CRITICAL TERMS FOR

SCIENCE FICTION
AND FANTASY
A Glossary and Guide to Scholarship

Gary K. Wolfe

GREENWOOD PRESS
New York
Westport, Connecticut
London
Library of Congress Cataloging-in-Publication Data
Wolfe, Gary K., 1946-
Critical terms for science fiction ami fantasy.
Bibliography: p.
Includes index.
I. Fantastic fiction-Dictionaries. 2. Science
fiction-Dictionaries. 3. Criticism-Dictionaries.
I. Title.
PN3435.W64 1986 809.3'876 86-3138
ISBN 0-313-22CJS1-3 (lib. bdg. : alk. pape!T)
Copyright 1986 by Gary K. Wolfe
All rights reserved. No portion of this book may be
reproduced, by any process or technique, without the
express wTitten consent of the publisher.
Library of Congress Catalog Card Number: 86-3138
ISBN: U-313-22981-3
First published in 1986
Greenwood Press, Inc.
88 Post Road West, Westport, Connecticut 06881
Printed in the United States of America

The paper used in this book complies with the

Permanent Paper Standard issued by the National
Information Standards Organization (Z39.48-1984).
10987654321
Contents

Preface vii
Introduction: Fantastic Literature and Literary Discourse xi
Critical Terms for Science Fiction and Fantasy
Works Consulted 145
Index of Primary Authors 157
Preface

For perhaps half a century now, those who write and read (and write
about) science fiction have been chronically unable to agree upon even
the meaning of the term ''science fiction" itself. In more recent years,
similar debates have arisen regarding allied genres of fantastic literature,
such as fantasy or horror fiction. Such confusion over the most basic
terminology is only the most visible symptom of a growing problem that
is apparent to anyone who rt!ads widely in tht! criticism and history of
these kinds of literature: On the one hand, concepts from traditional
literary discourse often seem inadequate to describe the peculiar tech-
niques and effects of the fantastic, while, on the other, terms coined
specifically to describe such literature frequently appear eccentric or
esoteric. Few branches of modern literary study have yielded as many
neologisms, specialized definitions, attempts at identifying subgenres,
and appropriations from other scholarly vocabularies as has the study
of fantastic literature-and yet the field is still far too young to have
established anything resembling a consensus critical vocabulary.
This glossary-the first literary glossary devoted specifically to the
study of fantastic literature-is not an attempt to prescribe such a vo-
cabulary, but rather to provide a guide to the breadth and variety of
the critical thought that has been brought to bear on this field. Nor is
this an encyclopedic reference work devoted to listing authors or themes-
several such works are available, and many are included in the bibli-
ography. (I would especially recommend Peter Nicholls' Science Fiction
Encyclopedia [1979] for those interested in such a comprehensive work.)
Finally, it is not a guide to that unique and colorful specialized vocab-
ulary known as "fanspeak," which is covered in Wilson Tucker's "Neo-
fan's Guide" (1955, 1973). Furthermore, this work contains very few
terms that overlap with such previous works.
viii PREFACE

A word of explanation is in order, then: What, exactly, is this book

for? Of the nearly 500 terms listed, most are drawn from critical books
and essays specifically concerned with science fiction and fantasy-both
from academic critics and from others who have written significantly
about these kinds of literature-especially practicing authors. Some of
these terms. like "extrapolation," entered the critical vocabulary through
a gradual process of assimilation. Others, such as "speculative fiction"
or "cognitive estrangement," have been specifically suggested by par-
ticular authors or critics. Unless such terms happen to gain unusually
wide acceptance, they are not likely to show up in standard reference
works, even though they may provide useful ways of thinking about
fantastic literature.
Another sizable group of terms (for example, "romance") comes from
the standard vocabulary of scholarly discourse, primarily that of literary
study but occasionally from such related fields as psychology or anthro-
pology. These terms have been included only when they have been
appropriated for specific uses by writers about fantastic literature, or
when they represent attitudes toward such literature by significant
mainstream" critics. Still other terms, like "blurb," may come from
the publishing industry itself, which is inevitably closely involved with
the development of any popular literature, and which has on occasion
lent special meaning to terms that later show up in critical and historical
vocabularies. Finally. there are a few fan terms, which have been in-
cluded only when they have entered broader critical usage than that
represented by the fan community itself.
Some thematic terms are included, particularly those that have been
used to refer to a particular set of conventions or subgcnrc and that are
not self-explanatory. Thus, while it did not seem necessary to include
"time travel," which is a fairly ubiquitous concept in a wide variety of
works, "post-holocaust" is included because of specific historical and
generic meanings that have been attached to it. Neologisms that are
themselves part of a science fiction narrative-such as A. E. Van Vogt's
nexialism" or Jack Williamson's "seetce"-are generally excluded, al-
though Isaac Asimov's "psychohistory" shows up, because of its fre-
quent confusion with the later concept as used by historians and because
of its significant relationship to ideas of cyclical history that have often
been invoked in discussing science fiction. Similarly, Asimov's "laws of
robotics" is includ~d because of the extent to which it has generated
critical debate that goes far beyond the specific stories that introduced
the concept. There is no entry for "robot," however.
Since the terms included were derived from scores of writings about
science fiction and fantasy ranging over more than a century and a half,
it seemed necessary to attempt to establish a context for them by pro-
viding some historical background. The introductory essay, then, tries
PREFACE ix

