‘Limited Edition’ by Tim Maughan – 2012 BSFA Award Short Story Club
‘Limited Edition’ was originally published in Arc 1.3: Afterparty Overdrive
The BSFA Award is open to all types of speculative fiction but, given its full title, it is pleasing to see some actual science fiction about Britain on the shortlist rather than, say, supernatural Victoriana.
“GRIIDS PUT YOUR SPEX OOOONN,” Melody screams again. Echoes.
“I GOT NO CREDIT,” replies Grids.
“Jesus fam, nuff shouting,” mumbles College.
‘Limited Edition’ is, of all the things to be nominated for an award in 2013, a cyberpunk story. Reading it, I was surprised how much missed what the subgenre spoke to and how timely and relevant is occasional outbreaks remain. I was also reminded of my review of another one of those outbreaks, Moxyland by Lauren Beukes:
Amongst many aphorisms, Gibson is famous for suggesting that the future is here, it just isn’t evenly distributed. This is a great soundbite but is really just another way of saying that wealth is not evenly distributed. If the social safety net seems tenuous in the late 21st Century Boston-Atlanta Metropolitan Axis of the Sprawl then it is virtually non-existent in the early 21st Century Johannesburg of Moxyland.
We all live within a system that exists solely to unevenly distribute wealth. Even when a technology itself is universal, the rich will always get more for less. In a genre so often obsessed with the exceptional, Beukes and Maughan know that most people will be losers and their story is just as important to tell. You might call this Pay As You Go SF.
The story opens with an advert, an advert for limited edition trainers, “serious nice kicks” endorsed by Eugene Sureshot and due to be released in ten days. Grids finds out that the trainers are already in storage at his local retail park in Bristol and organises a smash and grab. Since this is the future, he uses the Smash/Grab server to both anonymously co-ordinate and gameify the raid.
So ‘Limited Edition’ is situated in obvious response to the 2011 riots in England but perhaps more importantly in response to the response. There are a few broad stabs at political satire such as a reference to the 2014 Anti-terrorism, Illegal Protest, Sporting Events-Related Violence and Retail-Slash-Enterprise Zone Security And Management Act but generally (and more successfully than that clunker) Maughan takes a street-level approach. It is an attempt to sympathetically imagine what life will be like in the near future for kids like those who took part in the riots and much more science fiction should be trying something similar.
Some is. His peers, as I see it, are Cory Doctorow and Charles Stross since their fiction so often shows the dirty interaction between nerd-rapture tech meeting humanity. Which is not to say their writing itself is similar – a comparison between the kids of ‘Limited Edition’ and those of Little Brother leaves is just embarrassing for Doctorow. But comparing them to the twenty and thirty somethings of Rule 34 is less comforting for Maughan. It is unfair to compare the scope of a novel to that of a short story but Stross revels in the economic and class complexity of world whereas Maughan is pretty wobbly outside of the immediate social strata he is interested it. At one point Grids wonders about the followers piggybacking his feed and it stands as a wider comment on the story:
Who knows who they are? Bored office workers, slum kids, stockbrokers, fashionistas, online griefers, lazy journalists, housewives, angry Daily Mail readers.
Never mind the journalists, this is a pretty lazy list. It also points to a tension in the story: Maughan rightly deplores the casual contempt of the term chav but is happy to indulge in his own broad stereotyping. The story is punctuated by tweets providing commentary on the events that are unfolding and the negative ones come from people with names like WhiteVanStan, F1 Fan and ManU4eva. The dichotomy of meathead sports fans versus the cool kid gamers doesn’t sit easily with the aim of the story to look beyond labels to individuals. In fact, given the unwieldy title of that imaginary 2014 legislation, Maughan should be making common cause between the two groups. The other group associated with negative comments are women or girls with names like KattyKins13 and xxKayleighxx. This is even more uncomfortable, particularly when set against Melody:
She screw-faces, and he feels embarrassed again, because she looks cute when she does. Not bimbo, high-street, wannabe-gamer cute, but smart, confident. And cute. He kinda likes her, but he’s known her for time. Since they were little. Plus her mum would kill him.
That is Grids in full girl next door crush mode. Not only does this reduce Maughan to clichés, it also reinforces the sense of dividing people up into categories; I’m sure he doesn’t believe in the existence of fake geek girls but he is leading himself down that path. This partisan deployment of sympathies is most clearly seen in Grids himself. Why does he Smash/Grab? The story’s first answer is ego: “Nothing scares him like the insignificance.” The second and perhaps more disingenuous answer comes at the very end when we discover he is the surrogate rather to his two younger siblings:
It’s the last of the few quid he made by trading in some of his points on the Smash/Grab server. Meaning his ranking has taken a major kicking, but it’s all good if it means he can feed everyone for a few days.
So nicking a pair of trainers is literally equivalent to stealing a loaf of bread. This big rhetorical land grab and not one Maughan backs up, tying in with Niall Alexander’s point that there is “a sense of tension between what is right outside the story, and what is true within its narrow, claustrophobic confines.” It also gives the lie to an earlier protestation:
Grids ain’t no sociologist, but he’s pretty sure that’s not how a community is meant to work. And even if it is then he’s not part of it, because he’s got no cash. Never has. And down here that makes him irrelevant, an outsider.
Grids is pay as you go crew: not in the game but not out of it either. To return to Gibson, saying the street finds its own use for things is another way of saying the losers of capitalism will always subvert it for their own gain. In this sense, it is a shame that globalisation rose to prominence as a concept (and counter-concept) just as cyberpunk started to decline. It is to Maughan’s credit that he explicitly aligns the two since they are such obvious bedfellows but unfortunately the lack of depth with which he explores the issues is also a weakness of the story.
Just before they arrive at the sportswear shop, it is tagged with a QR code by a political activist who is dragged off sharpish by the police. The code links to a video clip of the sweatshop conditions in which the Eugene Sureshots are made. Grids views the clip and has an epiphany which leads to him torching rather than stealing the trainers:
“If you’ve seen what’s playing on my stream yeah, then you know why I’m going to do this. This is for them yeah, them girls. For all the kids. For all the kids that can’t come down here and do what we do. This is for them cos it’s their world now.”
Not massively convincing. A quote like that wouldn’t look out of place in a Doctorow novel and I imagine that is the last thing Maughan wants. Things like this take the edge off the passages that really give the story its power:
Whenever there’s any trouble with youth in places like this the timelines erupt with opinions, people angry and shouting, saying why are people like him making trouble and tearing up their own community. He shakes his head and laughs to himself. Community? There’s no community down here – it’s nowhere, a non-place.
That power remains though, expressed through prose alternating between the limber and the abrasive. ‘Limited Edition’ has far more vitality, verve and curiosity than the previous three stories on the shortlist and I hope Maughan will continue to immerse himself deeper into the poetry and politics of his work.