Is it Science Fiction or is it Fantasy?
What is the true definition of Science Fiction?
We ached and almost touched that stuff;
Our reach was never quite enough.
If only we had taller been
And touched God’s cuff, His hem,
We would not have to go with them
Who’ve gone before,
Who, short as us, stood as they could stand
And hoped by stretching tall that they might keep their land
Their home, their hearth, their flesh and soul.
But they, like us, were standing in a hole
Ray Bradbury, If Only We Had Taller Been
This excerpt from Ray Bradbury’s poem, If Only We Had Taller Been, shows the depth and intellect of his writing. Throughout the poem he creates the image of space travel, and delves into his love of science fiction. In, If Only We Had Taller Been, Bradbury was able to obtain captivating images of space without the mention of spaceships or time travel, making the poem raw and beautiful. Where did this type of intellect and writing go? How did science fiction transition into fantasy? Into a realm of ray guns and faster than light speed spaceships. Ballard challenges the current state of science fiction in his article, “Which Way to Inner Space”, he hones in on the shift and presents the idea of transitioning back to inner space and biological experimentation. He expresses in the article that he would “like to see more psycho-literary ideas, more meta-biological and meta-chemical concepts”(Ballard p.198). But this desire is not a new idea.
According to historians of literature, in the early nineteenth century Mary Shelly founded science fiction with her novel, Frankenstein. She brought a new idea to society: creation. By exploring science and elucidating Victor Frankenstien’s curiosity of electricity, Shelly births a continual theme: monsters. With this audacious decision, Shelly dove into the consequences of creation. In the book, the monster begins to feel and have emotions and craves the most intimate of human desires, love. But due to his deformities, no one would ever love him, or accept him. So he goes to his creator, Victor Frankenstein and ask for a companion. In this complex matter, Shelly revels human error and one begins to feel sympathy for the monster.
“Hateful day when I received life!’ I exclaimed in agony. ‘Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred.’
Frankenstein, by Mary Shelly
At this moment, the monster has traveled from town to town and yet no one will love him. Instead they gawk at his disfigured body. In order to get answers, the monster goes to confront his creator, Victor Frankenstein. Through this the consequences that follow biological experimentation are reveled. Victor Frankenstein zealously devoted himself to his creation, and in turn neglects everything else; and grows extremely obsessed. After all his endless labor, Victor brings to life his creation and its horrific appearance frightens him. Shelly emphasizes the abhorrent consequences that follows after one tries to play God. Even though there was a monster, Shelly was able to create an unrealistic and abstract story without going into outer space.
How did science fiction go from great works of literature that delved into the inner space and experimentation, to interstellar travel and ray guns? We have devolved into a society that craves for a fantasy world where time travel, faster than light speed space ships, and alien planets have become the common theme of science fiction. With that lingering thought, what defines science fiction and what defines sci-fi/fantasy? How are they different?
Science fiction deals with the impossible and seemingly unfeasible ideas for humanity to accomplish. It is a world of wonders and abstract thinking that explores what other genres cannot. In recent years, science fiction has evolved into a world of fantasy. No longer do authors and film directors produce inner space explorations. Instead, they have regressed to a more juvenile state of entertainment and have created the realm of space exploration. In the introduction of The Norton Book of Science Fiction Le Guin discusses the evolution of science fiction. According to her, in the 1960’s, science fiction began to change (Le Guin p.18). There was an increase in writers and readers, stirring up new ideas and morphing the science fiction genre into what it is today. Le Guin describes the sixties as an exciting time. Although there was turmoil in the world at the time, “the genocidal posturing of the cold war, the escalation of the Vietnam war, the realization that prophecies of overpopulation and ecological disasters were being fulfilled, and the strains of dissidence from the left, from blacks, from women”, writers were still able to create a “dark mirror of science fiction” (Le Guin p.18). The authors explored the failures, limits, ends, and finalities within their novels. Through this though, they were able to gain an understanding of human relevance in the universe. However in the 1970’s, science fiction changed, and writers produced what is known as “soft” fiction. The books did not have gender bias’s nor did they incorporate a lot of violence. The writers focused more on “generosity, courage, and innovation”(Le Guin p.19). As for the 1980’s science fiction became more artsy and druggy. There were a myriad of strange chemicals in the books, but once Le Guin put aside her judgmental state she was able to enjoy the books from the eighties. Even though each decade had its own style, they still explored the idea of metafiction, which, according to Le Guin, is a “self- reflective narrative that openly draws not only on ‘reality’ and ‘imagination’ but also on the body of existing fiction”(Le Guin p.19). The shifts in science fiction from the sixties, seventies, and eighties were greatly impacted because the world around the writers was changing. Even though they were dealing with outer space, they still incorporated some of the same issues and ideals that were current at the time of their publication.
On the other hand, Ballard presents the critical point that science fiction needs to change drastically. But in order to do that, it needs to completely alter is current content. This does not mean to make it boring, but instead create intellectual situations and concepts that are new and exhilarating. In Ballard’s article, “Which Way to Inner Space”, he lays out a framework thats need to change with science fiction’s present state. First of all he believes that “science fiction should turn its back on space, on interstellar travel, extraterrestrial life forms, and galactic wars”(Ballard p.197). He makes it evident that each of these themes spread across the board in many films and books. His second point is that science fiction should present more of a narrative form in its plot. According to Ballard, authors tend to add in time travel and telepathy to save the themselves from explaining the “interrelationships of time and space indirectly”(Ballard p.197). One of his biggest points, is that science fiction needs to start focusing on inner space. This means for authors to bring their stories back down to earth and emphasize more on the biological sciences instead of the physical science. Just look at how well Mary Shelly did with her novel, Frankenstein, that dealt with biological experimentation and creation.
Ballard thinks that science fiction is entirely capable of becoming the literature of tomorrow. If science fiction goes back to it’s foundational themes it will be one of the most captivating genres. The authors, even now, stretch their minds and imagination in order to create something that is thought-provoking and riveting to the reader. In my opinion, I would prefer a more abstract form of literature rather than read another novel about space. By exploring new and invigorating ideas, authors will gain the respect of avid readers. The audience will appreciate the fresh thoughts and ideas that form on the pages of a new novel.
Ballard, J. G. “Which Way to Inner Space.” New Worlds May 1962: n. pag. Web.
