The timestream or time stream is a metaphorical conception of time as a stream, a flowing body of water. In Brave New Words: The Oxford Dictionary of Science Fiction , the term is more narrowly defined as: "the series of all events from past to future, especially when conceived of as one of many such series". [1] Timestream is the normal passage or flow of time and its historical developments, within a given dimension of reality. The concept of the time stream, and the ability to travel within and around it, are the fundamentals of a genre of science fiction.
This conception has been widely used in mythology and in fiction.
This analogy is useful in several ways:
Science fiction scholar Andrew Sawyer writes, "The paradoxes of time—do we move in time, or does it move by us? Does it exist or is it merely an illusion of our limited perception?—are puzzles that exercise both physicists and philosophers..." [3]
Brian Stableford writes of the historical and philosophical concepts of time (and using the terminology of "flow"):
Like space, it is a basic aspect of experience; early philosophical treatments of the idea hesitated in a similar fashion over the question of whether time could be said to exist apart from the objects manifesting its effects. The manner of time's experience is, however, markedly different from that of space; time appears to 'flow' unidirectionally from the past into the future, bearing all existence with it, encapsulated in the momentary present.
The controversy as to whether time's flow is the very essence of reality or a mere allusion was already sharp in Classical times, Heraclitus holding to the former view while Parmenides and Zeno were convinced of the latter. [4]
The ancient Greek philosopher Heraclitus was famous for a statement that has been translated in many ways, most commonly as "No man ever steps in the same river twice," which is often called his "flux [flow] doctrine." [5] [6] [7] [8] An essayist for the Stanford Encyclopedia of Philosophy explained it in this manner: "Everything is in flux (in the sense that 'everything is always flowing in some respects'...) ..." [9]
In fiction, an alternate continuity is sometimes called an alternate timestream. [10] [11] [12] [13] [14]
The Time Stream , a 1946 science fiction novel by author John Taine (pseudonym of Eric Temple Bell), is the first novel to see time as a flowing stream. [15] It was originally serialized in Wonder Stories , in four parts, from December, 1931, to March, 1932. [16] Science fiction scholar E. F. Bleiler described how Taine employed the metaphor:
The basic concept is that time is a circular stream that runs eternally, with far past blending into far future. It is possible for certain individuals to enter this stream mentally and move in either direction, although this is a dangerous venture, for they may be carried away erratically by the stream. ... In San Francisco nine associates, who have been troubled by occasional memories of [the planet] Eos, band together to explore the time stream. They live out crisis moments in both times. [17]
Another mid-century novel which employed the term in its title was The Ship That Sailed the Time Stream (1965) by G. C. Edmondson (pseudonym of José Mario Garry Ordoñez Edmondson y Cotton). John Clute writes that this "and its sequel, To Sail the Century Sea (1981), are amusingly and graphically told Fantastic-Voyage tales involving a US ship and its inadvertent Time Travels. They remain his most successful books." [18]
Other fiction titles with the term include J. Robert King's 1999 novel Time Streams ( ISBN 0-7869-1344-4), [19] Michael Moorcock's 1993 collection A Nomad of the Time Streams ( ISBN 1-85798-034-4), and Charles M. Saplak's short story "Backwater by the Time Stream" (Manifest Destiny #1, Winter 1993). [20]
Discussing the theme of parallel universes, in an encyclopedia article which can usefully be applied to the concept of timestreams, Brian Stableford and David Langford write,
"A parallel world is another universe situated 'alongside' our own, displaced from it along a spatial fourth Dimension (parallel worlds are often referred to in sf as 'other dimensions'). Although whole universes may lie parallel in this sense, most stories focus on parallel Earths. The parallel-world idea forms a useful framework for the notion of Alternate History, and is often used in this way...
The idea that other worlds lie parallel to our own and occasionally connect with it is one of the oldest speculative ideas in literature and legend; examples range from Fairyland to the 'astral plane' of Spiritualists and mystics. There are two basic folkloristic themes connected with the notion; in one, an ordinary human is translocated into a fantasy land where s/he undergoes adventures and may find the love and fulfilment that remain beyond reach on Earth; in the other, a communication or visitation from the other world affects the life of an individual within this world, often injuring or destroying that person. Both patterns are very evident in modern imaginative fiction, shaping whole subgenres...
