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{{details|Science fiction conventions}}
{{details|Science fiction conventions}}
{{See also|Category:science fiction organizations}}
{{See also|Category:science fiction organizations}}
[[Image:Sfcon-reading-ddb.jpg|thumb|280px|Pamela Dean reading at [[Minicon]]]]
[[Image:Sfcon-reading-ddb.jpg|thumb|280px|Pamela Dean reading at [[Minicon]].]]
Conventions (in fandom, shortened as "cons"), are held in cities around the world, catering to a local, regional, national, or international membership. General-interest conventions cover all aspects of science fiction, while others focus on a particular interest like [[media fandom]], [[filking]], etc. Most are organized by volunteers in [[Non-profit organization|non-profit groups]], though most media-oriented events are organized by commercial promoters. The convention's activities are called the "program", which may include panel discussions, readings, autograph sessions, costume masquerades, and other events. Activities that occur throughout the convention are not part of the program; these commonly include a dealer's room, art show, and hospitality lounge (or "con suites").<ref name="con activities">{{cite web
Conventions (in fandom, shortened as "cons"), are held in cities around the world, catering to a local, regional, national, or international membership. General-interest conventions cover all aspects of science fiction, while others focus on a particular interest like [[media fandom]], [[filking]], etc. Most are organized by volunteers in [[Non-profit organization|non-profit groups]], though most media-oriented events are organized by commercial promoters. The convention's activities are called the "program", which may include panel discussions, readings, autograph sessions, costume masquerades, and other events. Activities that occur throughout the convention are not part of the program; these commonly include a dealer's room, art show, and hospitality lounge (or "con suites").<ref name="con activities">{{cite web
|url=http://www.watt-evans.com/whataresfconventionslike.html
|url=http://www.watt-evans.com/whataresfconventionslike.html

Revision as of 02:51, 30 December 2010

"Sci Fi" redirects here. For various television networks with that name, see Sci Fi Channel (disambiguation). For the G.I. Joe character, see Sci-Fi (G.I. Joe).
For other uses, see Science fiction (disambiguation).

Science fiction is a genre of fiction dealing with the impact of imagined innovations in science or technology, often in a futuristic setting.[1][2][3]

It differs from fantasy in that, within the context of the story, its imaginary elements are largely possible within scientifically established or scientifically postulated laws of nature (though some elements in a story might still be pure imaginative speculation). Exploring the consequences of such differences is the traditional purpose of science fiction, making it a "literature of ideas".[4] Science fiction is largely based on writing rationally about alternative possibilities.[5]

The settings for science fiction are often contrary to known reality, but the majority of science fiction relies on a considerable degree of suspension of disbelief, which is facilitated in the reader's mind by potential scientific explanations or solutions to various fictional elements.

These may include:

  • A setting in the future, in alternative timelines, or in an historical past that contradicts known facts of history or the archaeological record
  • A setting in outer space, on other worlds, or involving aliens[6]
  • Stories that involve technology or scientific principles that contradict known laws of nature[7]
  • Stories that involve discovery or application of new scientific principles, such as time travel or psionics, or new technology, such as nanotechnology, faster-than-light travel or robots, or of new and different political or social systems (e.g., a dystopia, or a situation where organized society has collapsed)[8]


Definitions

Further information: Definitions of science fiction

Science fiction is difficult to define, as it includes a wide range of subgenres and themes. Author and editor Damon Knight summed up the difficulty by stating that "science fiction is what we point to when we say it",[9] a definition echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of pornography: you don't know what it is, but you know it when you see it.[10] Vladimir Nabokov argued that if we were rigorous with our definitions, Shakespeare's play The Tempest would have to be termed science fiction.[11]

According to science fiction writer Robert A. Heinlein, "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."[12] Rod Serling's definition is "fantasy is the impossible made probable. Science Fiction is the improbable made possible."[13] Lester del Rey wrote, "Even the devoted aficionado—or fan—has a hard time trying to explain what science fiction is", and that the reason for there not being a "full satisfactory definition" is that "there are no easily delineated limits to science fiction."[14]

Forrest J Ackerman used the term sci-fi at UCLA in 1954.[15] As science fiction entered popular culture, writers and fans active in the field came to associate the term with low-budget, low-tech "B-movies" and with low-quality pulp science fiction.[16][17][18] By the 1970s, critics within the field such as Terry Carr and Damon Knight were using sci-fi to distinguish hack-work from serious science fiction,[19] and around 1978, Susan Wood and others introduced the pronunciation "skiffy". Peter Nicholls writes that "SF" (or "sf") is "the preferred abbreviation within the community of sf writers and readers".[20] David Langford's monthly fanzine Ansible includes a regular section "As Others See Us" which offers numerous examples of "sci-fi" being used in a pejorative sense by people outside the genre.[21]

History

Further information: History of science fiction

As a means of understanding the world through speculation and storytelling, science fiction has antecedents back to mythology, though precursors to science fiction as literature can be seen in Lucian's True History in the 2nd century,[22][23][24][25][26] some of the Arabian Nights tales,[27][28] The Tale of the Bamboo Cutter in the 10th century,[28] Ibn al-Nafis' Theologus Autodidactus in the 13th century,[29] and Jules Verne's A Journey to the Centre of the Earth and Twenty Thousand Leagues Under the Sea in the 19th century.

