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Synners: The Arthur C Clarke award-winning cyberpunk masterpiece for fans of William Gibson and THE MATRIX (S.F. MASTERWORKS) Paperback – November 13, 2012
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What does it mean to be human when you're part of the machine?
Synners are synthesizers - not machines, but people. They take images from the brains of performers, and turn them into a form which can be packaged, sold and consumed. This book is set in a world where new technology spawns new crime before it hits the streets.
In SYNNERS the line between technology and humanity is hopelessly slim; the human mind and the external landscape have fused to the point where any encounter with reality is incidental.
A classic novel from one of the founders and mainstays of the cyberpunk movement.
Readers are astounded by SYNNERS:
'A masterpiece that deserves its place in the "SF Masterworks" series'- Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
'Stone-home great! Cadigan is yet another example that puts pay to the lie of sci-fi being a somehow inherently shallow genre' - Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
'This novel has really everything I want when reading SF: mind-blowing technology, non-utopia setting, and 'real' personal characters' - Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
'A masterpiece of Cyberpunk . . . Synners is science fiction at its best: innovative, stirring, and not always easy to figure out but always poignantly thought provoking' - Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
'It's genius, and a mess and incredibly ground-breaking and seriously, should be considered a science fiction classic . . . Question any list of "great/classic SF" that doesn't include this book' - Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
'Loved this book so much I wrote my master's dissertation on it' - Goodreads reviewer, ⭐ ⭐ ⭐ ⭐ ⭐
- Print length496 pages
- LanguageEnglish
- PublisherGollancz
- Publication dateNovember 13, 2012
- Reading age18 years and up
- Dimensions5.13 x 1.25 x 7.75 inches
- ISBN-109780575119543
- ISBN-13978-0575119543
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Editorial Reviews
Review
Cadigan's multifaceted talent includes a strong gift for definitive hardcore cyberpunk
Read Synners now, before it happens
From the Back Cover
In Synners, the line between humanity and technology is hopelessly slim. The human mind and the external landscape have fused to the point where any encounter with 'reality' is incidental. Now you can change yourself to suit the machines - and all it will cost you is your freedom, and your humanity.
'Ambitious, brilliantly executed . . . Cadigan is a major talent' William Gibson
'Cadigan's multifaceted talent includes a strong gift for definitive hardcore cyberpunk' Bruce Sterling
Pat Cadigan (1953-)
Pat Cadigan was born in Schenectady, New York and grew up in Massachusetts. Her short fiction has been nominated for the Hugo and Nebula Awards and she has twice won the Arthur C. Clarke Award. She has lived in London since 1996.
978 0 575 11954 3
£8.99
About the Author
Product details
- ASIN : 0575119543
- Publisher : Gollancz; 0 edition (November 13, 2012)
- Language : English
- Paperback : 496 pages
- ISBN-10 : 9780575119543
- ISBN-13 : 978-0575119543
- Reading age : 18 years and up
- Item Weight : 12.3 ounces
- Dimensions : 5.13 x 1.25 x 7.75 inches
- Best Sellers Rank: #873,855 in Books (See Top 100 in Books)
- #2,258 in Cyberpunk Science Fiction (Books)
- #20,065 in Classic Literature & Fiction
- Customer Reviews:
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About the author

“I swear they told me I was terminal...but that was back in December 2014. What can I say? Heaven doesn’t want me and Hell’s afraid I’ll take over.”
Pat Cadigan won the Arthur C. Clarke Award twice for her novels Synners and Fools, and most recently, the Scribe Award for Best Novelisation for Alita Battle Angel. She has also won three Locus Awards––best short story for "Angel," best collection for Patterns, and best novelette for "The Girl-Thing Who Went Out For Sushi,", which also won the Hugo Award and Japan's Seiun Award; it can be found in Edge of Infinity, edited by Jonathan Strahan. Most often identified as one of the original cyberpunk writers––the Guardian called her The Queen of Cyberpunk––her work includes fantasy, horror, young adult, and nonfiction.
Born in New York, she grew up in Massachusetts but spent most of her adult life in the Kansas City area, where she worked for ten years at Hallmark Cards, Inc., writing greeting cards, often in perfect iambic pentameter. She now lives in gritty, urban north London with her husband, the Original Chris Fowler, and takes pride in the accomplishments of her son, musician, composer, and nonfiction writer Robert Fenner.
