Cyber Ireland: Text, Image, Culture by Claire Lynch (auth.)

By Claire Lynch (auth.)

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In ‘Code’, both ‘writers’ are shown to be at risk of missing out on the ‘Creation’ that surrounds them due to the sheer amount of time spent on their own creations. 31–32). 33). Boland’s ‘Code’ is a lucid example of the impact of cyberculture in Irish writing. Along with the history of the internet as explored in McCann’s Let the Great World Spin, and its imagined (or threatened) future by way of McCormack’s Notes from a Coma, this chapter has set the foundations for intersections between cyberculture and Irish literature examined throughout this book.

If Castell’s newness is boring, this new literary subgenre is best understood through its euphemistic antonym ‘interesting’. 77). The fact that explorations of cyberculture have been produced by Irish writers is indeed ‘interesting’ in this sense, but there is surely more to be said than that. By taking the time to give these texts more ‘substantial consideration’, a remarkable intersection between the digital and the literary is revealed. 88) and translates it into poetry. Codebreakers In the very simplest terms, Joshua’s potentially inexplicable obsession with computers is made vibrant and meaningful because it is translated into a recognisable literary form.

At the same time, of course, such absorption in the computer is discouraged, even distasteful. The adoration the programmer feels for his computer is at worst perverse to the lay reader, at Out With the Old, in With the Boring 35 best, as boring as Castells could hope for. Repetitious programming tasks certainly seem monotonous to those not as ‘giddy’ about computers as the recruits, who ‘divided, linked, nested, chained, deleted. Rerouted switched. Cracked passwords. 87). 87). Indeed, their fidelity to computers is arguably delusional, contradicting some of the earliest theories including the well-known ‘Lovelace Objection’.

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