more subtly, as with the noir plots he gravitates toward, and which become the heist/resistance themes that seem to form the skeleton of most cyberpunk stories still).
I’m old now, and Gibson, it turns out, is to me what Hugo Gernsback/1950’s “Populuxe“/Frank Frazetta/“Googie”/Eero Saarinen were to him. I think it’s appropriate that these are primarily visual artists and movements: Gibson has always been more of a visual artist and stylist than a writer, despite how culturally and politically prescient his writing has been. I’m given to wonder if that is why he’s proven so upsettingly accurate in his predictions (which I don’t think he thought of as predictions at all): the “Deep Pilot” might express itself in words, but runs its pattern matching on a purely aesthetic basis. We may be talking apes today, but at heart we will always be the monkeys that first daubed paintings of the world we hoped—or feared—we’d soon see on French cave walls.
“The future is already here — it’s just not very evenly distributed.”
William Gibson
Before this year, I had no clue The Power or Naomi Alderman existed—despite the acclaim the book met when it was published in 2016, and the fact that its apparently been made into an Amazon mini-series starring Toni Collette, who I absolutely love. A colleague in a crit group read a story I was working on, and recommended I read this. She was absolutely right.
When I say this is the bravest and most horrifying book I’ve read in ages, I’m not exaggerating. I actually had to stop about 10 minutes from the end because I was in a Thai restaurant in Orlando and was on the verge of bursting into tears, and didn’t want everyone staring at me. This book is easily better, and darker, than Atwood’s Handmaid’s Tale (both a book and artist I hold in hella high regard).
One clarification: when I told my wife that this book was the bravest and most horrifying thing I’d read in years, she totally misunderstood what I found horrifying in the book. She assumed I was upset by the rapes. There are several very graphic and traumatic rapes of men by women in this novel, as well as broader sexual subjugation of men.
Frankly, none of that really bothered me. I’ve read fictional depictions and non-fictional accounts of the rapes of men and boys that I’ve found more upsetting. Talk to anyone who’s worked for child protective services and you’ll hear an earful. Humans are, on balance, awfully creative when it comes to being awful.
What got me about this book is that, evidently and despite it all, there was some small part of me that had continued to really and deeply believe that “everything would be better if women were in charge.” Alderman meticulously dismembered and violated that foolish, optimistic child that was still hiding inside me.
… and hate living it now.
(Incidentally I don’t recall the bit with Stuart Russel at the end being part of this when I first watched it, and feel it dilutes its power now: there is no reason to say “Given developments in A.I. and drones, someday soon this is going to be real!” It’s already real; it’s called guns: 1 out of every 20 Americans owns an AR-15; 3 in 10 own a gun of some sort. Only half of those guns are stored under lock and key, and only a third unloaded.)
My SF-horror story “In the Sharing Place” is now available in Farsi at Metaphorspace, thanks to the work of editor Amir Sepahram:
I’ve gotta say, I especially love the treatment they (and presumably some A.I.) gave my author photo, making me look at least 60% more dashing and restoring both my hair color and widow’s peak (which latter I don’t think I’ve seen in the mirror since the early 2000s):
I look like the colleague that turns out to be the villain in a mid-1980s Indiana Jones comic!
My latest novel, There Was No Sound of Thunder: A Time Portal Novel, is available for pre-purchase now. For less than the price of a very cheap cup of coffee you can have that ebook in hand the very moment it drops next week.
On Amazon: https://amzn.to/3P3gxlu
On Smashwords: https://www.smashwords.com/books/view/1363713
What if your great new job had dire consequences for space-time integrity?
Fresh out of college and unsure what’s next, Taylor has lucked into a cushy job in human resources. Most companies keep costs down by outsourcing and off-shoring. Taylor’s bosses are different. They’re committed to staying “100% MADE IN AMERICA”—by bringing in cheap labor using a time portal. But their latest batch of “New Guys” aren’t like the others…
Pre-order on Amazon (https://amzn.to/3P3gxlu) or Smashwords (https://www.smashwords.com/books/view/1363713) right now.
If you’ve never watched 1980s Soviet-era animation, then this 10min Uzbek production from 1984, inspired by Bradbury’s “There Will Fall Soft Rains,” is a great place to start. Yes, it’s all like this, in my experience.
(Incidentally, I’ve always loved the poetry of Bradbury’s prose in general, and the opening line of this story in particular: “In the living room the voice-clock sang, Tick-tock, seven o’clock, time to get up, time to get up, seven o ‘clock! as if it were afraid that nobody would.” It’s like a super-sinister Goodnight Moon, a story that is itself already super sinister.)
Anyway, in case you’re wondering what New Year’s Eve 2026 will be like in America, here you go. Perfect for fans of Threads (1984), When the Wind Blows (1986), or whatever atomic holocaust shitstorm Putin kicks off next week.
This sale ends tomorrow—but until then all of my books on Smashwords are still steeply discounted (some down to the low-low price of FREE!) Go check it out, snatch up some deals, and spread the word while you still can!!!
Starting today all of my books on Smashwords are discounted (some down to the low-low price of FREE!). Go check it out, snatch up some deals, and spread the word!!!
