Cross-readings along the axes of stories:
Writing, power, and technology are old partners in Western stories of the origin of civilization, but miniaturization has changed our experience of mechanism.
The close ties of sexuality and instrumentality, of views of the body as a kind of private satisfaction- and utility-maximizing machine, are described nicely in sociobiological origin stories that stress a genetic calculus and explain the inevitable dialectic of domination of male and female gender roles.
These sociobiological stories depend on a high-tech view of the body as a biotic component or cybernetic communications system.
The poetry and stories of US women of colour are repeatedly about writing, about access to the power to signify; but this dme that power must be neither phallic nor innocent.
The tools are often stories, retold stories, versions that reverse and displace the hierarchical dualisms of naturalized identities.
In retelling origin stories, cyborg authors subvert the central myths of origin of Western culture.
The phallogocentrie origin stories most crucial for feminist cyborgs are built into the literal technologies - teehnologies that write the world, biotechnology and microelectronics - that have recently textualized our bodies as code problems on the grid of C3I.
Feminist cyborg stories have the task of recoding communication and intelligence to subvert command and control.
Figuratively and literally, language politics pervade the struggles of women of colour; and stories about language have a special power in the rich contemporary writing by US women of colour.
The feminist science fiction of Samuel R. Delany, especially Tales of Neveyon, mocks stories of origin by redoing the neolithic revolution, replaying the founding moves of Western civilization to subvert their plausibility.
It means both building and destroying machines, identities, categories, relationships, space stories.
Similar but not the same to stories:story
Also specific to A Cyborg Manifesto [EN] (1984):
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