A product of the budding Age of Reason and the development of modern science itself, Jonathan Swift's Gulliver's Travels[30] was one of the first true science fiction works, together with Voltaire's Micromégas and Johannes Kepler's Somnium.[citation needed] The latter work is considered the first science fiction story by Carl Sagan[31] and Isaac Asimov.Cite error: The <ref> tag has too many names (see the help page). It depicts a journey to the Moon and how the Earth's motion is seen from there. Another example is Ludvig Holberg's novel Nicolai Klimii iter subterraneum, 1741. (Translated to Danish by Hans Hagerup in 1742 as Niels Klims underjordiske Rejse.) (Eng. Niels Klim's Underground Travels.)

Following the 18th century development of the novel as a literary form, in the early 19th century, Mary Shelley's books Frankenstein and The Last Man helped define the form of the science fiction novel;[32] later Edgar Allan Poe wrote a story about a flight to the moon.[33] More examples appeared throughout the 19th century.

Black and white photo of a man with bushy black moustache and black hair with parting.
H. G. Wells.

Then with the dawn of new technologies such as electricity, the telegraph, and new forms of powered transportation, writers like Jules Verne and H. G. Wells created a body of work that became popular across broad cross-sections of society.[34] Wells' The War of the Worlds describes an invasion of late Victorian England by Martians using tripod fighting machines equipped with advanced weaponry. It is a seminal depiction of an alien invasion of Earth.

In the late 19th century, the term "scientific romance" was used in Britain to describe much of this fiction. This produced additional offshoots, such as the 1884 novella Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott. The term would continue to be used into the early 20th century for writers such as Olaf Stapledon.

Black and white photo of man in formal dress with unkempt hair, moustache and beard.
Jules Verne.

In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine.[35] In the late 1930s, John W. Campbell became editor of Astounding Science Fiction, and a critical mass of new writers emerged in New York City in a group called the Futurians, including Isaac Asimov, Damon Knight, Donald A. Wollheim, Frederik Pohl, James Blish, Judith Merril, and others.[36] Other important writers during this period included E.E. (Doc) Smith, Robert A. Heinlein, Arthur C. Clarke, Olaf Stapledon, A. E. van Vogt and Stanisław Lem. Campbell's tenure at Astounding is considered to be the beginning of the Golden Age of science fiction, characterized by hard SF stories celebrating scientific achievement and progress.[35] This lasted until postwar technological advances, new magazines like Galaxy under Pohl as editor, and a new generation of writers began writing stories outside the Campbell mode.

In the 1950s, the Beat generation included speculative writers like William S. Burroughs. In the 1960s and early 1970s, writers like Frank Herbert, Samuel R. Delany, Roger Zelazny, and Harlan Ellison explored new trends, ideas, and writing styles, while a group of writers, mainly in Britain, became known as the New Wave.[30] In the 1970s, writers like Larry Niven and Poul Anderson began to redefine hard SF.[37] Ursula K. Le Guin and others pioneered soft science fiction.[38]

In the 1980s, cyberpunk authors like William Gibson turned away from the traditional optimism and support for progress of traditional science fiction.[39] Star Wars helped spark a new interest in space opera,[40] focusing more on story and character than on scientific accuracy. C. J. Cherryh's detailed explorations of alien life and complex scientific challenges influenced a generation of writers.[41] Emerging themes in the 1990s included environmental issues, the implications of the global Internet and the expanding information universe, questions about biotechnology and nanotechnology, as well as a post-Cold War interest in post-scarcity societies; Neal Stephenson's The Diamond Age comprehensively explores these themes. Lois McMaster Bujold's Vorkosigan novels brought the character-driven story back into prominence.[42] The television series Star Trek: The Next Generation (1987) began a torrent of new SF shows, including three further Star Trek spin-off shows and Babylon 5.[43][44] Concern about the rapid pace of technological change crystallized around the concept of the technological singularity, popularized by Vernor Vinge's novel Marooned in Realtime and then taken up by other authors.[citation needed]

Innovation

While SF has provided criticism of developing and future technologies, it also produces innovation and new technology. The discussion of this topic has occurred more in literary and sociological than in scientific forums. Cinema and media theorist Vivian Sobchack examines the dialogue between science fiction film and the technological imagination. Technology does impact how artists portray their fictionalized subjects, but the fictional world gives back to science by broadening imagination. While more prevalent in the beginning years of science fiction with writers like Arthur C. Clarke, new authors still find ways to make the currently impossible technologies seem so close to being realized.[45]

Subgenres

Further information: Science fiction genre

Authors and filmmakers draw on a wide spectrum of ideas, but marketing departments and literary critics tend to separate such literary and cinematic works into different categories, or "genres", and subgenres.[46] These are not simple pigeonholes; works can be overlapped into two or more commonly-defined genres, while others are beyond the generic boundaries, either outside or between categories, and the categories and genres used by mass markets and literary criticism differ considerably.