A common variant of the theme is that of a multiplicity of almost-identical worlds existing in parallel: alternate worlds in which there has been no significant change." [21]
Rick Sutcliffe provides a definition in a brief essay on his own fiction: "The timestream is an alternate history device used in Rick Sutcliffe's fiction. It is the medium in which the various alternate earths exist, or, if one prefers, it provides the connections among them, in the manner of C. S. Lewis' wood between the worlds -- a place between." [22]
While not discussing the timestream per se, scholar John Grant discusses a related topic, that of the time slip: "Generally protagonists [return] to their starting points but a frequent device is that, after repeated timeslips, the 'traveler' chooses to remain in the other period. Generally there is an emotional or psychological connection of some kind between the character and the earlier time — most often love... Unsurprisingly, timeslips are a staple of the subgenre of romance fiction called the Paranormal Romance, exemplified by Diana Gabaldson's Outlander (1991) and its sequels." [23]
Examples of the usage of timestream:
Mars, the fourth planet from the Sun, has appeared as a setting in works of fiction since at least the mid-1600s. Trends in the planet's portrayal have largely been influenced by advances in planetary science. It became the most popular celestial object in fiction in the late 1800s, when it became clear that there was no life on the Moon. The predominant genre depicting Mars at the time was utopian fiction. Around the same time, the mistaken belief that there are canals on Mars emerged and made its way into fiction, popularized by Percival Lowell's speculations of an ancient civilization having constructed them. The War of the Worlds, H. G. Wells's novel about an alien invasion of Earth by sinister Martians, was published in 1897 and went on to have a major influence on the science fiction genre.
An elder or progenitor race, in science fiction, fantasy, or horror fiction, is an ancient race that not only preceded but helped shape the races that followed, often playing a significant role in the basis of the story. Humanity may have been descended from them, or they may be a different fictional race, such as elves, dwarves, or aliens. While in some cases, whether they currently exist is unclear, in other instances, members of an elder race still inhabit the world, either openly or in secret. In order to hide their existence, they may make use of a wainscot society, inhabit a parallel universe, only visiting the current one occasionally, or disguise themselves as a fool, deity, magician or trickster. One such example is in Lord of Light (1967), where highly advanced humans take on the identities of Hindu deities and act as gods to the less advanced colonists.
In science fiction, hyperspace is a concept relating to higher dimensions as well as parallel universes and a faster-than-light (FTL) method of interstellar travel. Its use in science fiction originated in the magazine Amazing Stories Quarterly in 1931 and within several decades it became one of the most popular tropes of science fiction, popularized by its use in the works of authors such as Isaac Asimov and E. C. Tubb, and media franchises such as Star Wars.
An extraterrestrial or alien is a lifeform that did not originate on Earth. The word extraterrestrial means "outside Earth". Extraterrestrials are a common theme in modern science-fiction, and also appeared in much earlier works such as the second-century parody True History by Lucian of Samosata.
Fictional depictions of Mercury, the innermost planet of the Solar System, have gone through three distinct phases. Before much was known about the planet, it received scant attention. Later, when it was incorrectly believed that it was tidally locked with the Sun creating a permanent dayside and nightside, stories mainly focused on the conditions of the two sides and the narrow region of permanent twilight between. Since that misconception was dispelled in the 1960s, the planet has again received less attention from fiction writers, and stories have largely concentrated on the harsh environmental conditions that come from the planet's proximity to the Sun.
Jupiter, the largest planet in the Solar System, has appeared in works of fiction across several centuries. The way the planet has been depicted has evolved as more has become known about its composition; it was initially portrayed as being entirely solid, later as having a high-pressure atmosphere with a solid surface underneath, and finally as being entirely gaseous. It was a popular setting during the pulp era of science fiction. Life on the planet has variously been depicted as identical to humans, larger versions of humans, and non-human. Non-human life on Jupiter has been portrayed as primitive in some works and more advanced than humans in others.
Saturn has made appearances in fiction since the 1752 novel Micromégas by Voltaire. In the earliest depictions, it was portrayed as having a solid surface rather than its actual gaseous composition. In many of these works, the planet is inhabited by aliens that are usually portrayed as being more advanced than humans. In modern science fiction, the Saturnian atmosphere sometimes hosts floating settlements. The planet is occasionally visited by humans and its rings are sometimes mined for resources.
