Schismatrix plus - Bruce Sterling [0]
Bruce Sterling
Copyright 1996
ISBN: 0-441-00370-2
Introduction: The Circumsolar Frolics
First among them was THE WORLD, THE FLESH, AND THE DEVIL by J. D. Bernal. This book was written in the 1920s, and would be universally acknowledged as a stellar masterpiece of cosmic speculation, except for the uncomfortable fact that J. D. Bernal was a lifelong fervent Communist. His work simply couldn't be metabolized during most of the twentieth century, because the author himself was politically unacceptable. I never had much use for Communism, but I had plenty of use for J. D. Bernal.
The second book was Freeman Dyson's DISTURBING THE UNIVERSE. Freeman Dyson could have been a mighty figure in the genre if he'd become a science fiction writer instead of a mere world-class physicist at Princeton. I was lucky enough to have lunch with Freeman Dyson a couple of years ago. I was able to thank him for the fact that I had filed the serial numbers off his prose, hot-wired it and employed it in my work. Professor Dyson had never read SCHISMATRIX, but he was astonishingly good-humored about the fact that I had boldly hijacked thirty or forty of his ideas. What a gentleman and scholar!
The third book was Ilya Prigogine's FROM BEING TO BECOMING. This book boasted some of the most awesomely beautiful scientific jargon that I had ever witnessed in print. The writing was of such dense, otherworldly majesty that it resembled Scripture. It was very like the "crammed Prose" and "eyeball kicks" that we cyberpunks were so enamored of, with the exception of course that Prigogine's work was actual science and bore some coherent relation to consensus reality. So naturally I used his terminology as the basis for the Shaper/Mechanist mysticism. It worked like a charm. Eventually a fan of mine who happened to be one of Professor Prigogine's students gave him a copy of CRYSTAL EXPRESS, which contained the Shaper/Mechanist short stories. Professor Prigogine remarked perceptively that these stories had nothing whatever to do with his Nobel Prizewinning breakthroughs in physical chemistry. Well, that was very true, but charms are verbal structures. They work regardless of chemistry or physics.
I wrote the stories before the novel. I used the Shaper/Mechanist short stories as a method of exploration, a way to creep methodically into the burgeoning world of the book. First came "Swarm," which involves two characters only, and is set light-years away from the eventual center of the action. Next I wrote "Spider Rose," set on the fringes of the solar system, and the fringes of Schismatric society. After that came "Cicada Queen," which thundered headlong into a major Shaper/Mechanist city and examined their society as it boiled like a techno-crazed anthill. "Sunken Gardens" was set late in my future-history, a framing work. The experimental "Twenty Evocations" was my final word on the subject. It was a dry-run for the forthcoming novel, and with that effort, I was carrying my "crammed-prose" technique as far as it would go.
These were my first published short stories. I had one other story,
"Man-Made Self," published when I was a teenager; but alas, the manuscript pages were scrambled at the printer's, and the published story was rendered unintelligible. I had to disown it. That made "Swarm" my official story premiere. "Swarm" was also my first magazine sale (to THE MAGAZINE OF FANTASY
AND SCIENCE FICTION, in April 1982). "Swarm" is still the story of mine most often reprinted. I'm still fond of it: I can write a better prose now, but with that story, I finally gnawed my way through the insulation and got my teeth set into the buzzing copper wire.
SCHISMATRIX was my third novel, but the first to go into an immediate second-printing—in Japan. I've valued the Japanese SF milieu very highly ever since. Recently SCHISMATRIX became my first