Precedents for science fiction are argued to exist as far back as antiquity, but the modern genre primarily arose in the 19th and early 20th centuries when popular writers began looking to technological progress and speculation. Mary Shelley's Frankenstein, written in 1818, is often credited as the first true science fiction novel. Jules Verne and H.G. Wells are pivotal figures in the genre's development. In the 20th century, expanded with the introduction of space operas, dystopian literature, pulp magazines, and the Golden Age of Science Fiction.
Science fiction has come to influence not just literature but film, TV, and culture at large. Besides providing entertainment, it can also criticize present-day society and explore alternatives and inspire a "sense of wonder".
Definitions
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According to Isaac Asimov, "Science fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology."[1]
Robert A. Heinlein wrote that "A handy short definition of almost all science fiction might read: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method."[2]
American science fiction author and editor Lester del Rey wrote, "Even the devoted aficionado or fan—has a hard time trying to explain what science fiction is," and the lack of a "full satisfactory definition" is because "there are no easily delineated limits to science fiction."[3]
Another definition comes from The Literature Book by DK and is, "scenarios that are at the time of writing technologically impossible, extrapolating from present-day science...[,]...or that deal with some form of speculative science-based conceit, such as a society (on Earth or another planet) that has developed in wholly different ways from our own."[4]
There is a tendency among science fiction enthusiasts as their own arbiter in deciding what exactly constitutes science fiction.[5] David Seed says it may be more useful to talk about science fiction as the intersection of other more concrete subgenres.[6]Damon Knight summed up the difficulty, saying "Science fiction is what we point to when we say it."[7]
Peter Nicholls writes that "SF" (or "sf") is "the preferred abbreviation within the community of sf writers and readers."[14]
Robert Heinlein found even "science fiction" insufficient for certain types of works in this genre, and suggested the term speculative fiction to be used instead for those that are more "serious" or "thoughtful".[15]
Isaac Asimov and Carl Sagan considered Johannes Kepler's Somnium the first science fiction story; it depicts a journey to the Moon and how the Earth's motion is seen from there.[28][29] Kepler has been called the "father of science fiction".[30][31]
By 'scientifiction' I mean the Jules Verne, H. G. Wells and Edgar Allan Poe type of story—a charming romance intermingled with scientific fact and prophetic vision... Not only do these amazing tales make tremendously interesting reading—they are always instructive. They supply knowledge... in a very palatable form... New adventures pictured for us in the scientifiction of today are not at all impossible of realization tomorrow... Many great science stories destined to be of historical interest are still to be written... Posterity will point to them as having blazed a new trail, not only in literature and fiction, but progress as well.[51][52][53]
Science fiction and television have consistently been in a close relationship. Television or television-like technologies frequently appeared in science fiction long before television itself became widely available in the late 1940s and early 1950s.[139]
In 1963, the time travel-themed Doctor Who premiered on BBC Television.[147] The original series ran until 1989 and was revived in 2005.[148] It has been extremely popular worldwide and has greatly influenced later TV science fiction.[149][150][151]
The space-Western series Firefly premiered in 2002 on Fox. It is set in the year 2517, after the arrival of humans in a new star system, and follows the adventures of the renegade crew of Serenity, a "Firefly-class" spaceship.[178]Orphan Black began its five-season run in 2013, about a woman who assumes the identity of one of her several genetically identical human clones. In late 2015, Syfy premiered The Expanse to great critical acclaim, an American TV series about humanity's colonization of the Solar System. Its later seasons would then be aired through Amazon Prime Video.
Science fiction can act as a vehicle to analyze and recognize a society's past, present, and potential future social relationships with the other. Science fiction offers a medium and representation of alterity and differences in social identity.[192]Brian Aldiss described science fiction as "cultural wallpaper".[193] This widespread influence can be found in trends for writers to employ science fiction as a tool for advocacy and generating cultural insights, as well as for educators when teaching across a range of academic disciplines not limited to the natural sciences.[194]
Scholar and science fiction critic George Edgar Slusser said that science fiction "is the one real international literary form we have today, and as such has branched out to visual media, interactive media and on to whatever new media the world will invent in the 21st century. Crossover issues between the sciences and the humanities are crucial for the century to come."[195]
Robots, artificial humans, human clones, intelligent computers, and their possible conflicts with human society have all been major themes of science fiction since, at least, the publication of Shelly's Frankenstein. Some critics have seen this as reflecting authors' concerns over the social alienation seen in modern society.[202]
Feminist science fiction poses questions about social issues such as how society constructs gender roles, the role reproduction plays in defining gender, and the inequitable political or personal power of one gender over others. Some works have illustrated these themes using utopias to explore a society in which gender differences or gender power imbalances do not exist, or dystopias to explore worlds in which gender inequalities are intensified, thus asserting a need for feminist work to continue.[203][204]
One of the great benefits of science fiction is that it can convey bits and pieces, hints, and phrases, of knowledge unknown or inaccessible to the reader . . . works you ponder over as the water is running out of the bathtub or as you walk through the woods in an early winter snowfall.