Pluto has appeared in fiction as a setting since shortly after its 1930 discovery, albeit infrequently. It was initially comparatively popular as it was newly discovered and thought to be the outermost object of the Solar System and made more fictional appearances than either Uranus or Neptune, though still far fewer than other planets. Alien life, sometimes intelligent life and occasionally an entire ecosphere, is a common motif in fictional depictions of Pluto. Human settlement appears only sporadically, but it is often either the starting or finishing point for a tour of the Solar System. It has variously been depicted as an originally extrasolar planet, the remnants of a destroyed planet, or entirely artificial. Its moon Charon has also appeared in a handful of works.
Asteroids have appeared in fiction since at least the late 1800s, the first one—Ceres—having been discovered in 1801. They were initially only used infrequently as writers preferred the planets as settings. The once-popular Phaëton hypothesis, which states that the asteroid belt consists of the remnants of the former fifth planet that existed in an orbit between Mars and Jupiter before somehow being destroyed, has been a recurring theme with various explanations for the planet's destruction proposed. This hypothetical former planet is in science fiction often called "Bodia" in reference to Johann Elert Bode, for whom the since-discredited Titius–Bode law that predicts the planet's existence is named.
Neptune has appeared in fiction since shortly after its 1846 discovery, albeit infrequently. It initially made appearances indirectly—e.g. through its inhabitants—rather than as a setting. The earliest stories set on Neptune itself portrayed it as a rocky planet rather than as having its actual gaseous composition; later works rectified this error. Extraterrestrial life on Neptune is uncommon in fiction, though the exceptions have ranged from humanoids to gaseous lifeforms. Neptune's largest moon Triton has also appeared in fiction, especially in the late 20th century onwards.
Uranus has been used as a setting in works of fiction since shortly after its 1781 discovery, albeit infrequently. The earliest depictions portrayed it as having a solid surface, whereas later stories portrayed it more accurately as a gaseous planet. Its moons have also appeared in a handful of works. Both the planet and its moons have experienced a slight trend of increased representation in fiction over time.
The fictional portrayal of the Solar System has often included planets, moons, and other celestial objects which do not actually exist. Some of these objects were, at one time, seriously considered as hypothetical planets which were either thought to have been observed, or were hypothesized to be orbiting the Sun in order to explain certain celestial phenomena. Often such objects continued to be used in literature long after the hypotheses upon which they were based had been abandoned.
Planets outside of the Solar System have appeared in fiction since at least the 1850s, long before the first real ones were discovered in the 1990s. Most of these fictional planets do not differ significantly from the Earth, and serve only as settings for the narrative. The majority host native lifeforms, sometimes with humans integrated into the ecosystems. Fictional planets that are not Earth-like vary in many different ways. They may have significantly stronger or weaker gravity on their surfaces, or have a particularly hot or cold climate. Both desert planets and ocean planets appear, as do planets with unusual chemical conditions. Various peculiar planetary shapes have been depicted, including flattened, cubic, and toroidal. Some fictional planets exist in multiple-star systems where the orbital mechanics can lead to exotic day–night or seasonal cycles, while others do not orbit any star at all. More fancifully, planets are occasionally portrayed as having sentience, though this is less common than stars receiving the same treatment or a planet's lifeforms having a collective consciousness.
Immortality is a common theme in fiction. The concept has been depicted since the Epic of Gilgamesh, the oldest known work of fiction. Originally appearing in the domain of mythology, it has later become a recurring element in the genres of horror, science fiction, and fantasy. For most of literary history, the dominant perspective has been that the desire for immortality is misguided, albeit strong; among the posited drawbacks are ennui, loneliness, and social stagnation. This view was challenged in the 20th century by writers such as George Bernard Shaw and Roger Zelazny. Immortality is commonly obtained either from supernatural entities or objects such as the Fountain of Youth or through biological or technological means such as brain transplants.
Supernovae, extremely powerful explosions of stars, have been featured in works of fiction since at least the early 1900s. The idea that the Sun could explode in this manner has served as the basis for many stories about disaster striking Earth, though it is now recognized that this cannot actually happen. Recurring themes in these stories include anticipating the inevitable destruction while being helpless and evacuating the planet, sometimes with the assistance of helpful aliens. The destruction of Earth in this manner occasionally serves as backstory explaining why humanity has started colonizing the cosmos. Another recurring scenario is radiation from more distant supernovae threatening Earth. Besides humans, alien civilizations are also occasionally subject to the dangers of supernovae. Supernovae are induced intentionally in several works, typically for use as weapons but sometimes for more peaceful purposes, and naturally occurring supernovae are likewise exploited in some stories.
