I think
it’s fair to say the name Paul Di Filippo is known to the majority of modern
science fiction and fantasy connoisseurs but by few readers from the genre’s
mainstream. Experimental stylistically, imaginatively
unlimited, in dialogue with genre, sophisticated presentation, and often ahead
of his time, there is a genre radar, and Di Filippo flies under it for most of
fandom. Exhibiting these talents is his
wild 1996 collection Ribofunk. As abstract as can be, it is the off the wall
science fiction written in dynamic prose that vacillates between poetic,
experimental, and straight-forward narratives to present a biopunked worldview
of the future.
Like
randomly hopping trains at every station, Ribofunk
is a loosely connected series of stories that are definitely going somewhere
but the destination is not important.
It’s the view along the way that counts for Di Filippo. Characters and settings not the main
linkages, the possibilities of human/animal biology coupled with neuroscience
are the ideas cohering the collection.
And the possibilities are untamed.
“Little Worker” is the story of a human-imal servant, gene spliced sex
toys, a prime minister, and southern rebels—bizarreness that works its way to a
satisfactory ending. “One Night in
Television City” is that of a city boy who goes looking for drugs one
night. Getting what he wants, it takes
him to the highest of highs. But how to
get down? “McGregor”, which is Beatrix
Potter’s tale of Peter Rabbit flipped on its head, spun in circles, then
induced into a round or two of cartwheels is the story of how Peter looks for
revenge on the farmer. Along with the
three blind mice and Flopsy, he works to free the other barnyard animals from
the farmer. With Peter puffing cigs and
hanging a leary eye on Flopsy, this is not the children’s story you remember.

