Of the original cyberpunks’ works that weren’t in Mirrorshades, I would include John Shirley’s “Wolves of the Plateau.”

Thanks a TON for making the database you’re compiling visible. I’ve already incorporated it into my genre mapping and recommendation utility. Feel free to check out the Cyberpunk Tagshadow

I guess the second point is – when you talk about cyberpunk, is it a Movement, a subgenre, or a marketing category? I think it went through all three phases, with decreasing returns. The key figures associated with it, though, had pretty much moved on by the time the term escaped out into the world. 1988 is the cutoff for me – that’s the year that the last of the Sprawl novels came out, and also the year that Sterling published Islands in the Net, which (I think) marked the shift in his concerns to global themes – Earth and the nearish future – that carries right through to his recent books.

I’d also agree that the case for Egan is a cyberpunk seems hard to make. There’s no doubt he fits the ‘cyber’ part of the term and his fiction is dark in places, but I don’t think there’s anything ‘punk’ about it at all. I do wonder about the cyberpunk written after it lost the punk.

I certainly don’t see Egan as operating in any kind of cyberpunk tradition. And while I think it’s legitimate to talk about stories that anticipated or shaped the movement before it crystallised, I don’t think there’s any sense in which one can talk about writing cyberpunk after about 1988. That’s my take, anyway: it was a specific movement borne of a particular period, and it lived fast and died young.

Johnny Mnemonic – William Gibson [likely 'Dogfight' [with Michael Swanwick]as well

Dogwalker – Orson Scott Card

The Caress – Greg Egan [?] I sure like this story though…this and ‘Learning to be Me’ were a gateway drug to Egan’s work.

Probably some Norman Spinrad…’Streetmeat’ might apply.

I also think NOVA is worty of mention since it anticipates many cyberpunk tropes although it’s obviously not short fiction.