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Stanisław Lem, the most famous Polish science fiction writer
Science fiction and fantasy in Poland dates to the late 18th century. However, science fiction as a genre in Polish literature truly began to emerge at the end of the 19th century under the influence of Jules Verne's work. During the latter years of the People's Republic of Poland, a very popular genre of science fiction was social science fiction. Later, many other genres gained prominence.
Poland has many science-fiction writers. Internationally, the best known Polish science-fiction writer is the late Stanisław Lem. In fact, the term science fiction was first used in a review of one of Lem's books,[1] and he is widely regarded as the most prominent representative of Polish science fiction literature.[2] As elsewhere, Polish science fiction is closely related to the genres of fantasy, horror and others.
In the 1970s, the first fandom organizations appeared in Poland, along with the publication of the earliest zines.[3] While many English-language writers have been translated into Polish, relatively little Polish-language science fiction (or fantasy) has been translated into English.
History
Until 1918
Michał Dymitr Krajewski – author of the first description of a journey to the Moon in Polish literature
Polish science fiction grew out of utopian literature, and it started in the late 18th century during the Polish Enlightenment, when Michał Dymitr Krajewski wrote a novel about the adventures of a Pole on the Moon. His work, Wojciech Zdarzyński, życie i przypadki swoje opisujący[pl] (Wojciech Zdarzyński, Describing His Life and Adventures), was the first Polish literary work to describe a journey to the Moon, using a balloon as the means of travel to lend credibility to the narrative.[4] Descriptions of flying machines, rapid-fire weapons, and future medicine can be found in Podróż do Kalopei, do kraju najszczęśliwszego na świecie (Journey to Kalopea, the Country of the Happiest People in the World) by Wojciech Gutkowski[pl] from 1817.[5] In Polish Enlightenment literature, fantastical elements were typically debunked by the end of the work, as seen in The Manuscript Found in Saragossa by Jan Potocki, where the appearance of ghosts serves as a satire of superstitions by the rational author.[6]
In the mid-19th century, during the age of romanticism in Poland, Adam Mickiewicz, regarded by many as Poland's greatest poet, also worked on a Verne-like science fiction novel A History of the Future, but never published it (only a few fragments remain). Fantastical elements can also be found in works inspired by folk literature, such as Adam Mickiewicz's Ballads and Romances or Juliusz Słowacki's Balladyna, as well as in Gothic novels.[4] Mickiewicz was interested in the "future"[6] and planned to write a utopia where technology would play an important role.[7] In the 1840s, the Bohemian Warsaw[pl] literary group drew on fantastical motifs from folk literature and German Romanticism, particularly the works of Ernst Theodor Amadeus Hoffmann. One of the works from this period that is close to the conventions of science fiction is the historical novel Sędziwoj by Józef Bohdan Dziekoński[pl] from 1845.[6] In 1858, Podróż po Księżycu odbyta przez Serafina Bolińskiego (Journey to the Moon Undertaken by Serafin Boliński) by Teodor Tripplin[pl] anticipated positivist novels about inventions.[8] Science fiction of the positivist era included popular science lectures with educational purposes (e.g., Baśń o niezgodnych królewiczach by Maria Julia Zaleska or Gucio zaczarowany[pl] by Zofia Urbanowska[pl])[9] and works about "wondrous inventions", e.g., Niewidzialny by Sygurd Wiśniowski[pl] or the Parisian episode in The Doll by Bolesław Prus, perhaps the most famous Polish writer of the time.[9] Similar themes are seen in the works of Prus' colleague, Stefan Żeromski, with his 'houses of glass' in Przedwiośnie, and his death rays in Róża. Both trends stemmed from the positivists' program, which included promoting natural sciences.[7]
In the early 20th century, Jerzy Żuławski was probably the most popular Polish science fiction author, with his Lunar Trilogy (Trylogia księżycowa), a masterpiece for its time and place of composition. According to Antoni Smuszkiewicz:[10]
For many years, Polish science fiction developed somewhat in the shadow of Jerzy Żuławski, but no work until Stanisław Lem's era matched the trilogy either in the weight of the issues discussed or in literary quality.
