William Gibson: The Gernsback Continuum

Three in the morning. Let yesterday arrange itself around you in flat schematic images. What you said what she said watching her pack dialing the cab. However you shuffle them they form the same printed circuit, hieroglyphs converging on a central component; you, standing in the rain, screaming at the cabby.

The rain was sour and acid, nearly the color of piss. The cabby called you an asshole; you still had to pay twice the fare. She had three pieces of luggage. In his respirator and goggles, the man looked like an ant. He pedaled away in the rain. She didn't look back.

The last you saw of her was a giant ant, giving you the finger.

Parker saw his first ASP unit in a Texas shantytown called Judy's Jungle. It was a massive console cased in cheap plastic chrome. A ten-dollar bill fed into the slot bought you five minutes of free-fall gymnastics in a Swiss orbital spa, trampolining through twenty-meter perihelions with a sixteen-year-old Vogue model heady stuff for the Jungle, where it was simpler to buy a gun than a hot bath.

He was in New York with forged papers a year later, when two leading firms had the first portable decks in major department stores in time for Christmas. The ASP porn theaters that had boomed briefly in California never recovered.

Holography went too, and the block-wide Fuller domes that had been the holo temples of Parker's childhood became multilevel supermarkets, or housed dusty amusement arcades where you still might find the old consoles, under faded neon pulsing APPARENT SENSORY PERCEPTION through a blue haze of cigarette smoke.

Now Parker is thirty and writes continuity for broadcast ASP, programming the eye movements of the industry's human cameras.

The brown-out continues. In the bedroom, Parker prods the brushed-aluminum face of his Sendai Sleep-Master. Its pilot light flickers, then lapses into darkness. Coffee in hand, he crosses the carpet to the closet she emptied the day before. The flashlight's beam probes the bare shelves for evidence of love, finding a broken leather sandal strap, an ASP cassette, and a postcard. The postcard is a white light reflection holo&ram of a rose.

At the kitchen sink, he feeds the sandal strap to the disposal unit. Sluggish in the brown-out, it complains, but swallows and digests. Holding it carefully between thumb and forefinger, he lowers the hologram toward the hidden rotating jaws. The unit emits a thin scream as steel teeth slash laminated plastic and the rose is shredded into a thousand fragments.

Later he sits on the unmade bed, smoking. Her cassette is in the deck ready for playback. Some women's tapes disorient him, but he doubts this is the reason he now hesitates to start the machine.

Roughly a quarter of all ASP users are unable to comfortably assimilate the subjective body picture of the opposite sex. Over the years some broadcast ASP stars have become increasingly androgynous in an attempt to capture this segment of the audience.

But Angela's own tapes have never intimidated him before. (But what if she has recorded a lover?) No, that can't be it it's simply that the cassette is an entirely unknown quantity.

When Parker was fifteen, his parents indentured him to the American subsidiary of a Japanese plastics combine. At the time, he felt fortunate; the ratio of applicants to indentured trainees was enormous. For three years he lived with his cadre in a dormitory, singing the company hymns in formation each morning and usually managing to go over the compound fence at least once a month for girls or the holodrome.

The indenture would have terminated on his twentieth birthday, leaving him eligible for full employee status. A week before his nineteenth birthday, with two stolen credit cards and a change of clothes, he went over the fence for the last time. He arrived in California three days before the chaotic New Secessionist regime collapsed. In San Francisco, warring splinter groups hit and ran in the streets. One or another of four different "provisional" city governments had done such an efficient job of stockpiling food that almost none was available at street level.

Parker spent the last night of the revolution in a burned-out Tucson suburb, making love to a thin teenager from New Jersey who explained the finer points of her horoscope between bouts of almost silent weeping that seemed to have nothing at all to do with anything he did or said.

Years later he realized that he no longer had any idea of his original motive in breaking his indenture.

The first three quarters of the cassette have been erased; you punch yourself fast-forward through a static haze of wiped tape, where taste and scent blur into a single channel. The audio input is white sound the no-sound of the first dark sea... .(Prolonged input from wiped tape can induce hypnagogic hallucination.)

Parker crouched in the roadside New Mexico brush at midnight, watching a tank burn on the highway. Flame lit the broken white line he had followed from Tucson. The explosion had been visible two miles away, a white sheet of heat lightning that had turned the pale branches of a bare tree against the night sky into a photographic negative of themselves: carbon branches against magnesium sky.

Many of the refugees were armed. Texas owed the shantytowns that steamed in the warm Gulf rains to the uneasy neutrality she had maintained in the face of the Coast's attempted secession.

The towns were built of plywood, cardboard, plastic sheets that billowed in the wind, and the bodies of dead vehicles. They had names like Jump City and Sugaree, and loosely defined governments and territories that shifted constantly in the covert winds of a black-market economy.

Federal and state troops sent in to sweep the outlaw towns seldom found anything. But after each search, a few men would fail to report back. Some had sold their weapons and burned their uniforms, and others had come too close to the contraband they had been sent to find.

After three months, Parker wanted out, but goods were the only safe passage through the army cordons. His chance came only by accident: Late one afternoon, skirting the pall of greasy cooking smoke that hung low over the Jungle, he stumbled and nearly fell on the body of a woman in a dry creek bed. Flies rose up in an angry cloud, then settled again, ignoring him. She had a leather jacket, and at night Parker was usually cold. He began to search the creek bed for a length of brushwood.

In the jacket's back, lust below her left shoulder blade, was a round hole that would have admitted the shaft of a pencil. The jacket's lining had been red once, but now it was black, stiff and shining with dried blood. With the jacket swaying on the end of his stick, he went looking for water.

He never washed the jacket; in its left pocket he found nearly an ounce of cocaine, carefully wrapped in plastic and transparent surgical tape. The right pocket held fifteen ampules of Megacillin-D and a ten-inch horn-handled switchblade. The antibiotic was worth twice its weight in cocaine.

He drove the knife hilt-deep into a rotten stump passed over by the Jungle's wood-gatherers and hung the jacket there, the flies circling it as he walked away.

That night, in a bar with a corrugated iron roof, waiting for one of the "lawyers" who worked passages through the cordon, he tried his first ASP machine. It was huge, all chrome and neon, and the owner was very proud of it; he had helped hijack the truck himself.

If the chaos of the nineties reflects a radical shift in the paradigms of visual literacy, the final shift away from the Lascaux/Gutenberg tradition of a pre-holographic society, what should we expect from this newer technology, with his promise of discrete encoding and subsequent reconstruction of the full range of sensory perception? Roebuck and Pierhal, Recent American History: A Systems View.