Titlebook: William Gibson‘s "Neuromancer"; A Critical Companion Graham J. Murphy Textbook 2024 The Editor(s) (if applicable) and The Author(s), under

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Things Are Things: The Resigned Pessimism of the Pseudo-Dystopia,e novel isn’t a dystopia but a pseudo-dystopia. Using the lens of U. and A.-U. genealogies, I provide an exploration of “The Gernsback Continuum” and “Burning Chrome” to lay the critical foundations. First, I characterize them respectively as belonging to the A.-U. genealogy; specifically, “The Gern

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Hemodialysis

A Case Study of the Post/Human,ns of Gibson’s novel to our ongoing and evolving quotidian reality (or realities) continue to fuel ongoing discussions, debates, and diatribes pertinent to our posthuman (or post/human) future-present.

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Things Are Things: The Resigned Pessimism of the Pseudo-Dystopia,standing . as a pseudo-dystopia helps us better understand the novel’s ongoing appeal 40 years after its initial publication. This appeal ties into the next chapter’s discussion of capitalist realism.

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Conclusion: Accessible Moments and Darkness on the Edge of Town,d conclude so long as capitalist realism retains a dominant footing within our cultural imaginary and we continue to find it difficult, if not impossible, to imagine a coherent alternative to capitalism, . remains the supreme literary expression of capitalist realism.

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Transhumanism and the Myth of Morphological Freedom,ion. In so doing, I conclude Gibson shows via these characters that the morphological freedom espoused by the transhumanist posthuman is a problem-laden fantasy. Thus, Gibson’s . provides decidedly unambiguous warnings about the perils that emerge from the promises of morphological freedom and the transhumanist posthuman.

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