to identify some of the major conceptual problems that have evolved

in discussions of fantastic literature and to show how these problems
have in part been exacerbated by the development of separate critical
traditions in England and America and among the various groups who
have written about this literature-including authors, fans, publishers.
academic students of the genre, and "mainstream" critics. One hears
the complaint that science fiction too often singles itself out for special
consideration apart from the "mainstream," and indeed the very exist-
ence of a work such as this might seem to reinforce that self-imposed
segregation. But the fact remains that, whatever the causes, the critical
vocabulary of the mainstream often gives short shrift to the fantastic,
and scholars of the fantastic have often had to look elsewhere for their
critical terminology.
This work began as part of what was to have been a larger volume
confined to fantasy literature. An attempt at compiling a short glossary
of important critical terms, however, soon led me into a morass of
conflicting definitions and concepts, and the research involved in track-
ing down some of these terms grew increasingly challenging and fasci-
nating. Some of the entries, in fact, turned into short essays in attempts
to pin down the significance of particular concepts, while others turned
into mini-anthologies. (So many definitions of "science fiction" and
"fantasy" turned up, for example, that it w~uld have seemed the height
of hubris to try to synthesize these without letting other critics speak
for themselves.) It began to seem apparent that the glossary would likely
be the most fascinating part of the book. Finally, expanded to include
terms for science fiction as well as fantasy, it became the book. The
bibliography, which follows the glossary and to which entries in the
glossary are keyed, includes works important for their first or subsequent
usages of the terms defined and is in no sense supposed to be definitive.
Those seeking critical bibliographies are urged instead to consult such
works as Thomas D. Clareson's Science Fiction Criticism: An Annotated
Checklist (1972); Marshall B. Tymn, Roger C. Schlobin, and L. W.
Currey's A Research Guide to Science Fiction Studies ( 1977); and Mar-
shall B. Tymn and Roger C. Schlobin's The Year's Scholarship in Science
Fiction and Fantasy (1979 and subsequent years).
Roger Schlobin shared his considerable expertise about fantasy with
me throughout much of the project. Algis Budrys, who probably needs
this volume less than the rest of us, shared at times his encyclopedic
recall and critical acuity (and was himself the source of several terms).
Russell Letson also steered me toward some unusual terms and usages
and let me read his essay on academics and fans which proved invaluable
in preparing the introduction. Catherine McClenahan read part of the
manuscript and insightfully pointed out incomplete or (worse) "cop-
out" attempts at definition. Finally, I should thank Greenwood Press
X PREFACE

and Marilyn Brownstein in particular for a remarkable display of pa-

tience as this thing remained in its cocoon stage for an unconscionable
length of time, before finally transforming into something other than
what it was supposed to be in the first place. (My wife, Kary, also
endured this period.) Needless to say, none of these people bear any
responsibility for errors or misrepresentations that may be present-nor
do any of the scores of scholars and theorists about fantastic literature
whose work and thought make up the substance of this volume, and to
whom it is dedicated.
Introduction: Fantastic Literature
and Literary Discourse

The relationship between the arts of fantastic literature and the arts of
scholarly inquiry has long been a vaguely distrustful one; some might
even characterize it as a marriage of convenience born out of the science
fiction or fantasy writer's yearning for acceptance in the literary com-
munity and the academic's need for fresh critical material and improved
enrollments in sagging literature classes. To a great extent, in fact, the
dramatic blossoming of science fiction and fantasy scholarship which
began in the mid-1970s has been an extended game of catch-up: Students
(and teachers) from the thousand-odd science fiction and fantasy classes
suddenly being taught on campuses all over the world besieged librarians
for basic reference material, only to find that even the most respected
of genre authors were excluded from standard literary reference works.
The resulting demand created a significant library market for reference
works, books on the teaching of fantastic genres, general guides or
introductions to these genres, and more theoretical critical and historical
studies. At the same time, the growing acceptance of the genres as
objects of formal scholarly scrutiny created an atmosphere amenable to
critical dialogue within the academic community, and the community
of fans and professional authors continued as always to express a keen
interest in the nature and background of their field, as well as interest
in details about specific authors, publications, and works.
Science fiction and fantasy critics and scholars-most originally trained
in other academic fields-responded to this demand with a vengeance,
and genres that only a few years earlier had been all but invisible in
scholarly journals and on library reference shelves suddenly were among
the most scrutinized, catalogued, anatomized, and cross-referenced phe-
nomena in modern literature. Three major scholarly journals-Extrap-
olation, Science-Fiction Studies, and Foundation-appeared between 1959
xii INTRODUCTION