Along with her media tie-in writing, Cadigan is working on two new original novels––working titles: See You When You Get There and Truth & Bone––while she makes terminal cancer her bitch. Diagnosed in late 2014 with an inoperable and incurable form of recurrent endometrial cancer, she was given at most two years to live. After she underwent what was supposed to have been strictly palliative chemotherapy in early 2015, however, doctors were forced to revise their estimates from 'two years or less' to 'Someday, maybe––hey, we just work here'.
When asked for comment, Cadigan, who has already returned from the dead after a severe case of anaphylactic shock, said, “Each of us was put on this earth to accomplish a certain number of things. I’m now so far behind that I can never die.”
She has been keeping a blog called 'Ceci N'est Pas Une Blog––Dispatches From Cancerland' at patcadigan.wordpress.com about her adventures as a cancer patient; she promises that it's not a bummer. In fact, some of it is even funny. She can also be found on Facebook and tweets as @cadigan and just about everything there is funny, too.
Cadigan’s latest work is the novelisation of William Gibson’s unproduced screenplay for what would have been the third Aliens movie, published 31 August 2021. (Spoiler Alert: it’s not the third Aliens movie that you saw in the theatre, on video, or in your nightmares.) In fact, Gibson did two drafts of the screenplay; this novelisation is his first draft. The second draft was very different and was adapted as a graphic novel by Dark Horse, starring the fabulous artwork of Johnny Christmas. Cadigan thinks you should own both, because.
Thanks to Gollancz’s high successful Gateway eBook program, all of Cadigan’s original novels are available electronically. Other books, such the two making-of movie books she was commissioned to write—The Making of Lost in Space and The Resurrection of the Mummy—are available through third-party sellers. Support independent and second-hand book-dealers whenever possible. You can’t get everything in electronic format. Also, before eBooks came along, second-hand book dealers prevented many good writers from disappearing altogether. Ebooks are great because you can take hundreds of them with you on an airplane without worrying about the weight allowance but it’s still great to have a book signed by your favourite author.
As a cancer patient (remember, she’s not in remission, just stubborn), Cadigan spent 2020 at home, thanks to the inconvenience of a global pandemic. She got a lot of writing done, but not a lot of housework, because seriously? Are you kidding? Sightings continued to be scarce during 2021. Cadigan hoped to get around more in 2022 but didn’t. Maybe 2023 will be more fortuitous.
In 2020, she was nominated for the Scribe Award for Alita Battle Angel, and was delighted when she won. She says that her editor, Ella J Chappell was crucial in helping her produce her best work possible. Like Ellen Datlow and Gardner Dozois, Ms Chappell has become a lasting influence on Cadigan’s work in general.
In 2022, she was again nominated for the Scribe Award for Alien 3, the novelisation of William Gibson’s unproduced screenplay. Nominees and winners were announced at the San Diego Comic Con and to her even greater delight, she won again. A full list of winners is available here: https://iamtw.org/2022-scribe-award-winners/ along with a link to the full list of nominees for 2022 as well as results from previous years.
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However, characters do come together in a satisfying way and the big picture is a fascinating story about the development of neural interface tech and the consequences resulting from it. I would call this novel a slow burn.
Based on my own frame of reference with cyberpunk, if you like stuff like Gibson’s Sprawl trilogy full of street samurai, body mods, and corporate assassins, this may not scratch that itch. If a story that takes its time to explore tech, art, and the lives of somewhat more grounded individuals in a cyberpunk setting appeals to you, this would be a good choice.
Anyone looking for a dense read will find a welcome challenge in Synners. Memories and inner reflections thread through the scenes, filtering everything through the perspective of the current point of view character. The frequent change of perspective can be confusing at times, but the narrative voices are so distinct that audiences will quickly learn to recognize who the current narrator is, as each character struggles in their search for something real. Each perspective focuses on a personal journey, full of rich inner reflections, but leaves little room for any kind of overarching conflict.
Instead most of the story is spent orbiting a series of vague problems, using short lived struggles to explore issues of reality, art, and escapism, while avoiding any extended conflict that might root the story in a primary issue. The language is rich with evocative imagery and literary motifs, but eventually the illusion of meaning wears thin. The story settles into an 11th hour threat, uniting its diverse subplots into a climax rich with symbolic references to everything that came before. The potency of the ending is only marred by how estranged it feels from rest of the story.