Hard SF

Main article: Hard science fiction

Hard science fiction, or "hard SF", is characterized by rigorous attention to accurate detail in quantitative sciences, especially physics, astrophysics, and chemistry, or on accurately depicting worlds that more advanced technology may make possible. Many accurate predictions of the future come from the hard science fiction subgenre, but numerous inaccurate predictions have emerged as well. Some hard SF authors have distinguished themselves as working scientists, including Gregory Benford, Geoffrey A. Landis and David Brin, [47][48] while mathematician authors include Rudy Rucker and Vernor Vinge. Other noteworthy hard SF authors include Robert A. Heinlein, Arthur C. Clarke, Hal Clement, Isaac Asimov, Greg Bear, Larry Niven, Robert J. Sawyer, Stephen Baxter, Alastair Reynolds, Charles Sheffield, Ben Bova, and Greg Egan.

Soft and social SF

Cover of book titled "The Left Hand of Darkness."
The Left Hand of Darkness, by Ursula K. Le Guin
See also: Soft science fiction and Social science fiction

The description "soft" science fiction may describe works based on social sciences such as psychology, economics, political science, sociology, and anthropology. Noteworthy writers in this category include Ursula K. Le Guin and Philip K. Dick.[35][49] The term can describe stories focused primarily on character and emotion; SFWA Grand Master Ray Bradbury is an acknowledged master of this art.[50] The Soviet Union produced a quantity of social science fiction, including works by the Strugatsky brothers, Kir Bulychov and Ivan Yefremov.[51][52] Some writers blur the boundary between hard and soft science fiction. [citation needed]

Related to Social SF and Soft SF are the speculative fiction branches of utopian or dystopian stories; George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and Margaret Atwood's The Handmaid's Tale, are examples. Satirical novels with fantastic settings such as Gulliver's Travels by Jonathan Swift may be considered speculative fiction.

Cyberpunk

Book cover of "Neuromancer" containing geometric shapes.
Neuromancer, by William Gibson (Ace, 1984)
See also: Cyberpunk

The Cyberpunk genre emerged in the early 1980s; combining "cybernetics" and "punk",[53] the term was coined by author Bruce Bethke for his 1980 short story "Cyberpunk".[54] The time frame is usually near-future and the settings are often dystopian (characterized by misery). Common themes in cyberpunk include advances in information technology and especially the Internet (visually abstracted as cyberspace), artificial intelligence and prosthetics and post-democratic societal control where corporations have more influence than governments. Nihilism, post-modernism, and film noir techniques are common elements, and the protagonists may be disaffected or reluctant anti-heroes. Noteworthy authors in this genre are William Gibson, Bruce Sterling, Neal Stephenson, and Pat Cadigan. James O'Ehley has called the 1982 film Blade Runner a definitive example of the cyberpunk visual style.[55]

Time travel

See also: Time travel in fiction

Time travel stories have antecedents in the 18th and 19th centuries. The first major time travel novel was Mark Twain's A Connecticut Yankee in King Arthur's Court. The most famous is H. G. Wells's 1895 novel The Time Machine, which uses a vehicle that allows an operator to travel purposefully and selectively, while Twain's time traveler is struck in the head. The term "time machine", coined by Wells, is now universally used to refer to such a vehicle. Stories of this type are complicated by logical problems such as the grandfather paradox.[56] Time travel is a popular subject in modern science fiction, in print, movies, and television.

Alternate history

See also: Alternate history

Alternate (or alternative) history stories are based on the premise that historical events might have turned out differently. These stories may use time travel to change the past, or may simply set a story in a universe with a different history from our own. Classics in the genre include Bring the Jubilee by Ward Moore, in which the South wins the American Civil War, and The Man in the High Castle by Philip K. Dick, in which Germany and Japan win World War II. The Sidewise Award acknowledges the best works in this subgenre; the name is taken from Murray Leinster's 1934 story "Sidewise in Time." Harry Turtledove is one of the most prominent authors in the subgenre and is often called the "master of alternate history".[57][58]

Military SF

See also: Military science fiction

Military science fiction is set in the context of conflict between national, interplanetary, or interstellar armed forces; the primary viewpoint characters are usually soldiers. Stories include detail about military technology, procedure, ritual, and history; military stories may use parallels with historical conflicts. Heinlein's Starship Troopers is an early example, along with the Dorsai novels of Gordon Dickson. Joe Haldeman's The Forever War is a critique of the genre, a Vietnam-era response to the World War II–style stories of earlier authors.[59] Prominent military SF authors include John Ringo, David Drake, David Weber, and S. M. Stirling. Baen Books is known for cultivating military science fiction authors.[60]

Superhuman

See also: Superhuman

Superhuman stories deal with the emergence of humans who have abilities beyond the norm. This can stem either from natural causes such as in Olaf Stapledon's novel Odd John, and Theodore Sturgeon's More Than Human, or be the result of intentional augmentation such as in A. E. van Vogt's novel Slan. These stories usually focus on the alienation that these beings feel as well as society's reaction to them. These stories have played a role in the real life discussion of human enhancement. Frederik Pohl's Man Plus also belongs to this category.

