The umbrella genre of speculative fiction is characterized by a lesser degree of adherence to realistic or plausible individuals, events, or places, while the umbrella genres of realistic fiction or literary realism are characterized by a greater degree of adherence. For instance, speculative fiction may depict an entirely imaginary universe or one in which the laws of nature do not strictly apply (often, the sub-genre of fantasy). Or, it depicts true historical moments, except that they have concluded in a completely imaginary way or been followed by major new events that are completely imaginary (the genre of alternative history). Or, it depicts impossible technology or technology that defies current scientific understandings or capabilities (the genre of science fiction).
Contrarily, realistic fiction involves a story whose basic setting (time and location in the world) is, in fact, real and whose events could believably happen in the context of the real world. One realistic fiction sub-genre is historical fiction, centered around true major events and time periods in the past.[4] The attempt to make stories feel faithful to reality or to more objectively describe details, and the 19th-century artistic movement that began to vigorously promote this approach, is called "literary realism", which incorporates some works of both fiction and non-fiction.
Distinguishing science fiction from other speculative fiction
"Speculative fiction" is sometimes abbreviated "spec-fic", "spec fic", "specfic",[5] "S-F", "SF", or "sf".[6][7] The last three abbreviations, however, are ambiguous as they have long been used to refer to science fiction (which lies within this general range of literature).[8] It is sometimes also known as "the fantastic"[9] or as fantastika, the latter term attributed to John Clute who coined it in 2007 after the term for the genre in some Slavic languages.[9][10]
The term has been used by some critics and writers dissatisfied with what they consider to be a limitation of science fiction: the need for the story to hold to scientific principles. They argue that "speculative fiction" better defines an expanded, open, imaginative type of fiction than does "genre fiction", and the categories of "fantasy", "mystery", "horror" and "science fiction".[11]Harlan Ellison used the term to avoid being pigeonholed as a science fiction writer. Ellison, a fervent proponent of writers embracing more literary and modernist directions,[12][13] broke out of genre conventions to push the boundaries of speculative fiction.
The term suppositional fiction is sometimes used as a sub-category designating fiction in which characters and stories are constrained by an internally consistent world, but not necessarily one defined by any particular genre.[14][15][16]
History
Euripides
Speculative fiction as a category ranges from ancient works to paradigm-changing and neotraditional works of the 21st century.[17][18] Characteristics of speculative fiction have been recognized in older works whose authors' intentions, or in the social contexts of the stories they portray, are now known. For example, the ancient Greek dramatist, Euripides, (c.480– c.406 BCE) whose play Medea seems to have offended Athenian audiences when he speculated that the titular shamaness Medea killed her own children, as opposed to their being killed by other Corinthians after her departure.[19]
In mythography the concept of speculative fiction has been termed "mythopoesis", or mythopoeia. This practice involves the creative design and generation of lore and mythology for works of fiction. The term's definition comes from its use by J. R. R. Tolkien, whose novel, The Lord of the Rings,[23] demonstrates a clear application of this process. Themes common in mythopoeia, such as the supernatural, alternate history and sexuality, continue to be explored in works produced within the modern speculative fiction genre.[24]
The creation of speculative fiction in its general sense of hypothetical history, explanation, or ahistorical storytelling, has also been attributed to authors in ostensibly non-fiction modes since as early as Herodotus of Halicarnassus (fl. 5th century BCE), for his Histories,[25][26][27] and was already both practiced and edited out by early encyclopedic writers like Sima Qian (c.145 or 135 BCE–86 BCE), author of Shiji.[28][29]
These examples highlight the caveat that many works, now regarded as intentional or unintentional speculative fiction, long predated the coining of the genre term; its concept, in its broadest sense, captures both a conscious and unconscious aspect of human psychology in making sense of the world, and responds to it by creating imaginative, inventive, and artistic expressions. Such expressions can contribute to practical societal progress through interpersonal influences, social and cultural movements, scientific research and advances, and the philosophy of science.[30][31][32]