+Strong Characters
+Strong Writing
*Challenging Read
*Slow Pacing
-Weak Main Plot
3.5/5
Cadigan correctly envisioned an interconnected world that would become the world wide web. She also suggested movement towards virtual and augmented reality. There's also the theme of elites (the Upstairs people) and everyone else, but exactly how this economy functions is never outlined. Furthermore, there seems no outside elements other than the court system which is hopelessly useless. While an engaging tale, the story does tend to go on far longer than necessary and there are way too many character to track.
Which this one isn’t. Other reviews mention that it takes a long time to get going--testify, brothers and sisters! They have also mentioned that it features far too many far too uninteresting protagonists--amen and amen! Middle-aged flameouts, burnouts, and sellouts of various stripes do not make for fascinating company, even for this middle-aged reader. I couldn’t work up enough interest in any of them to wade through the tedious setup. Perhaps the last third manages to strike some sparks from this wet tinder, but I confess I never got that far. My free time is too rare to waste on blather.
Poorly written, repetitive, uncreative blather at that. There are enough F-bombs in the first few chapters to annihilate every major city on Earth. Even if you don’t mind the profanity in and of itself, it crowds out all the other verbs, adjectives, adverbs, and nouns that could have expressed more ideas more colorfully and specifically. Over-reliance on a single word (however fun to say when we’re in that “let’s use that curse word we know” phase) flattens and stifles. Unfortunately, Cardigan has the habit of using a few dull terms as a crutch. “Drunk,” along with “sex” and “crazy,” boasts one of the longest collections of colorful synonyms in the English language. But in Cardigan’s voice, high, spritzed, tozzled, soused, baked, fried, flying, and all their wilder cousins boil down to just one inelegant word: “toxed.” Same with “porn.” Everything on the various (static and uninteresting) digital feeds is “porn”--disaster, medical, travel, food, etc., etc. And “very,” “extremely,” “totally,” “definitely” (add your own force multiplier here) is “stone.” Possibly “stone home.” Instead of taking the time to create a fleshed-out slang, or even to throw out a few evocative phrases to hint at the unheard existence of a post-apocalyptic cant, Cardigan comes up with a handful of examples and uses them to death. Toxed on stone slang porn, if you will.
But I did smile at “Dr. Fish,” the hacker/virus combo that leaves helpful, Surgeon-General style messages on fast-food drive-in order screens and other such benevolent-paternalist shenanigans. One star for the good doctor.
Top reviews from other countries
Although published in 1991 the world of Synners and L.A in the late 80's still feels relevant. More relevant than a lot of cyberpunk, even late first wave ones such as this. Pat Cadigan missed the normal technological advancements the genre is known for such as: cell phones. But reading it doesn't feel archaic though, maybe because it's a hard, purposeful look at nostalgia itself.
"The way we all kept adding to the nets did exactly that, passed a threshold. It got to the point where the net should have collapsed in chaos, but it didn't. Or rather it did, but the collapse was not a collapse in the conventional sense."
GridLid automates your car completely even handles all the traffic jams, resulting in people being fearful of non-automated systems, never having driven "manually" before. Entertainment is imbibed while the bumper-to-bumper traffic takes you hours to get to work. There is porn for everything. Traffic porn, med porn, war porn, food porn. People get off on most anything that's packaged as entertainment. And the stuff that isn't trending now, is gone. Viruses are prevalent and are just a hazard of the world; most people don't know how to get rid of them. Discarding technical know-how for the ease of products automating their lives.
That's where the punks come in, the hackers.
A slow build up hampers the book at first. Most of the pages are reserved for introductions to each. Though effective in the long term, it does take a while to get into it. But once it's done showing you the characters and by proxy, the world—the book is undeniably richer for it.
Where Synners is so interesting compared to some other first wave novels (beyond the world building aspects) is that there is kind of a post-cyberpunk vibe happening throughout, intentional or otherwise.
"We don't grieve for what might have been in rock'n'roll. We just keep rockin' on."
Gina is old enough to remember and venerate "properly," rock'n'roll music. This lauding of a wave that died out, along with the notion that "punk" is also dead is a consistent through line, reinforced with vivid imagery of music videos and lyrics from songs that just won't leave her alone. She is stuck in a self destructive loop that is explained by the impulses of the human body, rooting her problems in her humanity. Her pain seems to stem from her embodiment, yet she still wouldn't change a thing. Hard life, hard love, hard everything.
"Back in Mexico, when he first put the wires in when you were there. If you'd leaned down then, put your mouth on his, he might have stayed. Because after that nothing could pull him back, not love, not sex, not you. Not nothing, not no-how."