Apocalyptic

See also: Apocalyptic and post-apocalyptic fiction
See also: World War III (science fiction)

Apocalyptic fiction is concerned with the end of civilization through war (On the Beach), pandemic (The Last Man), astronomic impact (When Worlds Collide), ecological disaster (The Wind from Nowhere), or mankind's self-destruction (Oryx and Crake), or some other general disaster or with a world or civilization after such a disaster. Typical of the genre are George R. Stewart's novel Earth Abides and Pat Frank's novel Alas, Babylon. Apocalyptic fiction generally concerns the disaster itself and the direct aftermath, while post-apocalyptic can deal with anything from the near aftermath (as in Cormac McCarthy's The Road) to 375 years in the future (as in By The Waters of Babylon) to hundreds or thousands of years in the future, as in Russell Hoban's novel Riddley Walker.

Space opera

See also: Space opera

Space opera is adventure science fiction set in outer space or on distant planets, where the emphasis is on action rather than either science or characterization. The conflict is heroic, and typically on a large scale. The best-selling science fiction book of all time[61] (with 12 million copies) is a space opera: Frank Herbert's Dune (1966), which sprawls over thousands of years, a multitude of planets in and beyond an Imperium, and themes as diverse as environmentalism and ecology, empires, religion and jihad, gender issues, and heroism.

Space opera is sometimes used pejoratively, to describe improbable plots, absurd science, and cardboard characters. But it is also used nostalgically, and modern space opera may be an attempt to recapture the sense of wonder of the golden age of science fiction. The pioneer of this subgenre is generally recognized to be Edward E. (Doc) Smith, with his Skylark and Lensman series. Alastair Reynolds' Revelation Space series, Peter F. Hamilton The Dreaming Void, The Night's Dawn and Pandora's Star series, and the immensely popular Star Wars trilogies are newer examples of this genre.

Space Western

See also: Space Western

Space Western could be considered a sub-genre of space opera that transposes themes of the American Western books and film to a backdrop of futuristic space frontiers. These stories typically involve "frontier" colony worlds (colonies that have only recently been terraformed and/or settled) serving as stand-ins for the backdrop of lawlessness and economic expansion that were predominant in the American west. Examples include Firefly and the accompanying movie Serenity by Joss Whedon, as well as the Japanese comic and animation series Trigun, Outlaw Star and Cowboy Bebop. The Star Wars character Han Solo is also considered elemental to this genre.

Other sub-genres

  • Feminist science fiction poses questions about social issues such as how society constructs gender roles, the role reproduction plays in defining gender and the unequal political and personal power of men and women. Some of the most notable feminist science fiction 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.[62]
  • New Wave is a term applied to science fiction writing characterized by a high degree of experimentation, both in form and in content, and a highbrow and self-consciously "literary" or artistic sensibility.
  • Steampunk is based on the idea of futuristic technology existing in the past, usually the 19th century, and often set in Victorian era England—but with prominent elements of either science fiction or fantasy, such as fictional technological inventions like those found in the works of H. G. Wells and Jules Verne, or real technological developments like the computer occurring at an earlier date. Popular examples include The Difference Engine by William Gibson and Bruce Sterling, as well as the Girl Genius series by Phil and Kaja Foglio, although seeds of the genre may be seen in certain works of Michael Moorcock, Philip Jose Farmer and Steve Stiles, and in such games as Space 1889 and Marcus Rowland's Forgotten Futures. Machines are most often powered by steam in this genre (hence the name).
  • Comic science fiction is a sub-genre that exploits the genre's conventions for comic effect.
  • Anthropological science fiction is a sub-genre that absorbs and discusses anthropology and the study of human kind. Examples include Hominids by Robert Sawyer, and Neanderthal by John Darnton.
  • Biopunk focuses on biotechnology and subversives.

Speculative fiction, fantasy, and horror

Further information: Speculative fiction

The broader category of speculative fiction[63] includes science fiction, fantasy, alternate histories (which may have no particular scientific or futuristic component), and even literary stories that contain fantastic elements, such as the work of Jorge Luis Borges or John Barth. For some editors, magic realism is considered to be within the broad definition of speculative fiction.[64]

Fantasy

Main article: Fantasy

Fantasy is closely associated with science fiction, and many writers have worked in both genres, while writers such as Anne McCaffrey and Marion Zimmer Bradley have written works that appear to blur the boundary between the two related genres.[65] The authors' professional organization is called the Science Fiction and Fantasy Writers of America (SFWA).[66] SF conventions routinely have programming on fantasy topics,[67][68][69] and fantasy authors such as J. K. Rowling have won the highest honor within the science fiction field, the Hugo Award.[70] In general, science fiction is the literature of things that might someday be possible, and fantasy is the literature of things that are inherently impossible.[13] Magic and mythology are popular themes in fantasy.[71] Some narratives are described as being essentially science fiction but "with fantasy elements". The term "science fantasy" is sometimes used to describe such material.[72]

File:Frankenstein13.jpg
Frankenstein (1931) film poster.