and 1972, and existing "fanzines" such as Riverside Quarterly turned

increasingly toward academic content. Reference works, once the sole
province of the fan press, began to appear from established publishers
for the library market during the 1970s, each one, it seemed, more
ambitious than the last. (The culmination of this exploitation of the
library market may well have been the Salem Press Surveys of science
fiction and fantasy, which appeared in 1979 and 1983 with a combined
total of over 5,000 pages of critical commentary!) Histories and theo-
retical studies began to proliferate, as did extensive bibliographies not
only of "classic," but of currently active authors. Series of individual
author studies appeared both from small presses such as Starmont House
and from major academic houses such as Oxford University Press, while
familiar ongoing series (such as those from Twayne) began for the first
time to include substantial numbers of volumes dealing with authors of
the fantastic. The collection of critical essays, usually a relatively minor
factor in the scholarship of more traditional literary fields, became a
dominant outlet for the scholarship of science fiction and fantasy, to the
extent that in 1982, more original essays appeared in such volumes than
in all the scholarly journals in the field combined. (Ironically, this seems
to parallel the history of science fiction book publishing, which was
largely dominated by anthologies during the postwar years before the
novel established its own market.)
While many of these works were excellent by any standards, others
were hastily produced and seemed to give credence to fears within the
science fiction and fantasy community that academia was after all op-
portunistic and exploitative, that academics were less interested in doing
serious research in the field than in seeking tenure in a contracting
profession. Such concerns were expressed repeatedly during the 1970s
not only by fans, but by professional writers and editors including Lloyd
Biggle, Jr., William Tenn, and Lester del Rey. While their fears that
the involvement of academia might somehow do "damage" to science
fiction itself seem rather naive, some of the specific concerns they ex-
pressed were not entirely without foundation, and the argument can be
made that academic publishing standards in science fiction and fantasy
have indeed become less rigorous than in some other scholarly areas.
(Again, it is tempting to draw a parallel with the history of science fiction
itself, and its period of pulp magazines during which prolificacy was
encouraged and deadlines were always imminent.) The extreme state-
ment of this position was made by Algis Budrys in a now-famous and
controversial review in the January 1983 Magazine of Fantasy and Sci-
ence Fiction, where he stated flatly that "the formal scholarship of spec-
ulative fiction is, taken in the whole, worthless. " 1 In addition to accusing
academics of being intellectually incestuous and of not doing adequate
primary research in the field, Budrys made an interesting point regarding
INTRODUCTION xiii

an essay by Harold Bloom in the volume under review. Quoting a

passage from Bloom, Budrys claimed it was "not directed at anyone
outside a tight circle who all share the same vocabulary and the same
library." The would-be literary scholar, Budrys argued, is forced to read
more criticism than actual literature, or would be in danger of losing
.. his grip on the nomenclature."
Budrys's point may be exaggerated, and the passage from Bloom that
prompted it may indeed seem arcane with its allusions to little-known
Gnostic writers, but the complaint has been made by academics them-
selves-both in and out of the science fiction and fantasy field-that
scholarship and what passes for scholarship have proliferated almost out
of control, that there are few established standards for such scholarship,
and that the plethora of opportunities for publications and conference
papers does in fact come to look suspiciously like a kind of "tenure
machine" for junior faculty. Far from being the .. tight circle" of initiates
that Budrys suspects, scholarship of the fantastic more often resembles
an intellectual flea market, with various methodologies, values, defini-
tions, and even primary texts competing for the attention of scholars
from disparate backgrounds who so far have not even been quite able
to agree upon what it is they are talking about.
Thus the main issue that Budrys raises in his complaint about audience
and vocabulary is one that bibliographer and editor Everett F. Bleiler
reiterated in his acceptance address for the 1984 Pilgrim Award from
the Science Fiction Research Association. our terms have become
muddled, imprecise, and heretical in the derivational sense of the word,"
Bleiler wrote. 2 Even such ubiquitous terms as .. science fiction," "fan-
tasy," .. Gothic," and utopia" lack commonly accepted meanings, he
argued, and anyone undertaking extended reading in this area of schol-
arship would be compelled to agree with him. At times it seems as
though every author of a theoretical or critical study deems it necessary
to invent terms or assign new definitions to old ones as a means of
staking a claim to originality, and these new definitions often in turn
imply whole new taxonomies or critical structures. At its most confusing,
the situation resembles what R. D. Mullen, in a 1976 review, charac-
terized as "Every Critic His Own Aristotle."-' No one is quite certain
whether the fantastic" describes a group of texts, something that hap-
pens within a text (or at what level it happens), or something that
happens to the reader encountering the text. Much the same is true of
science fiction. There is not even much agreement as to which texts
ought to be discussed. While scholars trained in literary disciplines grav-
itate toward those works that most resemble those they have been trained
to read (J. R. R. Tolkien and C. S. Lewis for several years accounted
for nearly a sixth of all the scholarly studies written about science fiction
or fantasy authors), fans may gravitate toward those works that most
xiv INTRODUCTION