Science fiction of the Young Poland period was associated with the era's interests in paranormal phenomena and the causes of personality disorders.[10] For example, Antoni Lange rationalized spiritualistic phenomena in his works and showed an interest in contemporary science. Władysław Umiński’s work was more subdued and in the older positivist style (e.g., Na drugą planetę[pl] [To the Second Planet], 1895).[11]
1918–1939
In Polish science fiction of the interwar period, grotesque elements began to be used, mainly for satirical purposes. New authors and new issues emerged. Among the new themes, the concept of a miraculous invention was particularly explored (e.g., Eliksir profesora Bohusza [Elixir of Professor Bohusz] by Stefan Barszczewski[pl] from 1923), a motif that also appeared in crime novels (e.g., Błękitny szpieg [The Blue Spy] by Jerzy Bohdan Rychliński[pl] from 1926) and adventure stories (e.g., Wyspa elektryczna [The Electric Island] by Edward Krüger from 1925, Wyspa Mędrców [The Island of the Wise] by Maria Buyno-Arctowa[pl] from 1930).[12] The catastrophism of the era led to the creation of future-oriented novels from the 1920s onward, in which disaster often played a central role, sometimes on a cosmic scale.[12] In popular literature, this catastrophe was either reversible or one from which representatives of the highest values of a dying civilization were saved (an exception being Ostatni na Ziemi [The Last on Earth] by Wacław Niezabitowski), reinforcing beliefs in the possibility of overcoming any failure, often thanks to the actions of characters of Polish descent.[13] In high literature, the theme of catastrophe was presented in the form of grotesque (e.g., Nienasycanie [Insatiability] by Stanisław Ignacy Witkiewicz, S.O.S. by Jalu Kurek).[12] In the 1930s, the threat of armed conflict led to the decline of popular prose dedicated to cataclysms, and it was replaced by a few artistic works (e.g., Dwa końce świata [The Two Ends of the World] by Antoni Słonimski from 1937).[13] The conventions of science fiction were also referenced by authors such as Stefan Żeromski (e.g., the "Dana rays" from Róża [The Rose] from 1909; the "glass houses" from The Spring to Come from 1924).[14]
1945–1989
First editions of Stanisław Lem's books
After World War II, in the first decade of the People's Republic of Poland, science fiction was used as a propaganda tool by the communist regime, with its main purpose being to show the "bright future" of communism. Only after Joseph Stalin's death were Polish writers to gain more leeway and start questioning the reality around them, albeit always struggling against censorship. Science fiction literature was treated with caution by the authorities of the Polish People's Republic.[15] Despite this, in 1946, Stanisław Lem's first novel, The Man from Mars, was published in the magazine Nowy Świat Przygód[pl]. The first post-war science fiction book was Schron na Placu Zamkowym[pl] (The Shelter on Castle Square) by Andrzej Ziemięcki[pl] from 1947; that same year, Baczność! A.R. 7: Powieść o atomie (Attention! A.R. 7: A Novel About the Atom) by Kazimierz Wroczyński[pl] was also published. A slight increase in interest in science fiction was sparked by the anthology Polska nowela fantastyczna[pl] (Polish Fantastic Novel) published in 1949 by Julian Tuwim.[15] In 1951, Lem made his book debut with The Astronauts, and in 1955, he published The Magellanic Cloud.[16] At that time, he was an undisputed leader of Polish science fiction, first questioning the regime's actions in his Memoirs Found in a Bathtub. He was followed by Janusz A. Zajdel, Konrad Fiałkowski and Czesław Chruszczewski, and from the mid-70s for a short period by the acclaimed writings of Adam Wiśniewski-Snerg. The principles of socialist realism adopted in 1949 meant that some works were written in a tendentious and sometimes even caricatural manner.[17]
Shelves in a bookstore (Empik, Katowice), containing only new releases of science fiction and fantasy by Polish authors with surnames from P to Z (approximately from first half of 2006). Despite their popularity in Poland, virtually none of these books have been translated into English.