Visual Mark on the other hand chooses the "datalines" (the Internet) instead. Once a close couple, madly in love, eating each other up—now mature and unable to carry on with their relationship; effectively due to the past. Their mistakes, their nostalgia for them, and the various forms of coping so they don't ever have to deal with it, all damning of the societal structures in place. Mark unwilling to take true responsibility for them, instead shrugging them off to the system.
"He was still wondering what would become of him when he felt the first shock wave, followed by the last message he would ever receive from the meat."
The main thrust of the book is that "sockets" are invented, which would also be antiquated tech in most cyberpunk novels, and the world dives right in because capitalism. Diversifications, a megacorporation disseminates this new and unsafe tech to the masses. And while Gina hungers for the same power to make music videos "alive" again through the use of this technology, possibly rekindling everyone's love for rock'n'roll again, as well as Mark's own love for her. Mark allows it to consume him whole.
Through the eyes of many of the characters we see what capitalism has wrought. Only this time it's through this more interesting lens rooted in music; quizzically, not punk. The idea that the first wave was almost gone and along with it, cyberpunk as a subgenre, parallels Gina and Mark's struggle with their past and glory days. How enticing our memories make events that were actually horrible; allowing us to view the wreckage of our lives with rose-coloured glasses. Post-cyberpunk in that it seems to critically evaluate the genre, subverting it in a few places.
Mark himself could represent the genre as it existed in first wave. He is an anti-hero, unlikeable but attractive in non-conformative ways. His past has destroyed parts of him, including some brain damage that makes him even better at using tech to become more than he is now, transcending himself. Leaving "the meat," as he so often refers to it, behind. He has a particular affinity and knack for something because society has messed him up; the "system" has damaged him. The typical protagonist for early cyberpunk.
"I'm not really in there, now. I'm maintaining it, but there's nobody home. I know it doesn't happen that way for you, but that's how it is for me. "
Gina can interact with people just fine, though. She is more-or-less "well adjusted" and chooses to be a voice of dissent. Picking physical conflicts and verbal ones, choosing embodiment every step of the way. How she interacts with people, especially if they are seen by her as being a part of the system that has essentially destroyed the love of her life, Visual Mark, is by being angry. Being a punk. She is a part of an older generation, now been left behind. She's angry, and tired, and does exactly what she wants when she wants to. The only weakness she has is Mark, the personification of this old way of life that she cannot let go. The wound in her mouth that would heal; if she'd only stop tonguing it.
The book is primarily (as I see it) about examining embodiment; the products of our society and commodification of anything of value. Who power structures benefit and what those wounds might look like in a cyberpunk future becoming an allegory for the targeting of the unlucky few, who grow to be far too many. How powerful nostalgia is, a resurgence of it being inevitable, often; usually by means of any advancement in technologies. It's smart, funny, at times; easy to empathize with, and features good prose mixed with a cyberpunk aesthetic that feels like a prequel while being critical of the genre as it was about to "die."
It's worth reading.
"But it's different when you think you have no choice, and then suddenly you do after all."
Some exciting ideas and challenging characters. Many aspects of both have since become commonplace in stories. It’s great to see so many well-formed ideas here that have aged well.
I wish I’d heard of Pat Cadigan and her novels earlier than just a few weeks ago. I’m sure if I’d read this book when it was first published I’d have enjoyed it more.
As it is, this was a more challenging read than a couple of other books I had on the go at the same time. Its densely-packed ideas, rapid shifts of character, location, and reality made it tricky to follow sometimes. Some cinematic parts are extensively described which can make initially thrilling events laborious.
The second aspect that was disappointing was the character relationships - I mean, who really cares about people who continue to invest in relationship with total wasters? There's unfortunately a good bit of that in the book as well, and as another reviewer pointed out, you simply don't care what happens to them. Also, the teen love interest plotline is laughable, but presented as a massive heartbreak when what it really is just a stupid infatuation by a girl with her head up her ass.
Too many of the characters are trying to be hip and cool, while other characters are supposedly hip and cool without trying. It says a lot about the book that I was rooting for the 'evil corporate executive' - I mean, at least he was trying to achieve something instead of moping around helplessly.
There are some interesting comparisons with Gibson's work, but that's it. You won't automatically like Synners if you loved Neuromancer, because Neuromancer was an action driven story. I didn't care for the dismissive lines in the books intro either in relation to that...





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