epitomize what they like to read. Those whose point of reference is

Robert A. Heinlein may well question the relevance to science fiction
of an essay on the political ambiguities of Ursula K. Le Guin, while
those who come to science fiction via the ''literariness" of Le Guin are
apt to be mightily puzzled when they encounter A. E. Van Vogt.
Part of the reason for this confusion is that the vocabulary of modern
science fiction and fantasy studies derives from a number of different
traditions of discourse. I am not referring here to the "two cultures"
argument or to the often-stated belief among many science fiction writers
that proper discussion of the genre requires mastery of science as well
as of literature; if anything, this alleged problem has long since given
way to overcompensation, with humanistically trained scholars taking
obvious pride in their ability to invoke the vocabularies of science and
writers or fans equally resolute in demonstrating their mastery of tra-
ditional literary concepts. The problems involved in establishing a co-
herent domain of discourse are not likely to be resolved by science fiction
or fantasy writers talking ever more loudly about Balzac's narrative
structures or Faulkner's style, or by literary critics and scholars sum-
marizing for their own benefit the enigmas of quantum mechanics and
radio astronomy. Certainly, the dialogue between the sciences and hu-
manities that such things may lead to is commendable, but little if any
of the present confusion about terminology derives from such a schism.
The problem is not that the language of the literature differs from
the language of scholarly analysis-that problem is hardly unique to
science fiction and fantasy-but that separate ways of writing about
fantastic literature have evolved quite apart from each other, each with
its particular claim to precision and validity, and each contributing piece-
meal to the growth of a critical vocabulary. Concepts evolved in fandom,
in commercial publishing, in traditions of scholarship devoted principally
to realistic literature have met up with terms from the social sciences
and from such interdisciplinary domains as myth study, semiotics, pop-
ular culture, and structuralism. A second factor adding to this confusion
is that science fiction scholarship has, with few exceptions, evolved along
slightly different paths from fantasy scholarship, even though these tra-
ditions increasingly need to speak to each other about works they have
in common as well as about common methodological and theoretical
problems. Finally-and this is specifically the "every critic his own Ar-
istotle" problem-any emerging field of study is likely to yield an in-
ordinate number of neologisms as critics and scholars, finding little in
the way of background research or consensus terminology, simply con-
coct their own terms and concepts to help organize and clarify their
arguments. I doubt that any such critic is deliberately trying to be obtuse,
but when enough follow this practice, a point of diminishing returns is
soon reached at which the development of a common domain of dis-
INTRODUCTION XV

course is threatened rather than advanced. The problem is not unique

to science fiction and fantasy study by any means; it can be seen and
demonstrated in such highly methodological fields as semiotics and in
other areas of popular culture scholarship such as film or television study.
The result, of course, is some suspicion on all fronts. Scholars com-
plain that terms from fandom, such as "extrapolation" or "sense of
wonder," are imprecise and faddish, while fans and writers complain
that academics write only for each other. A publishing term such as
"pulp" confusingly may refer to a kind of cheap paper stock, the prose
printed on it, the assumptions underlying that prose, or any authors
(even of the modern era) who partake of those assumptions. A term
such as this may also carry widely varying connotations: for a fan writer,
"pulp" may invoke a ''Golden Age" (another rubbery term), while to
a traditional scholar, it may refer to one of the genre's worst embar-
rassments. "Myth" may mean a specific mechanism of cultural organi-
zation to one group of scholars or a primitive story to another; for some
fans it might be a buzzword to invoke cultural legitimacy for a favorite
genre. Each group, of course, claims to be speaking English while the
others are hopelessly mired in jargon.

IMAGINATION AND FANCY

Of these various domains of discourse that we employ to talk about
scie_nce fiction and fantasy, probably the first to evolve was the vocab-
ulary of imagination and fancy, familiar to modern readers from its most
famous formulation in Samuel Taylor Coleridge's Biographia Literaria
in 1817. But the debate over these terms had been going on for more
than a century prior to Coleridge's essay. In 1712, Joseph Addison
wrote, .. There are few words in the English language which are em-
ployed in a more loose and uncircumscribed sense than those of the
4
fancy and the imagination. " In setting out "to fix and determine the
notion of these two words," however, Addison made it clear that both
originally derive from sight. In other words, what we call imagination
or fancy has to do with our reactions to or memories of objects of nature
or art. Addison's view partakes of what was already a long-standing
view of imagination as a ''mirror" of the external world, to use a met-
aphor from Yeats borrowed by M. H. Abrams in his classic 1953 study,
The Mirror and the Lamp. But within the next century or so, this view
of imagination, thanks largely to the Romantic movement, would come
to be supplanted by a view of imagination as a "lamp" illuminating
unseen worlds beyond perceived reality.
This new view was already in evidence by the mid-eighteenth century.
xvi INTRODUCfiON