The systemic transformation that took place in 1989 also affected the position of fantasy literature in the country. State-owned publishing houses lost their monopolistic positions. Newly established, often short-lived companies sought to make up for many years of backlog by massively publishing Western science fiction literature, which was often of low quality.[28] The genre largely transformed itself into political fiction, represented by writers such as Rafał A. Ziemkiewicz, although an echo is visible in the 1990s dystopia/hard sf duology by Tomasz Kołodziejczak.[28]
Changes also affected the only magazine on the market, Fantastyka. The fall of the state publisher meant that the editorial team took over the magazine, with Lech Jęczmyk becoming the editor-in-chief, followed by Maciej Parowski for a longer period.[26]
In the 1990s, a group of young creators centered around the Trust group (later the Klub Tfurców, including Rafał Ziemkiewicz and Jarosław Grzędowicz) began publishing the monthly magazine Fenix.[26] There was also an explosion of translations, primarily from the Western (English language) literature. The major Polish publishing house specializing in Polish science fiction and fantasy literature was SuperNOWA.[30] The scene was transformed around and after 2002, with SuperNOWA losing its dominant position, and many new Polish writers, the "2002 generation", appearing.[30]
Currently, much of Polish science fiction and fantasy resembles that familiar to English-language writers. There are many science fiction writers as well as fantasy writers in Poland, and their works vary from alternate histories to hard science fiction. The best internationally known Polish science fiction writer is undoubtedly Stanisław Lem, although many others can be considered world-class.[31]
Modern writers
Anna Brzezińska at the Janusz A. Zajdel Award ceremony at Polcon 2001 in Katowice.Marek S. Huberath at Polcon 2005.Andrzej Pilipiuk.Andrzej Sapkowski.Rafał A. Ziemkiewicz.
Modern Polish science fiction and fantasy writers include:
Anna Brzezińska:[30] one of the youngest Polish writers, known for her ongoing fantasy saga, the first book of which (Zbójecki Gościniec) was released in 1999.
Eugeniusz Dębski:[30] a writer of fantasy and science fiction, best known for two series—the science fiction detective stories of Owen Yeates and the humorous adventures of a 'chameleon knight', Hondelyk.
Jacek Dukaj: one of the most acclaimed writers of the 1990s and 2000s, and winner of many awards. He is known for the complexity of his books, and it is often said that a single short story by Dukaj contains more ideas than many other writers put into their books in their lifetime. His books are generally hard sf; popular themes include the technological singularity, nanotechnology and virtual reality. Among his favourite writers is AustralianGreg Egan, and Dukaj's books bear some resemblance to Egan's.
Jarosław Grzędowicz:[30] author of fantasy stories, winner of Zajdel award for book and short story in 2005.
Feliks W. Kres:[30] best known for his two fantasy cycles: Księga całości (The Book of Entirety), set on a world called Szerer, where cats and vultures as well as humans are intelligent, and Piekło i szpada (Hell and spade), a dark fantasy set in an alternate 17th century, where demons and beings older than Satan openly interact with humanity
Jacek Komuda: known for his fantasy stories set in the Polish–Lithuanian Commonwealth; his writing often closely resembles a historical novel, though he doesn't shy from supernatural elements such as witches and devils. He is also one of the authors of the Dzikie Polarole-playing game set in that period.
Stanisław Lem. Lem was Poland's most acclaimed and famous science fiction writer (although he has mostly stopped writing in the science fiction genre before the 1990s), and the only one who had had most of his works translated into English. He often veered into philosophical speculation on technology, the nature of intelligence, the impossibility of mutual communication and understanding, and humankind's place in the universe. His works are sometimes presented as fiction, to avoid the trappings of academic life and the limitations of readership and scientific style, while others take the form of essays and philosophical books.
Andrzej Pilipiuk[30] is best known for his humorous series about Jakub Wędrowycz, an alcoholic exorcist and unwilling superhero. Recently he started another popular series, featuring the adventures of three women: an over-1000-year-old vampire, a 300-year-old alchemist-szlachcianka, and her relative, a former Polish secret agent from the CBŚ (Central Bureau of Investigation). A recurring character in the series is the alchemist Michał Sędziwój, and the universe is the same as the one of Wędrowycz (who makes appearances from time to time).
