By Gwyneth Jones

To VENTUR the Subs have been a nuisance. The underworld's billions have been fed and housed: lower than the strict yet loving care of the good computer platforms. precise, that they had to stay in packed hives underground, to maintain the original fantastic thing about the single residing international within the recognized universe. yet their cultures have been revered, their welfare used to be guaranteed, and a minority even had significant paintings to do. there has been no reason for grievance. basically the Subs, the “numbers” of the previous Indian Sub-Continent, refused to be thankful and humble... ALIC used to be an blameless vacationer, a retired video games conceiver, interested in the outdated domestic planet, and to the restive "Subcontinent" within the hopes of a bit outdated pleasure. Then she met Millie, who invited her to play a video game that may be like no different. And ALIC fell into the depths, into the churning, peopled void. Her entire life turned a frantic sequence of break out makes an attempt; whereas round her a proud, old tradition surged towards violent rebel opposed to the omnipotent house Habitats.

Escape Plans (1986), was once acclaimed and reviled at its first book, as an uncompromising imaginative and prescient of a global the place people reside in overall fusion with the electronic equipment. It has given that been regarded as an important and hugely unique feminist “Cyberpunk" paintings. For enthusiasts of difficult radical technological know-how fiction, this new e-edition bargains a hard learn, packed with dizzying hypothesis, that still packs an important emotional punch

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Still, seeing the full lips in profile, I discover how infinitely small I am. The firmness of the speech rubbing, rubbing kneads my pasty mass, firing me up, I hollow myself out, going round faster and faster, turning round, I pick myself up and make for the corners of the mouth, it sucks me in, I swell up in reply, I’m burning, ah! I’m being torn apart, I’m opening up, ah! I’m freezing in the middle there, let’s close up, tighten up, I’d rather have the heat, the path made by the hole in the center is a little steep, but I’m using it to resist the cold: on the outside someone is knocking at me with quick short strokes, I let the echo of the noise come in, no more, out with the cold!

One is no longer in the economy of opposition, one is in the economy of the gift. And of love. 35 INTRODUCTION xxxi Lispector’s achievement, Cixous continues, is to portray opposition, and then to “carry the reader further,” delineating alternative responses which do not depend on subjugation: How can the gift be given without creating the other the prisoner of the gift? This is extremely hard to do in reality, even in the strongest and most generous relationships. It is the subject of Clarice Lispector’s writing.

Susan Sellers Paris, 1993 xxxii INTRODUCTION NOTES 1 I am using “feminism” in its broadest sense here to denote work on women and sex and gender issues. See below for a more precise account of Cixous’ relationship to the feminist movement. 2 See the Bibliography for details of Cixous’ book publications. 3 See, for Cixous’ account of the impact this plurilingualism had, “De la scene de I’Inconscient a la scene de I’Histoire: Chemin d’une écriture,” in Hélène Cixous, chemins d’une écriture, edited by Françoise van Rossum-Guyon and Myriam DiazDiocaretz, Presses Universitaires de Vincennes, Saint-Denis and Rodopi, Amsterdam, 1990, p.

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