In 1741, the German critic, poet, and translator of Milton's Paradise

Lost, Johann Jakob Bodmer, wrote:

The imagination is not merely the soul's treasury, where the senses store their
pictures in safe-keeping for subsequent use; besides this it also has a region of
its own which extends much further than the dimension of the senses .... It not
only places the real before our eyes in a vivid image and makes distant thing~
present, but also, with a power more potent than that of magic, it draws that
which does not exist out of the state of potentiality, gives it a semblance of
reality and makes us see, hP.ar and feel these new creations.~

By 1762, a similar definition of imagination had entered the English

language, with Lord Henry Home Kames writing in his Elements of
Criticism, "this singular power of fabricating images without any foun-
dation in reality is distinguished by the name of imagination.,(,
A number of literary historians have identified this shift in the theory
of imagination as a revolution, a fundamental break in the history of
critical thought. It led, predictably enough, to a new attitude toward
the fantastic (which Friedrich Schlegel claimed in 1800 was a defining
characteristic of Romantic literature), and in turn to a number of debates
about the proper uses of the fantastic and the relative merits of images
drawn from nature, and images that sought to go beyond nature. The
brothers A. W. and Friedrich Schlegel, for example, devoted much of
their journal, Das Athenaeum, from 1798 to 1800 to debates about the
rules of fairy tales and other forms of Romantic literature. In his 1810
"A Vision of the Last Judgment," William Blake equated imagination
with "Visionary Fancy" and set this apart from fable or allegory, "a
totally distinct & inferior kind of Poetry ... Fable or Allegory is Form'd
by the daughters of Memory. Imagination is surrounded by the daughters
of Inspiration .... " 7 Blake's distinction not only anticipates Coleridge
(albeit with a different set of terms), but also anticipates a critical battle
that authors of fantasy from George MacDonald to C. S. Lewis would
wage-namely, that fantastic narratives are not necessarily allegories or
fables.
But it was Samuel Taylor Coleridge's 1817 distinction between fancy
and imagination that set the stage for the critical debate that wou!d
occupy much of the nineteenth century and that arguably surrounded
the birth of the modem fantasy narrative. Writing in the early chapters
of Biographia Literaria about Wordsworth's poetry, Coleridge describes
his growing conviction "that fancy and imagination were two distinct
and widely different faculties, instead of being, according to the general
belief, either two names with one meaning, or, at furthest, the lower
and higher degree of one and the same power. " 11 Later he describes the
imagination as "the living Power and prime Agent of all human Per-
INTRODUCTION xvii

ception,., the most godlike of human qualities, while the fancy "has no
other counters to to play with, but fixities and definites. The Fancy is
indeed no other than a mode of Memory emancipated from the order
of time and space .... " 9 In other words, the earlier concept of imagi-
nation-that it is essentially a mode of memory-Coleridge relegates to
the secondary status of "fancy," while the imagination represents some-
thing new and entirely different-what Coleridge w~s to call (in a term
that fortunately has not gained wide acceptance) the '"esemplastic" power
of the mind.
In English literary discourse, Coleridge's famous distinction did much
to establish the terms by which fantastic literature would be discussed
for the rest of the century, and in so doing, to give legitimacy to the
notion of a vocabulary of the fantastic. Indeed, according to Stephen
Prickett, "by 1825 something very extraordinary had happened. From
being terms of derision, or descriptions of daydreaming, words like
'fantasy' and 'imagination' suddenly began to take on new status as
hurrah-words. " 111 But while Romantic poets and their critics could un-
dertake debates about the nature of imagination as revealed through
literary art, and while Romantic narrative artists such as Edgar Allan
Poe and Sir Walter Scott could begin to construct theoretical exami-
nations of the nature of their craft (a tradition continued by later fantastic
authors from George MacDonald to 1. R. R. Tolkien and C. S. Lewis),
critics in the major English journals remained skeptical of the uses of
the fantastic in works of fiction. 11 Fantasy elements were widely regarded
as superstitious and were generally tolerated only if supported by evi-
dence of actual belief or if supported by didactic or moral purpose. Even
Sir Walter Scott himself, while praising Mary Shelley's Frankenstein
(1818) in his essay "On the Supernatural in Fictitious Composition''
{1827), demanded that fantastic elements should be controlled and char-
acterized by "philosophical reasoning and moral truth." 12 Scott's essay
is of interest not only because it represents one of the earliest critical
discussions of a work now generally regarded as science fiction, but
because it reveals an attitude that would become increasingly dominant
in the later nineteenth century: that fantastic inventions, in an increas-
ingly pragmatic and industrialized age, required some sort of extralit-
erary rationale for their legitimate employment in a work of literature.
The attitude is exemplified in a more extreme form in an anonymous
essay titled "The Progress of Fiction as an Art," which appeared in the
Westminster Review in 1853. Argued this author, art, like technology,
progresses from more primitive to more sophisticated forms, and "a
scientific, and somewhat sceptical age, has no longer the power of be-
lieving in the marvels which delighted our ruder ancestors.'' 13 The fan-
tastic, in other words, was inappropriate for an age of science and
morality, and the values of realism came to dominate literary discourse,
xviii INTRODUCTION

despite the fact that the Victorian age itself was one of the great periods
in the development of fantasy literature. "Falsehood is so easy, truth
so difficult," wrote George Eliot in 1859. "The pencil is conscious of a
delightful facility in drawing a griffin-the longer the claws, and the
larger the wings, the better; but that marvellous facility which we mis-
took for genius is apt to forsake us when we want to draw a real unex-
aggerated lion. " 14