Andrzej Sapkowski.[30] Sapkowski is one of the bestselling Polish authors, translated into many languages (recently into English), he is best known for his The Witcher fantasy series. The main character of the series is Geralt, a mutant assassin trained from childhood to hunt down and destroy monsters and other unnatural creatures. Geralt moves in an ambiguous moral universe, yet manages to maintain his own coherent code of ethics. At once cynical and noble, Geralt has been compared to Raymond Chandler's signature character Philip Marlowe. The world in which these adventures take place owes much to J.R.R. Tolkien, while also heavily influenced by Polish history and Slavic mythology.
Janusz Zajdel. He became the second most popular Polish science fiction writer (after Stanisław Lem) until his sudden death in 1985.[32] Zajdel's novels created the core of Polish social fiction and dystopian fiction. In his works, he envisions totalitarian states and collapsed societies. His heroes are desperately trying to find sense in world around them; sometimes, as in Cylinder van Troffa, they are outsiders from a different time or place, trying to adapt to a new environment. The main recurring theme in his works is a comparison of the readers' gloomy, hopeless situations to what may happen in a space environment if we carry totalitarian ideas and habits into space worlds: Red Space Republics or Space Labour Camps, or both. The Janusz A. Zajdel Award of Polish fandom is named after him.
Andrzej Ziemiański.[30] Ziemiański writes both science fiction—with themes like post-apocalyptic Autobahn nach Poznan and alternative history Bomba Heisenberga, and fantasy, like his most recent Achaja series.
Publishers
Iskry Publishing House[pl] released its first science fiction book in 1953 (two Soviet novels were published that year: Nowa planeta [The New Planet] by Viktor Saparin and Plutonia by Vladimir Obruchev).[33][34] Starting in 1966, the publisher launched the first Polish series dedicated to science fiction, Fantastyka-Przygoda[pl] (Fantasy-Adventure), which continued until the mid-1990s and released over 100 volumes.[35]Lech Jęczmyk later became its editor.[36]
Nasza Księgarnia published its first science fiction title in 1954 (a reprint of Bakteria 078 by Marian Leon Bielicki). This publisher made a mark in history by releasing the first science fiction anthology on the Polish market, Posłanie z piątej planety[pl] (A Message from the Fifth Planet) in 1964, the result of an international reader competition, with a foreword by Zbigniew Przyrowski[pl].[37] This esteemed publisher, known as the Hugo Gernsback of Polish science fiction, also edited other anthologies that reflected the development and history of Polish science fiction: Nowa cywilizacja[pl] (New Civilization), Wołanie na Mlecznej Drodze[pl] (The Call on the Milky Way), and Drugi próg życia[pl] (The Second Threshold of Life).[38] Starting in 1974, Nasza Księgarnia published the series Stało się jutro[pl] (Tomorrow Has Come) with 33 volumes by 1990.[39][40]
Wydawnictwo Poznańskie[pl] also had its own science fiction series. The first few titles were published in a short-lived series called Przygoda. Awantura. Sensacja[pl] (Adventure. Intrigue. Sensation), which included works such as W pogoni za Czarnym Karłem[pl] (In Pursuit of the Black Dwarf, 1957) by Eugeniusz Morski[pl] and Krater czarnego snu[pl] (The Crater of the Black Dream, 1960) by Witold Zegalski[pl].[41] A second series, marked with the letters SF, began in 1975 and mostly featured niche Polish science fiction (such as works by Czesław Chruszczewski[pl] and Jacek Sawaszkiewicz). It also included significant historical works, such as Antoni Smuszkiewicz's[pl]Zaczarowana gra. Zarys dziejów polskiej fantastyki naukowej (The Enchanted Game: An Outline of the History of Polish Science Fiction) and the Leksykon polskiej literatury fantastycznonaukowej (Lexicon of Polish Science Fiction Literature) by Niewiadowski and Smuszkiewicz.[41][42]
The Czytelnik Publishing House made its mark by releasing Stanisław Lem's first science fiction novel, The Astronauts. After departing from Iskry Publishing House in 1978, Lech Jęczmyk began editing the Seria Z kosmonautą[pl] (Cosmonaut Series) at Czytelnik, which published 40 volumes by the early 1990s.[46][47] In 1980, the series won the Premio Europeo at the 5th Eurocon in Stresa, and two years later, it received the Prix Européen at the 6th Eurocon in Mönchengladbach.[43]