Horror fiction

Main article: Horror fiction

Horror fiction is the literature of the unnatural and supernatural, with the aim of unsettling or frightening the reader, sometimes with graphic violence. Historically it has also been known as weird fiction. Although horror is not per se a branch of science fiction, many works of horror literature incorporates science fictional elements. One of the defining classical works of horror, Mary Shelley's novel Frankenstein, is the first fully-realized work of science fiction, where the manufacture of the monster is given a rigorous science-fictional grounding. The works of Edgar Allan Poe also helped define both the science fiction and the horror genres.[73] Today horror is one of the most popular categories of films.[74] Horror is often mistakenly categorized as science fiction at the point of distribution by libraries, video rental outlets, etc. For example, Syfy (distributed via cable and satellite television in the United States) currently devotes a majority of its air time to horror films with very few science fiction titles.

Mystery fiction

Main article: Mystery fiction

Works in which science and technology are a dominant theme, but based on current reality, may be considered mainstream fiction. Much of the thriller genre would be included, such as the novels of Tom Clancy or Michael Crichton, or the James Bond films.[75] Modernist works from writers like Kurt Vonnegut, Philip K. Dick, and Stanisław Lem have focused on speculative or existential perspectives on contemporary reality and are on the borderline between SF and the mainstream.[76] According to Robert J. Sawyer, "Science fiction and mystery have a great deal in common. Both prize the intellectual process of puzzle solving, and both require stories to be plausible and hinge on the way things really do work."[77] Isaac Asimov, Walter Mosley, and other writers incorporate mystery elements in their science fiction, and vice versa.[citation needed]

Superhero fiction

Main article: Superhero fiction

Superhero fiction is a genre characterized by beings with much higher than usual capability and prowess, generally with a desire or need to help the citizens of their chosen country or world by using his or her powers to defeat natural or superpowered threats. Many superhero fiction characters involve themselves (either intentionally or accidentally) with science fiction and fact, including advanced technologies, alien worlds, time travel, and interdimensional travel; but the standards of scientific plausibility are lower than with actual science fiction. Authors of this genre include Stan Lee (co-creator of Spider-Man, the Fantastic Four, the X-Men, and the Hulk); Marv Wolfman, the creator of Blade for Marvel Comics, and The New Teen Titans for DC Comics; Dean Wesley Smith (Smallville, Spider-Man, and X-Men novels) and Superman writers Roger Stern and Elliot S! Maggin.

Fandom and community

Further information: Science fiction fandom

Science fiction fandom is the "community of the literature of ideas... the culture in which new ideas emerge and grow before being released into society at large".[78] Members of this community, "fans", are in contact with each other at conventions or clubs, through print or online fanzines, or on the Internet using web sites, mailing lists, and other resources.

SF fandom emerged from the letters column in Amazing Stories magazine. Soon fans began writing letters to each other, and then grouping their comments together in informal publications that became known as fanzines.[79] Once they were in regular contact, fans wanted to meet each other, and they organized local clubs. In the 1930s, the first science fiction conventions gathered fans from a wider area.[80] Conventions, clubs, and fanzines were the dominant form of fan activity, or "fanac", for decades, until the Internet facilitated communication among a much larger population of interested people.

Awards

Further information: List of science fiction awards

Among the most respected awards for science fiction are the Hugo Award, presented by the World Science Fiction Society at Worldcon, and the Nebula Award, presented by SFWA and voted on by the community of authors. One notable award for science fiction films is the Saturn Award. It is presented annually by The Academy of Science Fiction, Fantasy, and Horror Films.

There are national awards, like Canada's Aurora Award, regional awards, like the Endeavour Award presented at Orycon for works from the Pacific Northwest, special interest or subgenre awards like the Chesley Award for art or the World Fantasy Award for fantasy. Magazines may organize reader polls, notably the Locus Award.

Conventions, clubs, and organizations

Further information: Science fiction conventions
See also: Category:science fiction organizations
Pamela Dean reading at Minicon.

Conventions (in fandom, shortened as "cons"), are held in cities around the world, catering to a local, regional, national, or international membership. General-interest conventions cover all aspects of science fiction, while others focus on a particular interest like media fandom, filking, etc. Most are organized by volunteers in non-profit groups, though most media-oriented events are organized by commercial promoters. The convention's activities are called the "program", which may include panel discussions, readings, autograph sessions, costume masquerades, and other events. Activities that occur throughout the convention are not part of the program; these commonly include a dealer's room, art show, and hospitality lounge (or "con suites").[81]

Conventions may host award ceremonies; Worldcons present the Hugo Awards each year. SF societies, referred to as "clubs" except in formal contexts, form a year-round base of activities for science fiction fans. They may be associated with an ongoing science fiction convention, or have regular club meetings, or both. Most groups meet in libraries, schools and universities, community centers, pubs or restaurants, or the homes of individual members. Long-established groups like the New England Science Fiction Association and the Los Angeles Science Fantasy Society have clubhouses for meetings and storage of convention supplies and research materials.[82] The Science Fiction and Fantasy Writers of America (SFWA) was founded by Damon Knight in 1965 as a non-profit organization to serve the community of professional science fiction authors,[66] 24 years after his essay "Unite or Fie!" had led to the organization of the National Fantasy Fan Federation. Fandom has helped incubate related groups, including media fandom,[83] the Society for Creative Anachronism,[84] gaming,[85] filking, and furry fandom.[86]