In 1967, Isaac Asimov commented on the changes then occurring in the science fiction community:[214]
And because today's real life so resembles day-before-yesterday's fantasy, the old-time fans are restless. Deep within, whether they admit it or not, is a feeling of disappointment and even outrage that the outer world has invaded their private domain. They feel the loss of a 'sense of wonder' because what was once truly confined to 'wonder' has now become prosaic and mundane.
Max Gladstone defined "hard" science fiction as stories "where the math works", but pointed out that this ends up with stories that often seem "weirdly dated", as scientific paradigms shift over time.[224]Michael Swanwick dismissed the traditional definition of "hard" SF altogether, instead saying that it was defined by characters striving to solve problems "in the right way–with determination, a touch of stoicism, and the consciousness that the universe is not on his or her side."[223]
In her 1976 essay "Science Fiction and Mrs Brown", Ursula K. Le Guin was asked: "Can a science fiction writer write a novel?" She answered: "I believe that all novels ... deal with character... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise, they would not be novelists, but poets, historians, or pamphleteers."[242]
Orson Scott Card, best known for his 1985 science fiction novel Ender's Game, has postulated that in science fiction the message and intellectual significance of the work are contained within the story itself and, therefore, does not require accepted literary devices and techniques he instead characterized as gimmicks or literary games.[243][244]
Jonathan Lethem, in a 1998 essay in the Village Voice entitled "Close Encounters: The Squandered Promise of Science Fiction", suggested that the point in 1973 when Thomas Pynchon's Gravity's Rainbow was nominated for the Nebula Award and was passed over in favor of Clarke's Rendezvous with Rama, stands as "a hidden tombstone marking the death of the hope that SF was about to merge with the mainstream."[245] In the same year science fiction author and physicist Gregory Benford wrote: "SF is perhaps the defining genre of the twentieth century, although its conquering armies are still camped outside the Rome of the literary citadels."[246]
Community
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Authors
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Science fiction has been written by diverse authors from around the world. According to 2013 statistics by the science fiction publisher Tor Books, men outnumber women by 78% to 22% among submissions to the publisher.[247]A controversy about voting slates in the 2015 Hugo Awards highlighted tensions in the science fiction community between a trend of increasingly diverse works and authors being honored by awards, and reaction by groups of authors and fans who preferred what they considered more "traditional" science fiction.[248]
The earliest organized online fandom was the SF Lovers Community, originally a mailing list in the late 1970s with a text archive file that was updated regularly.[266] In the 1980s, Usenet groups greatly expanded the circle of fans online.[267] In the 1990s, the development of the World-Wide Web increased the community of online fandom by of websites devoted to science fiction and related genres for all media.[268][failed verification]
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General and cited sources
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Aldiss, Brian. Billion Year Spree: The True History of Science Fiction, 1973.
Raja, Masood Ashraf, Jason W. Ellis and Swaralipi Nandi. eds., The Postnational Fantasy: Essays on Postcolonialism, Cosmopolitics and Science Fiction. McFarland 2011. ISBN 978-0-7864-6141-7.
Reginald, Robert. Science Fiction and Fantasy Literature, 1975–1991. Detroit, MI/Washington, D.C./London: Gale Research, 1992. ISBN 0-8103-1825-3.
Scholes, Robert E.; Rabkin, Eric S. (1977). Science fiction: history, science, vision. Oxford University Press. ISBN 978-0-19-502174-5.
Suvin, Darko. Metamorphoses of Science Fiction: on the Poetics and History of a Literary Genre, New Haven : Yale University Press, 1979.
Weldes, Jutta, ed. To Seek Out New Worlds: Exploring Links between Science Fiction and World Politics. New York: Palgrave Macmillan, 2003. ISBN 0-312-29557-X.
Wolfe, Gary K. Critical Terms for Science Fiction and Fantasy: A Glossary and Guide to Scholarship. New York: Greenwood Press, 1986. ISBN 0-313-22981-3.
External links
edit
Science fiction at Wikipedia's sister projects
Definitions from Wiktionary
Media from Commons
News from Wikinews
Quotations from Wikiquote
Texts from Wikisource
Textbooks from Wikibooks
Resources from Wikiversity
Travel information from Wikivoyage
Library resources about Science fiction
Resources in your library
Resources in other libraries
Science Fiction Bookshelf at Project Gutenberg
Science fiction fanzines (current and historical) online
SFWA "Suggested Reading" list
Science fiction at standardebooks.org
Science Fiction Research Association
A selection of articles written by Mike Ashley, Iain Sinclair and others, exploring 19th-century visions of the future. Archived 18 June 2023 at the Wayback Machine from the British Library's Discovering Literature website.