Under the postmodern and contemporary conditions of surveillance, achieving visibility becomes ambivalent, as the paradoxical quality of the in/visible subject is generalised. Substantially adding to the history of surveillance narratives from Nineteen Eighty-Four through The Handmaid’s Tale to The Circle, China Miéville’s and Jennifer Egan’s contemporary invisibility narratives scrutinize the ubiquity of surveillance capitalism. The critique in Miéville’s The City & The City covers the visual vocabulary of ideology in that it lays out social invisibility as the result of acts of “unseeing.” Egan’s “Lulu the Spy, 2032” and The Candy House capture the contemporary sense of the self as an in/visible you, whose desire for visibility is used by the invisible watchers of surveillance capitalism. Both authors shape their texts as instances of counter-surveillance, which lay bare how the contemporary subject needs to unsee others and watch itself in its own composition.