Fanzines and online fandom

Further information: Science fiction fanzine
See also: Category:Science fiction websites

The first science fiction fanzine, The Comet, was published in 1930.[87] Fanzine printing methods have changed over the decades, from the hectograph, the mimeograph, and the ditto machine, to modern photocopying. Distribution volumes rarely justify the cost of commercial printing. Modern fanzines are printed on computer printers or at local copy shops, or they may only be sent as email. The best known fanzine (or "'zine") today is Ansible, edited by David Langford, winner of numerous Hugo awards. Other fanzines to win awards in recent years include File 770, Mimosa, and Plokta.[88] Artists working for fanzines have risen to prominence in the field, including Brad W. Foster, Teddy Harvia, and Joe Mayhew; the Hugos include a category for Best Fan Artists.[88] The earliest organized fandom online was the SF Lovers community, originally a mailing list in the late 1970s with a text archive file that was updated regularly.[89] In the 1980s, Usenet groups greatly expanded the circle of fans online. In the 1990s, the development of the World-Wide Web exploded the community of online fandom by orders of magnitude, with thousands and then literally millions of web sites devoted to science fiction and related genres for all media.[82] Most such sites are small, ephemeral, and/or very narrowly focused, though sites like SF Site and Read and Find Out offer a broad range of references and reviews about science fiction.

Fan fiction

Further information: Fan fiction
See also: Fan fiction terminology

Fan fiction, known to aficionados as "fanfic", is non-commercial fiction created by fans in the setting of an established book, film, or television series.[90] This modern meaning of the term should not be confused with the traditional (pre-1970s) meaning of "fan fiction" within the community of fandom, where the term meant original or parody fiction written by fans and published in fanzines, often with members of fandom as characters therein ("faan fiction"). Examples of this would include the Goon stories by Walt Willis. In the last few years, sites have appeared such as Orion's Arm and Galaxiki, which encourage collaborative development of science fiction universes. In some cases, the copyright owners of the books, films, or television series have instructed their lawyers to issue "cease and desist" letters to fans.

Science fiction studies

Further information: Science fiction studies

The study of science fiction, or science fiction studies, is the critical assessment, interpretation, and discussion of science fiction literature, film, new media, fandom, and fan fiction. Science fiction scholars take science fiction as an object of study in order to better understand it and its relationship to science, technology, politics, and culture-at-large. Science fiction studies has a long history dating back to the turn of the 20th century, but it was not until later that science fiction studies solidified as a discipline with the publication of the academic journals Extrapolation (1959), Foundation - The International Review of Science Fiction (1972), and Science Fiction Studies (1973), and the establishment of the oldest organizations devoted to the study of science fiction, the Science Fiction Research Association and the Science Fiction Foundation, in 1970. The field has grown considerably since the 1970s with the establishment of more journals, organizations, and conferences with ties to the science fiction scholarship community, and science fiction degree-granting programs such as those offered by the University of Liverpool and Kansas University.

The National Science Foundation has conducted surveys of "Public Attitudes and Public Understanding" of "Science Fiction and Pseudoscience".[91] They write that "Interest in science fiction may affect the way people think about or relate to science....one study found a strong relationship between preference for science fiction novels and support for the space program...The same study also found that students who read science fiction are much more likely than other students to believe that contacting extraterrestrial civilizations is both possible and desirable (Bainbridge 1982).[92]

Science fiction as serious literature

The scholar Tom Shippey asks a perennial question of science fiction: “What is its relationship to fantasy fiction, is its readership still dominated by male adolescents, is it a taste which will appeal to the mature but non-eccentric literary mind?”[93] In her much reprinted essay "Science Fiction and Mrs Brown,"[94] the science fiction writer Ursula K. Le Guin has approached an answer by first citing the essay written by the English author Virginia Woolf entitled "Mr Bennett and Mrs Brown" in which she states:

I believe that all novels, … deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved … The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

Le Guin argues that these criteria may be successfully applied to works of science fiction and so answers in the affirmative her rhetorical question posed at the beginning of her essay: “Can a science fiction writer write a novel?”

Tom Shippey[93] in his essay does not dispute this answer but identifies and discusses the essential differences that exists between a science fiction novel and one written outside the field. To this end, he compares George Orwell’s "Coming Up for Air" with Frederik Pohl and C. M. Kornbluth’s "The Space Merchants" and concludes that the basic building block and distinguishing feature of a science fiction novel is the presence of the novum, a term first defined by Darko Suvin[95]as “a discrete piece of information recognizable as not-true, but also as not-unlike-true, not-flatly- (and in the current state of knowledge) impossible”.

In science fiction the style of writing is often relatively clear and straightforward compared to classical literature. Orson Scott Card, an author of both science fiction and non-SF fiction, has postulated that in science fiction the message and intellectual significance of the work is contained within the story itself and, therefore, there need not be stylistic gimmicks or literary games; but that many writers and critics confuse clarity of language with lack of artistic merit. In Card's words:

...a great many writers and critics have based their entire careers on the premise that anything that the general public can understand without mediation is worthless drivel. [...] If everybody came to agree that stories should be told this clearly, the professors of literature would be out of job, and the writers of obscure, encoded fiction would be, not honored, but pitied for their impenetrability."[96].

