In his recent cultural history of the genre, Roger Luckhurst astutely describes the project of science fiction as ‘speculation on the diverse results of the conjuncture of technology and subjectivity’ (222). In the past two decades or so, Anglo-American sf has undertaken this kind of speculative project in the most literal of ways – the concretization of metaphor being a particularly favoured sf strategy – whether exploring the impact of technoculture on the human subject as such in its many cyborg stories or attempting to trace the ontological features of our artificial progeny in stories about robots and other forms of artificial intelligences. Since the mid-1980s in particular, especially in response to the cyberpunk phenomenon, sf has almost obsessively (re)imagined the post-human subject at a variety of ‘conjunctures’ with the technological.