The Kraków-based Wydawnictwo Literackie, the main publisher of Stanisław Lem's works, occasionally published science fiction under the series Fantastyka i Groza[pl] (Science fiction and Horror).[48] Political issues prevented the publisher from successfully launching a series of fantastic literature under Lem's patronage — only four books were released under the Stanisław Lem poleca[pl] series.[48]
There are two major Polish publishing houses specializing in Polish science fiction and fantasy, Fabryka Słów and Runa[pl].[30]SuperNOWA, once a dominant publishing house on that field, has now lost much of its position. MAG and Solaris[pl] (since 2019, Stalker Books) publish mostly translations, and in what is seen as boom for the Polish science fiction and fantasy market, mainstream publishing houses are increasingly publishing such works as well.[30] A book with a circulation of over 10,000 is considered a bestseller in Poland.[30]
Journals
30th anniversary of Fantastyka plaque, Festival of Comics in Łódź, 2012
The first issue of the magazine – the monthly Fantastyka, later renamed to Nowa Fantastyka – was published in October 1982. Its launch became a milestone for Polish fantasy enthusiasts and creators.[52] It gained a cult following and became a training ground for some of the most prominent fantasy and sci-fi writers in Poland, including Andrzej Sapkowski (The Witcher series). Among the editorial team, Maciej Parowski is particularly noteworthy for having significantly shaped the image of Polish fantasy in the years that followed.[52] Since its first publication in 1982, Fantastyka became, in terms of circulation, the leading magazine in Europe and the second worldwide dedicated to fantasy, reaching 140,000 copies.[52]
Another major Polishscience fiction and fantasy monthly magazine, founded in 2001 and active until 2012, was Science Fiction, which published mainly new Polish works and had fewer translations than Fantastyka.[30] SFinks As of 2006, both had a circulation of about 8,000–15,000.[30] Other significant, discontinued magazines include Fenix (1990–2001),[30]SFinks[pl](1994–2002)[30] and Magia i Miecz (1993–2002). Several are published online in ezine form, including Fahrenheit (1997–) and Esensja[pl] (2000–).[30]
Literary criticism
Research on the scientific romance began in the early 20th century.[1]Na srebrnym globie. Rękopis z Księżyca (On the Silver Globe: Manuscript from the Moon), the first volume of Żuławski's Trylogia księżycowa (Lunar Trilogy), received a critical review in 1903. Reviews and commentaries were published in Prawda[pl], Kurier Literacko-Naukowy[pl], Museion, Chimera[pl], Książka, Kurier Naukowy, and Tygodnik Illustrowany. Between World War I and World War II, Polish writers on the subject of fantasy included Karol Irzykowski (Fantastyka, 1918), Stanisław Baczyński (O pojęciu fantastyczności [On the Concept of Fantasy], 1927), Kazimierz Czachowski (Obraz współczesnej literatury polskiej [The Picture of Contemporary Polish Literature], 1934–1936, which featured a chapter on science fiction), and Ignacy Fik (Dwadzieścia lat literatury polskiej [Twenty Years of Polish Literature], 1939, which included a genre breakdown).[1] Post-war criticism initially regarded science fiction as Western entertainment literature.[53] The first novels by Lem were defended by critics such as Andrzej Kijowski, Ludwik Flaszen, and Adam Hollanek. Lem himself expressed his position in articles like O współczesnych zadaniach i metodzie pisarstwa fantastyczno-naukowego [On the Contemporary Tasks and Methods of Science Fiction Writing] (Nowa Kultura[pl], No. 39, 1952) and Imperializm na Marsie [Imperialism on Mars] (Życie Literackie[pl], No. 7, 1953). From this point onward, literary criticism became dominated by "the creative reflection of Lem".[54]
Fandom
Logo of Fikcje magazine
Zines dedicated to science fiction appeared in Poland alongside the formation of the first organizations that united fans of the genre in the 1970s.[3] Some of the earliest zines were Informator miłośników fantastyki (published since 1976 by the National Club of Fantasy and Science Fiction Enthusiasts[pl]), Somnambul (several issues published between 1978 and 1979 by the Science Fiction Enthusiasts' Club at the Medical University of Silesia), Materiały (a monthly published between 1979 and 1980), and Pulsar (the first issue, dedicated to the history and criticism of science fiction, was released in July 1979).[3] Other zines from the Polish People's Republic era include Fikcje[pl], Kurier Fantastyczny, Tachion, No Wave, Kwazar (published from 1979 to 1985; recognized as the best zine at the 7th Eurocon in Ljubljana in 1983), SFanzin, Radiant (1978–1981), Spectrum (1982–1984), Wizje (2 issues in 1981), and XYX.[3]