Robert Heinlein c.1953
In its English-language usage in arts and literature since the mid 20th century, "speculative fiction" as a genre term has often been attributed to Robert A. Heinlein, who first used the term in an editorial in The Saturday Evening Post, 8February 1947. In the article, Heinlein used "Speculative Fiction" as a synonym for "science fiction"; in a later piece, he explicitly stated that his use of the term did not include fantasy. However, though Heinlein may have come up with the term on his own, there are earlier citations: a piece in Lippincott's Monthly Magazine in 1889 used the term in reference to Edward Bellamy's Looking Backward: 2000–1887 and other works; and one in the May 1900 issue of The Bookman said that John Uri Lloyd's Etidorhpa, The End of the Earth had "created a great deal of discussion among people interested in speculative fiction".[33] A variation on this term is "speculative literature".[34]
The use of "speculative fiction" in the sense of expressing dissatisfaction with traditional or establishment science fiction was popularized in the 1960s and early 1970s by Judith Merril, as well as other writers and editors in connection with the New Wave movement. However, this use of the term fell into disuse around the mid-1970s.[35]
In the 2000s, the term came into wider use as a convenient collective term for a set of genres. However, some writers, such as Margaret Atwood, who wrote The Handmaid's Tale, continue to distinguish "speculative fiction" specifically as a "no Martians" type of science fiction, "about things that really could happen."[36]
Speculative fiction is also used as a genre term that combines different ones into a single narrative or fictional world such as "science fiction, horror, fantasy...[and]...mystery".[37]
According to publisher statistics, men outnumber women about two to one among English-language speculative fiction writers aiming for professional publication. However, the percentages vary considerably by genre, with women outnumbering men in the fields of urban fantasy, paranormal romance and young adult fiction.[38]
Features technologies and other elements that do not exist in real life but may be supposed to be created or discovered in the future through scientific advancement, such as advanced robots, interstellar travel, aliens, time travel, mutants and cyborgs. Many sci-fi stories are set in the future.
Centers on superheroes (i.e., heroes with extraordinary abilities or powers) and their fight against evil forces such as supervillains. Typically incorporates elements of science fiction or fantasy, and may be a subgenre of them.
Hybrid genre within speculative fiction that simultaneously draws upon or combines tropes and elements from both science fiction and the genre of Western.
Genre of fiction typically set in the American frontier between the California Gold Rush of 1849 and the closing of the frontier in 1890, and commonly associated with folk tales of the Western United States, particularly the Southwestern United States, as well as Northern Mexico and Western Canada.
Similar to horror and fantasy, it overlaps with Paranormal Romance, Contemporary Fantasy, Urban Fantasy, Occult Detective Fiction, and Paranormal Fiction. It exploits or requires plot devices or themes that often contradict commonplace, materialist assumptions about the natural world.
Focuses on terrifying stories that incite fear. Villains may be either supernatural, such as monsters, vampires, ghosts and demons, or mundane people, such as psychopathic and cruel murderers. Often features violence and death.
Poul William Anderson was an American fantasy and science fiction author who was active from the 1940s until his death in 2001. Anderson also wrote historical novels. He won the Hugo Award seven times and the Nebula Award three times, and was nominated many more times for awards.
Science fantasy is a hybrid genre within speculative fiction that simultaneously draws upon or combines tropes and elements from both science fiction and fantasy. In a conventional science fiction story, the world is presented as grounded by the laws of nature and comprehensible by science, while a conventional fantasy story contains mostly supernatural elements that do not obey the scientific laws of the real world. The world of science fantasy, however, is laid out to be scientifically logical and often supplied with hard science-like explanations of any supernatural elements.
LGBT themes in speculative fiction include lesbian, gay, bisexual, or transgender (LGBTQ) themes in science fiction, fantasy, horror fiction and related genres.[a] Such elements may include an LGBT character as the protagonist or a major character, or explorations of sexuality or gender that deviate from the heteronormative.