THE DEFENSE OF FANTASY

Realism became not only a principle of the journal reviewers of nine-
teenth-century England and America, but also one of the early values
inculcated in the formalized study of literature in the classroom. It is
important to remember that a critical vocabulary for the discussion of
works of fiction did not really emerge until the universities began to
accept fiction as worthy of formal scrutiny, and that universities by and
large resisted this until well into the twentieth century. As an academic
discipline, "English" began as a working-class version of classics studies,
"first institutionalized," as Terry Eagleton writes, "not in the Univer-
sities, but in the Mechanics' Institutes, working men's colleges and ex-
tension lecturing circuits." 15 (It is important for scholars and writers
especially of science fiction to remember, in their dismay over the re-
luctance of traditional departments to accept their subject as a valid
scholarly endeavor, that similar battles were once fought for English
literature, American literature, and, more recently, film-not to men-
tion such other areas as anthropology, sociology, and economics.) The
study of vernacular literature was thus viewed as a kind of moral im-
perative, focusing on the humanizing and "improving" effects such lit-
erature might have on those who studied it; this factor, too, undoubtedly
helped shift the focus of literary discourse toward realism and repre-
sentations of actual life.
Partly for these reasons, when something reasonably resembling mod-
ern fantasy began to emerge, it often did so in the disguise of children's
literature (as with Carroll and Kingsley), pseudohistorical fiction (as
with Scott), or pseudomedievalia (as with Morris). And for similar rea-
sons, critical discussions of fantasy have often been primarily defenses
of the genre. In fact, it might be argued that much modern fantasy
theory derives from this externally motivated rhetorical stance. When
an early reviewer of George MacDonald's Phantasies (1858), sometimes
regarded as the first modern fantasy novel in English (although heavily
derivative of German Kunstmiirchen), treated the book as an allegory,
MacDonald fired off a rather impatient letter to a friend, complaining,
"I don't see what right the Athenaeum has to call it an allegory and
judge or misjudge it accordingly-as if nothing but an allegory could
INTRODUCTION xix

have two meanings!" 16 The resurrection of Blake's old distinction be-

tween allegorical and visionary imagination became a recurring necessity
in fantasy criticism, and it quickly became conflated with Coleridge's
distinction between fancy and imagination. In his 1893 essay "The Fan-
tastic Imagination,'' MacDonald offered his own definitions of these
terms, arguing (as one might expect from a Scottish minister) that the
higher faculty of imagination represents "new embodiments of old truths,"
whereas fancy consists merely of invention for its own sake. 17
Among the "old truths" that MacDonald referred to was the notion
that the physical universe might yield to moral laws, a notion increasingly
embattled under the discoveries of Victorian science, but one that could
be safely reclaimed in the context of a fantastic narrative. Several early
writers about fantasy expressed such ideas. G. K. Chesterton, for ex-
ample, in his 1908 essay "The Ethics of Elfland," defended fairy tales
according to what he called a "Doctrine of Conditional Joy"-the no-
tion, common in fairy tales, that a great reward might depend on not
violating some apparently arbitrary taboo, thus implying a universe gov-
erned by human actions rather than by coldly mechanistic forces. Such
a universe, of course, may be found in myth, and it was not long before
critics of fantasy would turn to myth as an appropriate narrative model
(and a source of legitimacy) for fantastic narratives. E. M. Forster's
1927 Aspects of the Novel includes a chapter on what he called the
"fantastic-prophetical axis" of fiction-works that convey a sense of
mythic time or that imply the presence of a supernatural world-and
defines an important subgenre that connects such works to mythic sources,
na~ely the "adaptation" or reworking of familiar classical material.

