^[2]Obviously, there were some women authors, but the reference is to The Science Fiction Hall of Fame text published in 1971 that included only two women: Judith Merril and C. L. Moore. In addition, there were no Hugo Awards garnered by women between 1953-1967, though thirteen different women won them between 1968-1987.

[3]Although the dates are arguable, Aldiss lists the period between 1938-1950.

[4]For further information see Daring to Dream: A Collection of Utopian Stories by American Women from 1836-1919, edited by Carol Farley Kessler.

^[5]Published in 1905.

[6]My italics.

^[7]From the poem "The Starry Night."

[8]His name is the source of the genre's Hugo awards, voted and awarded at the WorldCon each year.

^[9]There was a small percentage of females involved in the technocratic movement; cf Ross, p.118.

^[10]Note Catherine Moore's gender neutral initials, and "Leigh" is not an easily gendered name either. They both received fan mail addressed to masculinized forms of their names, and even Henry Kuttner (her future husband) unknowingly wrote to Catherine as "Mr. Moore."

^[11]One of C. L. Moore's characters.

^[12]Published in October 1934.

[13]From "Aphorisms on Futurism."

[14]Campbell dominated because his "stable" of writers produced the most popular science fiction, so Astounding profited from their success

[15]1.5% of writers contributing to New Worlds in the 1950s were women. In 1960, only 1.4% of the writers were women (Asimov's Science Fiction May 1993).

^[16]Winner of the Hugo award for the novelette "Eyes of Amber" in 1978 and the novel The Snow Queen in 1981.

^[17]The italics are Larry McCaffery's.

[18]This is the publication date for The Female Man. It was actually written several years earlier, but Russ had to shop around for a publisher. Russ is also responsibile for appropriating the Amazon image in the feminist character of Alyx, from her book The Adventures of Alyx.

^[19]She won awards for the short stories "Love is the Plan, the Plan is Death" in 1973, and "The Girl Who Was Plugged In" in 1974. She also won a Nebula and Hugo in 1976/1977 for "The Screwfly Solution" and "Houston, Houston, Do You Read?"

^[20]Shorthand for a "grown" person using "PDs. Placental decanters. Modified embryos, see? Fit the control implants in later. Without a Remote Operator it's just a vegetable. Look at the feet--no callus at all" (Hugo Award Winners 403). Robert Heinlein invented the term "waldo."

[21]Ironically, Nicola Nixon notes that "even Sterling's Islands in the Net (1988) presents Laura Webster, the central protagonist, as perpetually in need of rescue from prisons, would-be assassins, and terrorists" (223).

[22]Interview with Larry McCaffery in Across The Wounded Galaxies 229.

^[23]In the issue dated February 8, 1993.

^[24]From "Rock On" by Pat Cadigan reprinted in Mirrorshades: The Cyberpunk Anthology, edited by Bruce Sterling.

^[25]Gardner Dozois came up with this term to describe the movement in an article for The Washington Post.

^[26]Per Donna Haraway's article.

[27]Console-cowboys refers to those utilizing computer keyboards as consoles, that which directs ships or computer viruses through a waterway or information matrix. It has been noted that such vestiges of hacker culture are present in Gibson's Neuromancer, where the main character named Case still carries a keyboard in a technologically superior society.

²⁸My italics.

²⁹As manifested in an economic elite.

³⁰A short list would include John Shirley, William Burroughs, Anthony Burgess, Philip K. Dick, J. G. Ballard, Greg Bear, George Alec Effinger, Rudy Rucker and Bruce Sterling.

³¹1896-1977. He directed The Big Sleep, Scarface, Gentlement Prefer Blondes, etc.

³²See his characters Molly Millions, Kumiko, etc.

³³1929, Vintage.

³⁴1939, Random House.

³⁵Much as women are stereotypically represented, Sterling's Mechanist/Shaper novels have Mechanists embrace the technological as embodied by the machine and Shapers choose to work with organic substances.

[36]To be fair to Haraway, the section on science fiction is small compared to the rest of her paper, for science fiction merely illustrates many of her points, and is not a separate study.

³⁷The protagonist in Anne McCaffrey's The Ship Who Sang.

³⁸From Neuromancer.

[39]Read here the polarity of hard and soft SF.

[40]Although a more explicit connection with the "cyborg" image could make Gordon's call useful from Haraway's perspective.

⁴¹Brainwave pattern.

[42]Altered states of consciousness.

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