Polish science fiction writing has not had much impact on non-print media like cinema, television and computer games,[citation needed] although several science fiction, fantasy and horror films and games have been made in Poland. The notable exception is Seksmisja (Sex Mission) which has become something of a cult film in Poland, and has been widely aired abroad, for example in UK.[60] Other lesser-known examples include the films of Piotr Szulkin.[61]
In the late 2015s, The Witcher computer game series became a best-seller worldwide.[62]
Andrzej Sapkowski is a Polish fantasy writer, essayist, translator and a trained economist. He is best known for his six-volume series of books The Witcher, which revolves around the eponymous "witcher," a monster-hunter, Geralt of Rivia. It began with the publication of Last Wish (1990), and was completed with the publication of standalone prequel novel Season of Storms (2013). The saga has been popularized through television, stage, comic books, video games and translated into 37 languages making him the second most-translated Polish science fiction and fantasy writer after Stanisław Lem.
Janusz Andrzej Zajdel was a Polish science fiction author, second in popularity in Poland to Stanisław Lem. His major genres were social science fiction and dystopia. His main recurring theme involved the gloomy prospects for a space environment into which mankind carried totalitarian ideas and habits: Red Space Republics, or Space Labor Camps, or both. His heroes desperately try to find meaning in the world around them.
The Janusz A. Zajdel Award, often called just Zajdel, is the annual award given by the Polish science fiction and fantasy fandom for the best stories published in the previous year.
Andrzej Ziemiański, also known as Patrick Shoughnessy, is a Polish author of fantasy, science fiction, thriller and crime, who by 2012 have sold over 500,000 copies of his books. Ziemiański was educated as an architect and he holds a PhD in architecture.
Jacek Józef Dukaj is a Polish science fiction and fantasy writer. His fiction explores such themes as alternate history, alternative physics and logic, human nature, religion, the relationship between science and power, technological singularity, artificial intelligence, and transhumanism. He is regarded among the most popular Polish contemporary science fiction authors.
Fantastyka is a Polish speculative fiction monthly fantasy and science fiction magazine. It is the leading and olest of the Polish magazines on this topic.
Marek Baraniecki is a Polish science fiction writer and journalist. He graduated in environmental engineering. In 1985 he published a short story collection Głowa Kasandry, and for a novel with the same title he was given the Janusz A. Zajdel Award.
Funky Koval is a Polish science fiction/detective story/political fiction genre comic book series published in Poland from the 1980s, collected in four volumes. The story was written by Jacek Rodek and Maciej Parowski, with art drawn by Bogusław Polch. The resulting science fiction comic gained a cult following in Poland and is recognized as one of the best Polish comics. It debuted in 1982 in Fantastyka, a Polish sci-fi magazine, and was later released in color albums. The final instalment was published in 2010.
Extensa is a 2002 science fiction novel written by Jacek Dukaj, Polish science fiction writer. It is the second stand alone novels by Dukaj, and the first published by Wydawnictwo Literackie, marking the writer's growing recognition in Poland.
Maciej Parowski was a Polish journalist, essayist, science fiction writer, editor and translator.
Wydawnictwo Literackie is a Kraków-based Polish publishing house, which has been referred to as one of Poland's "most respected".
Bruno Winawer was a Jewish-descended Polish physicist, columnist, and author of comedies, science fiction novels, short stories, and poetry.
This bibliography of Stanisław Lem is a list of works about Stanisław Lem, a Polish science fiction writer and essayist.
Historia i fantastyka is a book-length interview of Polish fantasy writer Andrzej Sapkowski conducted and published in book format by Stanisław Bereś in 2005.