MODERN FANTASY THEORY

Despite the frequent defenses of the genre by MacDonald, Chester-
ton, and others such as Oscar Wilde and William Morris, it can be
argued that much of modern academic scholarship of fantasy derives
from one essay. In 1938, while he was working on the trilogy that would
perhaps do more than any other single work to place fantasy study in
the university curriculum (for better or worse), the Oxford philologist
1. R. R. Tolkien delivered a lecture titled "On Fairy-Stories" at the
University of St. Andrews. Later expanded for inclusion in an Oxford
University Press volume in honor of Tolkien's friend Charles Williams,
this lecture outlined a number of concepts that have since become staples
in fantasy theory. Beginning by attempting to define (largely by exclu-
sion) the fairy story, Tolkien soon focuses on the term "Faerie" itself,
identifying this as the Perilous Realm," the general details of atmos-
phere and setting that reveal a sense of the supernatural, a magical view
of nature, and a Mirror of scorn and pity" toward humanity. Such a
XX INTRODUCfiON

"secondary world" demands literary or "secondary belief,'' and the artist

who creates such a world becomes, on the model of the deity, a ''sub-
creator." 111
Such fantasy, argues Tolkien, offers four principal psychological func-
tions for the reader. Fantasy itself is the first of these-the purest form
of human creativity, and one that enhances rather than undermines
reason, since it depends on the reader's exercise in distinguishing the
real from the not-real. "Recovery" is Tolkien's term for the "regaining
of a clear view" or an innocent perspective; and "escape" is a kind of
coping mechanism exemplified by the symbolic escape from death em-
bodied in many fairy stories. Finally, "consolation" is provided by the
tale's happy ending, or "eucatastrophe." Overall, these effects give rise
to a sense of "joy" not unlike the joy of religious revelation. (Tolkien
even suggests the Gospels as a kind of mythic model for the fairy tale
form.) A later psychoanalytic critic, Bruno Bettelheim, adopted Tolk-
ien 's four-part reader-response structure in his 1976 study, The Uses of
Enchantment.
The same volume of Essays Presented to Charles Williams in which
"On Fairy-Stories" first saw print also included a shorter essay by Tol-
kien's fellow-Inkling, C. S. Lewis. Lewis's famous "space trilogy" (Out
oftheSilent Planet, 1938;Perelandra, 1943; ThatHideousStrength, 1945)
had given him what was at the time a wider reputation as a fantasist
than Tolkien's, and his still-earlier classic study of medieval narrative
tradition (The Allegory of Love, 1936) had laid out a number of ideas
that would become crucial to modern approaches to fantasy. George
MacDonald's anger at being called an allegorist was indirectly reflected
in that volume, for example, when Lewis distinguishes between alle-
gorical and "symbolic" narratives, the latter symbolizing aspects of a
higher reality rather than aspects of the experiential world. Lewis also
traced the gradual "liberation" of fantasy narratives from their allegor-
ical justifications, giving rise to stories in which the imagination becomes
largely its own reward.
"On Stories," which appeared in the Oxford University Press volume,
carried this argument further by postulating that "story" serv~s a lib-
erating function quite apart from its embodiment in a particular rhe-
torical mode, and citing fantasy as the purest form of storytelling. More
than Tolkien, Lewis brought his ideas to bear on works that have since
come to be regarded as part of the canon of modern fantasy-William
Morris' The Well at the World's End (1896), David Lindsay's A Voyage
to Arcturus (1920), E. R. Eddison's The Worm Ouroboros (1922)-and
thus helped to establish that canon as well. In later essays, Lewis de-
fended fantasy in the context of his own fiction, of children's literature,
and of science fiction (although he came to view the latter as a kind of
mechanistic degradation of mythic storytelling). His 1961 An Experiment
INTRODUCTION xxi

in Criticism-the "experiment" was his suggestion to suspend evaluative

criticism for a while and let reader response dictate the relative power
of works of literature-included chapters on myth, fantasy, and realism.
Myth he viewed as the most powerful of all stories, not only because
of its numinous quality but because of its extraliterary appeal, its sense
of inevitability, and its fantastic elements. Fantasy and realism, he ar-
gued, are both confusing and misused terms-fantasy because of its
various psychological and cultural meanings, realism because it may
refer either to .. realism of content" (verisimilitude) or realism of pre-
sentation" (internal consistency and believability).
In 1961, when An Experiment in Criticism appeared, there was still
no coherent body of academic work on fantasy. Occasional essays had
appeared in specialized journals, a few authors such as Morris had been
treated as part of Victorian studies, and several studies of children's
literature had found it necessary to deal with fantasy; but as a genre
fantasy had received not even the attention paid to the Gothic horror
story. During the 1960s, however, two developments drew the attention
of the academic world to fantasy, or at least to the fantastic. One was
the enormous popular success, especially on college campuses, of Tol-
kien's Lord of the Rings trilogy in its Ballantine paperback edition. The
other was the employment of fantastic themes and images on the part
of a number of major literary figures such as John Barth, Vladimir
Nabokov, Jorge Luis Borges, and Thomas Pynchon. Other factors may
have also played a role in bringing about increased attention to the
fantastic-the growing popularity of science fiction, new attention being
paidto popular literature and popular culture in general, a shift toward
structural and analytical rather than historical and evaluative modes of
criticism--even, some would say, the depletion of fertile ground for
younger academics seeking a route to tenure or a dissertation topic.
Certainly, the interaction of Anglo-American and European modes
of criticism became a factor. One of the first systematic theoretical works
to deal with fantastic literature was Bulgarian philologist Tzvetan To-
dorov's The Fantastic: A Structural Approach to a Literary Genre (1970),
which appeared in English translation in 1973. Todorov's dual purpose
of critiquing genre theory and defining the structure of a particular genre
called attention to the ways in which fantastic literature raises important
questions about narrative in general, and helped to bring the fantastic
to the attention of other literary theorists. The fantastic, according to
Todorov, must satisfy three conditions: It should establish a believable
narrative world in which events occur that cause the reader to hesitate
between natural and supernatural explanations; it should provide a view-
point character who shares this hesitation; and it should steer the reader
away from purely poetic or allegorical interpretations of these events.
Once this hesitation is resolved and the fantastic events prove real or
xxii INTRODUCTION

