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For instance, in the new life Burke obtains movie star’s appearance and body (Delphi). Delphi is a perfect dream and embodiment of womanhood. Burke is fond of her new body and way of life, that’s why she strives for merging with Delphi’s identity. “To some extent, her new existence as a cyborg offers her a certain kind of happiness. The Delphi incarnation is admired for her beauty.” (Van Der Spek 2000, p. 49) Delphi is being followed by a production unit, which models her life in the plant modem field.
In this case, Tiptree’s heroine can be examined as hauntological phenomenon. Though Derrida’s concept of hauntology was previously used only in history and economy, it was transferred into cinematography, painting and music. Also it is typical for modernist science fiction, because this period is “marked both by a vexed fascination with ghosts and by a persistent foregrounding of the temporal instability that ghostliness calls into play.” (Sword 1999) Thus, the novel and the main heroine can be subdivided into two layers: technological and human. Delphi in the dreamland is the first layer. This is an idealized girl, who leads a high life and exemplifies for millions of potential consumers. Power of Delphi’s femininity is unlimited, because it is strengthened by high technologies. She is being loved and adored. As advertising is outside the law, the girl indirectly propagates clothes, accessories, sunmobiles and imposes her tastes to her audience. Her life is planned according to Mr. Cantle’s scenario, who concludes unofficial contracts with manufacturers and sellers. Thereby Delphi is one of the largest technological innovations of International Communication Corporation. It seems to be an ideal woman for target audience.
The second layer is hautological, because it undermines an idealized image of Delphi and her surrounding. She is an artificial cover of the ugly girl Burke, who spends days and nights under the ground. “But Delphi is ...
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