“Hack the code.” That seems to have been the final utterance of the counterculture before dispersing out onto what cyberpunk Bruce Sterling called “islands in the net.” But who among us cave-dwellers possesses the capacity to hack? How do we who are landless debtors hack back into the biosphere and become communally self-sufficient? How do we rewire and reboot world operating systems? For me, it’s by reading Thom Gunn’s wonderful poem written under the influence of acid, “At the Center.” Formally composed into three numbered sections, each containing two six-line rhymed stanzas of iambic pentameter, the poem is nevertheless heady and psychedelic. Filled with wonder. The one commons we do possess as heads, I suppose, is language. Poets like Gunn remind me that that, too, is a code we could hack, though “hacking” as a metaphor for practice seems far too intrusive and masterful, too contra naturam, for the work that lies ahead.
Behold, there in the basket of keys and letters beside the door like an object in a memory palace: mirror-shade sunglasses, like the ones invested with allegorical meaning by the cyberpunks. Pardon the group tag, the literary label. Anthologies have that effect on people. And as Bruce Sterling once said, label-mongering can be “a valid source of insight — as well as great fun.” For instance, it is to Samuel Delany that he credits the Mirrorshades crew’s “visionary shimmer” (x). During the Sixties and Seventies, a new movement gained recognition within SF, the New Wave. Delany was one of the stars of this movement. Let us dip back into his 1967 novel The Einstein Intersection. Think of Delany as an important component of a single distributed consciousness attempting to communicate to itself across the ages. Who are these “others,” these posthumans who come to populate the remains of our myths and dreams in the future that Delany imagines for us in his novel? As Neil Gaiman notes in the book’s Foreword, “They inhabit our legends awkwardly: they do not fit them” (The Einstein Intersection viii). Why, then, do they need them? What do myths and legends do, either for us or for them? How does dream and fancy come to play an active part in our being? Prior to the loss of a loved one, the book’s protagonist Lo Lobey herded goats with his friends. Like the rural communards, the back-to-the-landers of the 1960s, Lobey and his friends were out there “on the Beryl Face: looking for pasture” (3).