Science fiction author and physicist Gregory Benford has declared that: "SF is perhaps the defining genre of the twentieth century, although its conquering armies are still camped outside the Rome of the literary citadels."[97] This sense of exclusion was articulated by Jonathan Lethem in an essay published in the Village Voice entitled Close Encounters: The Squandered Promise of Science Fiction.[98] Lethem suggests 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 Arthur C. 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." Among the responses to Lethem was one from the editor of the Magazine of Fantasy and Science Fiction who asked: "When is it [the SF genre] ever going to realize it can't win the game of trying to impress the mainstream?"[99] On this point the journalist and author David Barnett has remarked[100]:

The ongoing, endless war between "literary" fiction and "genre" fiction has well-defined

lines in the sand. Genre's foot soldiers think that literary fiction is a collection of meaningless but prettily drawn pictures of the human condition. The literary guard

consider genre fiction to be crass, commercial, whizz-bang potboilers. Or so it goes.

Barnett, in an earlier essay had pointed to a new development in this "endless war"[101]:

What do novels about a journey across post-apocalyptic America, a clone waitress rebelling against a future society, a world-girdling pipe of special gas keeping mutant creatures at bay, a plan to rid a colonizable new world of dinosaurs, and genetic engineering in a collapsed civilization have in common?

They are all most definitely not science fiction.

Literary readers will probably recognise The Road by Cormac McCarthy, one of the sections of Cloud Atlas by David Mitchell, The Gone-Away World by Nick Harkaway, Stone Gods by Jeanette Winterson and Oryx and Crake by Margaret Atwood from their descriptions above. All of these novels use the tropes of what most people recognize as science fiction, but their authors or publishers have taken great pains to ensure that they are not categorized as such.

Science fiction world-wide

Although perhaps most developed as a genre and community in the US and UK, science fiction is a worldwide phenomenon. Organisations devoted to promoting SF in particular countries and in non-English languages are common, as are country- or language-specific genre awards.

Africa and African diaspora

See also: Science Fiction South Africa and Black science fiction

Asia

Main articles: Science fiction of Bangladesh, Science fiction in China, and Science fiction in Japan
See also: Science fiction film of India

Europe

Soviet stamp, part of a 1967 series depicting science fiction images.
Main articles: Science fiction in Croatia, Czech science fiction and fantasy, French science fiction, Norwegian science fiction, Science fiction in Poland, Romanian science fiction, Science fiction in Russia, and Science fiction in Serbia
See also: Turku Science Fiction Society

Germany and Austria: Current well-known SF authors from Germany are five-time Kurd-Laßwitz-Award winner Andreas Eschbach, whose books The Carpet Makers and Eine Billion Dollar are big successes, and Frank Schätzing, who in his book The Swarm mixes elements of the science thriller with SF elements to an apocalyptic scenario. The most prominent German-speaking author, according to Die Zeit, is Austrian Herbert W. Franke.

A well known science fiction book series in German is Perry Rhodan, which started in 1961. Having sold over one billion copies (in pulp format), it claims to be the most successful science fiction book series ever written worldwide.[102]

Oceania

Main article: Science fiction in Australia
See also: Science Fiction and Fantasy Association of New Zealand

Australia: David G. Hartwell noted that while there is perhaps "nothing essentially Australian about Australian science-fiction", many Australian science-fiction (and fantasy and horror) writers are in fact international English language writers, and their work is commonly published worldwide. This is further explainable by the fact that the Australian inner market is small (with Australian population being around 21 million), and sales abroad are crucial to most Australian writers.[103][104]