Rozmowy ze Stanisławem Lemem is a book-length interview of Polish science fiction writer Stanisław Lem conducted by literary critic and historian Stanisław Bereś in 1981–1982 and published in book format in 1987. The second, more comprehensive edition was published in 2002 under the title Tako rzecze... Lem. The German-language, uncensored version, Also sprach Lem, was published earlier, in 1986.
Marcin Sergiusz Przybyłek is a Polish science fiction author, business trainer, coach, computer games designer and consultant, a medical doctor by education.
Apostezjon is social science fiction dystopia trilogy by Polish sociologist and science fiction writer Edmund Wnuk-Lipiński. It consists of three novels, Wir pamięci, Rozpad połowiczny, and Mord założycielski. The overall story covers the dynamics of Apostezjon, a totalitarian island-state governed by the technocratic clandestine supreme governing body "Team of Experts" with its executive organ, the powerful Special Service, up to its collapse into a dictatorship after a coup staged by the deputy chief of the Special Service.
"CyberJoly Drim" is a cyberpunk short story by Polish author Antonina Liedtke. In the story, the heroine abandons her body in favour of a digital existence. The story was first published on Liedtke's personal website in 1998. It was then published in Fenix magazine in 1999.
Social science fiction in Poland is a subgenre of science fiction that falls within the scope of social science fiction. It emerged in Polish science fiction literature in the second half of the 1970s and was present until the end of the 1980s. Critics describe the trend as a literary and social phenomenon.
Klerykal fiction is a term for a subgenre of Polish fantasy and science fiction and broader religious fiction that addresses Christian themes. The term was coined in the early 1990s.
1 2 Mazurkiewicz, Adam (2007). O polskiej literaturze fantastycznonaukowej lat 1990-2004[On Polish Science Fiction Literature from 1990 to 2004] (in Polish). Łódź: Wydawnictwo Uniwersytetu Łódzkiego. p.8. ISBN978-83-7525-117-3.
↑ Wierzchowska, Aleksandra (2021). "Kongres futurologiczny. Eurocon 1976 w Poznaniu"[The Futurological Congress. Eurocon 1976 in Poznań](PDF). Dzieje Najnowsze (in Polish). LIII (III). Warsaw: Instytut Historii im. Tadeusza Manteuffla Polskiej Akademii Nauk: 203. ISSN0419-8824.
Niewiadomski, Andrzej; Smuszkiewicz, Antoni (1990). "Fantastyka naukowa w literaturze polskiej. Zarys historyczny" [Science Fiction in Polish Literature: A Historical Outline]. Leksykon polskiej literatury fantastycznonaukowej[Lexicon of Polish Science Fiction Literature] (in Polish). Poznań: Wydawnictwo Poznańskie. ISBN83-210-0892-5.{{cite book}}: CS1 maint: ref duplicates default (link)
Niewiadowski, Andrzej (1987). Polska fantastyka naukowa: przewodnik: 1945–1985[Polish Science Fiction: A Guide: 1945–1985] (in Polish). Warsaw: Wydawnictwo Iskry. ISBN83-207-0999-7.{{cite book}}: CS1 maint: ref duplicates default (link)
Smuszkiewicz, Antoni (1982). Zaczarowana gra. Zarys dziejów polskiej fantastyki naukowej[The Enchanted Game: An Outline of the History of Polish Science Fiction] (in Polish). Poznań: Wydawnictwo Poznańskie. ISBN83-210-0303-6.{{cite book}}: CS1 maint: ref duplicates default (link)
Parowski, Maciej (1990). Czas fantastyki[The Time of Science Fiction] (in Polish). Szczecin: Glob. ISBN83-7007-193-7.{{cite book}}: CS1 maint: ref duplicates default (link)
Wójcik, Andrzej; Żelkowski, Marek (2015). "Kierowałem się zamiłowaniem do fantastyki" [I was guided by my passion for fantasy]. Czas Fantastyki (in Polish). 4 (44). Warsaw: Prószyński Media. ISSN1733-635X.{{cite journal}}: CS1 maint: ref duplicates default (link)
"Zaczarowana Gra"(PDF) (in Polish).(176KiB)—summary and review of book by Antoni Szmuszkiewicz with the same title about history of Polish science fiction literature, published in 1982
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