In Gibson’s more recent Idoru, the text gets one over on us once again, in part, by conjuring out of purely readerly (lisible) authority a world which is closer to us in future time and in which the dramas of cyberspace are on a more personal scale, concerned, for example, with the familiar obsessions of young adolescents. Rather than a grandiose ‘consensual hallucination’ cyberspace becomes more of a place in which (everyday human) memory/experience is inscribed, where it becomes consensual not in the sense of ‘agreed after the fact,’ but in the sense that I/you/we/they (whoever has momentary control of the ‘console’) may impose a memory or experience which we I/you/we/they then ‘actually’ share not by agreeing to belong within some a pre-existing world, but simply by agreeing to use the same technology. Teenage girls ‘present’ (Gibson invokes a highly suggestive intransitive/non-reflexive use of the verb) in consensual, electronic worlds created by their own or by acquired software ­ wearing software designer clothing over their more ‘essential’ or personal electronic manifestations, within consensual VR-MOO-like spaces which they have (co-)designed.