North America

Main article: Canadian science fiction

See also

Notes and references

Notes

  1. ^ "Science fiction - Definition and More from the Free Merriam-Webster Dictionary". merriam-webster.com. Retrieved 17 July 2010.
  2. ^ "Definition of science fiction noun from Cambridge Dictionary Online: Free English Dictionary and Thesaurus". dictionary.cambridge.org. Retrieved 17 July 2010.
  3. ^ science fiction definition - Dictionary - MSN Encarta. Retrieved 17 July 2010. {{cite encyclopedia}}: |work= ignored (help)
  4. ^ Marg Gilks, Paula Fleming, and Moira Allen (2003). "Science Fiction: The Literature of Ideas". WritingWorld.com.{{cite web}}: CS1 maint: multiple names: authors list (link)
  5. ^ Del Rey, Lester (1979). The World of Science Fiction: 1926–1976. Ballantine Books. p. 5. ISBN 0-345-25452-x. {{cite book}}: Check |isbn= value: invalid character (help)
  6. ^ Sterling, Bruce. "Science fiction" in Encyclopædia Britannica 2008 [1]
  7. ^ Card, Orson Scott (1990). How to Write Science Fiction and Fantasy. Writer's Digest Books. p. 17. ISBN 0-89879-416-1.
  8. ^ Hartwell, David G. (1996). Age of Wonders: Exploring the World of Science Fiction. Tor Books. pp. 109–131. ISBN 0-312-86235-0.
  9. ^ Knight, Damon Francis (1967). In Search of Wonder: Essays on Modern Science Fiction. Advent Publishing, Inc. p. xiii. ISBN 0911682317.
  10. ^ Glassy, Mark C. (2001). The Biology of Science Fiction Cinema. Jefferson, N.C.: McFarland. ISBN 0-7864-0998-3. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  11. ^ Nabokov, Vladimir Vladimirovich (1973). Strong opinions. McGraw-Hill. pp. 3 et seq. ISBN 0070457379.
  12. ^ Heinlein, Robert A. (1959). "Science Fiction: Its Nature, Faults and Virtues". The Science Fiction Novel: Imagination and Social Criticism. University of Chicago: Advent Publishers. {{cite conference}}: Unknown parameter |booktitle= ignored (|book-title= suggested) (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  13. ^ a b Rod Serling (1962-03-09). The Twilight Zone, "The Fugitive".
  14. ^ del Rey, Lester (1980). The World of Science Fiction 1926–1976. Garland Publishing.
  15. ^ The American Heritage Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company. 2000.
  16. ^ Whittier, Terry (1987). Neo-Fan's Guidebook.
  17. ^ Scalzi, John (2005). The Rough Guide to Sci-Fi Movies.
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  21. ^ "Ansible". David Langford.
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  44. ^ Nazarro, Joe. "The Dream Given Form". TV Zone Special (#30).
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  48. ^ Scientist science fiction authors
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  50. ^ Maas, Wendy (2004-07). Ray Bradbury: Master of Science Fiction and Fantasy. Enslow Publishers. {{cite book}}: Check date values in: |date= (help)
  51. ^ Encyclopedia Britannica. Science fiction
  52. ^ Yvonne Howell. Apocalyptic Realism: The Science Fiction of Arkady and Boris Strugatsky. Peter Lang Publishing (March 1995) ISBN 0-8204-1962-1
  53. ^ Stableford, Brian (2006). Science Fact and Science Fiction: An Encyclopedia. Taylor & Francis Group LLC. p. 113.
  54. ^ It was later refined by William Gibson's book, Neuromancer which is credited with envisioning cyberspace.Bethke, Bruce. "Foreword to "Cyberpunk," a short story by Bruce Bethke". Infinity Plus. Retrieved 2007-01-17.
  55. ^ James O'Ehley (1997-07). "SCI-FI MOVIE PAGE PICK: BLADE RUNNER — THE DIRECTOR'S CUT". Sci-Fi Movie Page. Retrieved 2007-01-16. {{cite web}}: Check date values in: |date= (help)
  56. ^ Frank Artzenius and Tim Maudlin (2000-02-17). "Time Travel and Modern Physics". Stanford Encyclopedia of Philosophy. Retrieved 2007-01-16.
  57. ^ Adam-Troy Castro (2006). "Off the Shelf: In the Presence of Mine Enemies". Book review. Sci Fi Weekly. Archived from the original on 3 June 2008. Retrieved 26 November 2008.
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  59. ^ Henry Jenkins (1999=07-23). "Joe Haldeman, 1943-". Retrieved 2007-01-16. {{cite web}}: Check date values in: |date= (help)
  60. ^ "Website Interview with Toni Weisskopf on SF Canada". Baen Books. 2005-09-12. Retrieved 2007-01-16.
  61. ^ http://www.britannica.com/EBchecked/topic/262705/Frank-Herbert
  62. ^ Elyce Rae Helford, in Westfahl, Gary. The Greenwood Encyclopedia of Science Fiction and Fantasy: Greenwood Press, 2005: 289-290
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  69. ^ Carol Berg. "Links, "Conventions and Writers' Workshops"". Retrieved 2001-01-16.
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  78. ^ von Thorn, Alexander (2002-08). "Aurora Award acceptance speech". Calgary, Alberta. {{cite journal}}: Check date values in: |date= (help); Cite journal requires |journal= (help)
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    in Science Fiction at Large, (Edited by Peter Nichols) Gollancz, London, 1976
    in Explorations of the Marvellous, (Edited by Peter Nichols), Fontana, London, 1978
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References

  • Barron, Neil, ed. Anatomy of Wonder: A Critical Guide to Science Fiction (5th ed.). Westport, Conn.: Libraries Unlimited, 2004. ISBN 1-59158-171-0.
  • Clute, John Science Fiction: The Illustrated Encyclopedia. London: Dorling Kindersley, 1995. ISBN 0-7513-0202-3.
  • Clute, John and Peter Nicholls, eds., The Encyclopedia of Science Fiction. St Albans, Herts, UK: Granada Publishing, 1979. ISBN 0-586-05380-8.
  • Clute, John and Peter Nicholls, eds., The Encyclopedia of Science Fiction. New York: St Martin's Press, 1995. ISBN 0-312-13486-X.
  • Disch, Thomas M. The Dreams Our Stuff Is Made Of. New York: The Free Press, 1998. ISBN 978-0-684-82405-5.
  • Reginald, Robert. Science Fiction and Fantasy Literature, 1975–1991. Detroit, MI/Washington, D.C./London: Gale Research, 1992. ISBN 0-8103-1825-3.
  • 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.
  • Westfahl, Gary, ed. The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders (three volumes). Westport, Conn.: Greenwood Press, 2005.
  • 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.


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