Comets have appeared in works of fiction since at least the 1830s. They primarily appear in science fiction as literal objects, but also make occasional symbolical appearances in other genres. In keeping with their traditional cultural associations as omens, they often threaten destruction to Earth. This commonly comes in the form of looming impact events, and occasionally through more novel means such as affecting Earth's atmosphere in different ways. In other stories, humans seek out and visit comets for purposes of research or resource extraction. Comets are inhabited by various forms of life ranging from microbes to vampires in different depictions, and are themselves living beings in some stories.
The far future has been used as a setting in many works of science fiction. The far future setting arose in the late 19th century, as earlier writers had little understanding of concepts such as deep time and its implications for the nature of humankind. Classic examples of this genre include works such as H.G. Wells' The Time Machine (1895) or Olaf Stapledon's Last and First Men (1930). Recurring themes include themes such as Utopias, eschatology or the ultimate fate of the universe. Many works also overlap with other genres such as space opera, science fantasy or apocalyptic and post-apocalyptic fiction.
Technology in science fiction is a crucial aspect of the genre.
The Sun has appeared as a setting in fiction at least since classical antiquity, but for a long time it received relatively sporadic attention. Many of the early depictions viewed it as an essentially Earth-like and thus potentially habitable body—a once-common belief about celestial objects in general known as the plurality of worlds—and depicted various kinds of solar inhabitants. As more became known about the Sun through advances in astronomy, in particular its temperature, solar inhabitants fell out of favour save for the occasional more exotic alien lifeforms. Instead, many stories focused on the eventual death of the Sun and the havoc it would wreak upon life on Earth. Before it was understood that the Sun is powered by nuclear fusion, the prevailing assumption among writers was that combustion was the source of its heat and light, and it was expected to run out of fuel relatively soon. Even after the true source of the Sun's energy was determined in the 1920s, the dimming or extinction of the Sun remained a recurring theme in disaster stories, with occasional attempts at averting disaster by reigniting the Sun. Another common way for the Sun to cause destruction is by exploding, and other mechanisms such as solar flares also appear on occasion.
Impact events have been a recurring theme in fiction since the 1800s.
But every time you make a change in the timestream, no matter how slight, you are actually shifting to an alternate timestream.
No alternate time-stream, no dead come alive, nothing like that.
As they were now, [neither] had existed in the alternate time-stream.
Let's say you go back, kill your grandfather, then return, but to an alternate time-stream indistinguishable from your own except that, in this one, your grandfather was killed and one version of you never existed. The obvious intuitive problem with this theory is that it...presumes an infinite number of time-streams are generated spontaneously each moment in order to accommodate all possible divergence.
...Norman Spinrad's The Iron Dream (1972), which presents readers with a violent and pulpish science fiction novel, Lord of the Swastika, penned by a little-known author named Adolf Hitler in an alternative time-stream in which the Second World War never took place.
A timeslip occurs when a person inadvertently, and acausally, slides from one era into another...
In the DC Universe, the timestream is a place unaffected by time flows and a place used by the Monitors and time [travelers] in order to travel and correct time fluctuation.
Powers's latest genre-blending thriller (call it an occult/fantasy/espionage/existential adventure with elements of paranoid rant) concerns shadowy groups of international intriguers racing to locate a lost discovery of Albert Einstein's that could quite literally change history. ... Their predicament is about as dire as can be imagined, but it gives Powers's heroes the opportunity to confront their own pasts.
If one were to glean a message from this story, it could be that, as much as we might dream of going back and changing events in our past that have hurt us to one degree or another, the point of life is to move forward through the pain, and not linger on it, tormenting ourselves by never learning lessons or growing as people.
[Time travel is] a process involving gates, like holes in the ice over a frozen river...
Darrow describes time as a river and uses this as a really good counter argument to the butterfly effect (i.e. that a small incident in the past (e.g. the flap of a butterfly's wing) can affect the future on a much larger scale (like causing a hurricane); small disturbances in the river effect the flow downstream (i.e. in the future)...