Literary fiction, mainstream fiction, non-genre fiction, serious fiction, high literature, artistic literature, and sometimes just literature, are labels that, in the book trade, refer to market novels that do not fit neatly into an established genre or, otherwise, refer to novels that are character-driven rather than plot-driven, examine the human condition, use language in an experimental or poetic fashion, or are simply considered serious art.
The Aurealis Award for Excellence in Speculative Fiction is an annual literary award for Australian science fiction, fantasy and horror fiction. Only Australians are eligible for the award.
Slipstream is a literary genre or category of speculative fiction that blends together science fiction, fantasy, and literary fiction or does not remain in conventional boundaries of genre and narrative. It directly extends from the experimentation of the New Wave science fiction movement while also borrowing from fantasy, psychological fiction, philosophical fiction and other genres or styles of literature.
A science fiction magazine is a publication that offers primarily science fiction, either in a hard-copy periodical format or on the Internet. Science fiction magazines traditionally featured speculative fiction in short story, novelette, novella or novel form, a format that continues into the present day. Many also contain editorials, book reviews or articles, and some also include stories in the fantasy and horror genres.
Speculative poetry is a genre of poetry that focusses on fantastic, science fictional and mythological themes. It is also known as science fiction poetry or fantastic poetry. It is distinguished from other poetic genres by being categorized by its subject matter, rather than by the poetry's form. Suzette Haden Elgin defined the genre as "about a reality that is in some way different from the existing reality."
Fantasy television is a genre of television programming featuring elements of the fantastic, often including magic, supernatural forces, or exotic fantasy worlds. Fantasy television programs are often based on tales from mythology and folklore, or are adapted from fantasy stories in other media. The boundaries of fantasy television often overlap with science fiction and horror but also realistic fiction.
Mundane science fiction (MSF) is a niche literary movement within science fiction that developed in the early 2000s, with principles codified by the "Mundane Manifesto" in 2004, signed by author Geoff Ryman and the "2004 class" of the Clarion West Writers Workshop. The movement proposes "mundane science fiction" as its own subgenre of science fiction, typically characterized by its setting on Earth or within the Solar System; a lack of interstellar travel, intergalactic travel or human contact with extraterrestrials; and a believable use of technology and science as it exists at the time the story is written or a plausible extension of existing technology. There is debate over the boundaries of MSF and over which works can be considered canonical. Rudy Rucker has noted MSF's similarities to hard science fiction and Ritch Calvin has pointed out MSF's similarities to cyberpunk. Some commentators have identified science fiction films and television series which embody the MSF ethos of near-future realism.
Richard James Bleiler is an American bibliographer of science fiction, fantasy, horror, crime, and adventure fiction. He was nominated for the Bram Stoker Award for Best Non-Fiction in 2002 and for the Munsey Award in 2019–2022. He won the 2023 Munsey Award, given to “an individual or organization that has bettered the pulp community.” He is the son of bibliographer and publisher Everett F. Bleiler.
Farah Jane Mendlesohn is a British academic historian, writer on speculative fiction, and active member of science fiction fandom. Mendlesohn is best-known for their 2008 book Rhetorics of Fantasy, which classifies fantasy literature into four modes based on how the fantastic enters the story. Their work as editor includes the Cambridge Companions to science fiction and fantasy, collaborations with Edward James. The science fiction volume won a Hugo Award. Mendlesohn is also known for books on the history of fantasy, including Children's Fantasy Literature: An Introduction, co-written with Michael Levy. It was the first work to trace the genre's 500-year history and won the World Fantasy Award.
Gender has been an important theme explored in speculative fiction. The genres that make up speculative fiction, science fiction, fantasy, supernatural fiction, horror, superhero fiction, science fantasy and related genres, have always offered the opportunity for writers to explore social conventions, including gender, gender roles, and beliefs about gender. Like all literary forms, the science fiction genre reflects the popular perceptions of the eras in which individual creators were writing; and those creators' responses to gender stereotypes and gender roles.
Black science fiction or black speculative fiction is an umbrella term that covers a variety of activities within the science fiction, fantasy, and horror genres where people of the African descent take part or are depicted. Some of its defining characteristics include a critique of the social structures leading to black oppression paired with an investment in social change. Black science fiction is "fed by technology but not led by it." This means that black science fiction often explores with human engagement with technology instead of technology as an innate good.
Speculative fiction is defined as science fiction, fantasy, and horror. Within those categories exists many other subcategories, for example cyberpunk, magical realism, and psychological horror.
Elements of fantastical or supernatural fiction have been part of mainstream Russian literature since the 18th century. Russian fantasy developed from the centuries-old traditions of Slavic mythology and folklore. Russian science fiction emerged in the mid-19th century and rose to its golden age during the Soviet era, both in cinema and literature, with writers like the Strugatsky brothers, Kir Bulychov, and Mikhail Bulgakov, among others. Soviet filmmakers produced a number science fiction and fantasy films. With the fall of the Iron Curtain, modern Russia experienced a renaissance of fantasy. Outside modern Russian borders, there are a significant number of Russophone writers and filmmakers from Ukraine, Belarus and Kazakhstan, who have made a notable contribution to the genres.
Fantasy is a genre of speculative fiction which involves themes of the supernatural, magic, and imaginary worlds and creatures.
The following outline is provided as an overview of and topical guide to fantasy:
Mary Soon Lee is an American speculative fiction writer and poet.
References
1 2 Oziewicz, Marek (2017). "Speculative Fiction". Oxford Research Encyclopedia of Literature. doi:10.1093/acrefore/9780190201098.013.78. ISBN978-0-19-020109-8. Archived from the original on 18 October 2022. ... a super category for all genres that deliberately depart from imitating "consensus reality" of everyday experience. In this latter sense, speculative fiction includes fantasy, science fiction, and horror, but also their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured fairy tales, and more.
↑ Davies, Philip. "Review [untitled; reviewed work(s): Science Fiction: Its Criticism and Teaching by Patrick Parrinder; Fantastic Lives: Autobiographical Essays by Notable Science Fiction Writers by Martin Greenberg; Robert A. Heinlein: America as Science Fiction by H. Bruce Franklin; Bridges to Science Fiction by George E. Slusser, George R. Guffey, Mark Rose]. Journal of American Studies Vol. 16, No. 1 (April 1982). pp. 157–159.
↑ Izenberg, Orin (2011). Being Numerous: Poetry and the Ground of Social Life. Princeton: Princeton University Press. p. 210.
↑ Leitch, Thomas M. What Stories Are: Narrative Theory and Interpretation University Park, Pennsylvania: Pennsylvania State University Press, 1986; p. 127
↑ Domańska, Ewa (1998). Encounters: Philosophy of History After Postmodernism. Charlottesville, Virginia: University Press of Virginia. p. 10.
↑ Barry Baldwin, Emeritus Professor of Classics, University of Calgary, Fellow of the Royal Society of Canada, "Ancient Science Fiction", Shattercolors Literary Review
↑ Martha Tuck Rozett, "Creating a Context for Shakespeare with Historical Fiction", Shakespeare Quarterly Vol. 46, No. 2 (Summer, 1995), pp. 220–227
↑ Dorothea Kehler, A midsummer night's dream: critical essays, 2001
↑ Adcox, John, "Can Fantasy be Myth? Mythopoeia and The Lord of the Rings" in "The Newsletter of the Mythic Imagination Institute, September/October, 2003"
↑ Eric Garber, Lyn Paleo Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror, 2nd Edition, G K Hall: 1990 ISBN978-0-8161-1832-8
↑ Herodotus and Myth Conference, Christ Church, Oxford, 2003
↑ John M. Marincola, Introduction and Notes, The Histories by Herodotus, tr. Aubrey De Sélincourt, 2007
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