unreal, the work moves into another genre: the "uncanny," or super-
natural explained, or the ''marvelous." While many students of fantasy
find this definition of a genre unacceptably narrow (much fantasy would
seem to fit into Todorov's category of the marvelous), Todorov does go
on to offer a number of important comments on the nature of the
marvelous and the ways in which it might be manipulated through var-
ious techniques. Science fiction, for example, is the "scientific marvel-
ous," in which objects impossible in the world of the narrative are
rationalized through scientific or pseudoscientific means.
By shifting the discussion of the fantastic away from purely thematic
or topical considerations and toward the state of mind of the reader,
Todorov invited a kind of rhetorical criticism of fantasy that quickly
became a central element in modern discussions of the genre. Of those
studies written largely or in part in response to Todorov, the most
significant is surely Rosemary Jackson's Fantasy: The Literature of Sub-
version (1981). Viewing fantasy as a somewhat broader literary mode
than does Todorov, Jackson brings to its study a number of concepts
from psychoanalytic theory, arguing that fantasy is a historically deter-
mined form which provides expression for the fundamental anxieties
and desires of a culture.
Eric S. Rabkin's The Fantastic in Literature (1976) owes some debts
to Todorov but takes a radically different approach to the idea of the
fantastic. Whereas Todorov focuses on a particular element within a
work which might make it fantastic, Rabkin defines the fantastic as a
broad continuum of works ranging from the nearly realistic to the purely
chaotic and dreamlike. Science fiction, myths, fairy tales, horror stories,
heroic fantasy, and many other genres may be arrayed along this con-
tinuum according to their fantastic content. What defines fantasy, he
argues, is the deliberate reversal of "ground rules" within the narrative
and the depiction of events that are later shown to be in keeping with
the new ground rules; Rabkin calls such events "dis-expected" as op-
posed to "unexpected." Like Tolkien and Lewis, Rabkin defends the
escapist function of such works by arguing that they may offer new
perspectives on the reader's experiential world, that they may reveal
new modes of perception, and that in fact the fantastic may collectively
constitute a "basic mode of human knowing. " 19
The same year that Rabkin's study appeared saw the publication of
W. R. Irwin's The Game of the Impossible: A Rhetoric of Fantasy.
Broader in focus than Todorov's and yet narrower than Rabkin's, Irwin's
study was perhaps the first to attempt a formal delineation of a genre
of fantasy, which he defined as "a story based on and controlled by an
overt violation of what is generally accepted as possibility. " 20 While this
bears obvious similarities to Rabkin's reversal of "ground rules," Irwin
adds the dimension of "play" in arguing that this violation of norms is
INTRODUCTION xxiii

willingly participated in as a kind of ''conspiracy" between author and

reader. Irwin identifies five types of fantasy-those involving supernat-
ural powers, those based on impossible personal changes or metamor-
phoses, those dealing with incredible societies, those that adapt or parody
other works or belief systems, and those based on "organized innocence"
or childlike simplicity. Unlike Rabkin, however, he concludes that fan-
tasy is finally a diversion, based in wit, play, and fancy, and not a part
of the mainstream traditions of human thought or literature.
A similar conclusion is reached by the Scottish critic C. N. Manlove
in his 1975 Modern Fantasy: Five Studies. After defining fantasy as fiction
evoking wonder and centrally involving supernatural beings, things, or
worlds, Manlove draws a distinction similar to that drawn by George
MacDonald between fancy and imagination. MacDonald's "fancy" here
becomes "comic" or "escapist" fantasy, such as Manlove sees in the
works of many popular fantasists from Morris to Eddison to Cabell. (In
his later The Impulse of Fantasy Literature (1983], he called these works
"anaemic" fantasy.) "Imaginative fantasy" is that which attempts to
construct a coherent vision of a transformed reality, and provides the
focus of Manlove's chapters on Kingsley, MacDonald, Lewis, Tolkien,
and Peake. Nearly all of these authors fail in some crucial way, according
to Manlove, who speculates that lack of shared belief between author
and audience may make modern fantasy too risky an undertaking, and
one that is more often than not doomed to failure. In The Impulse of
Fantasy Literature, Manlove attempts to identify the reasons people keep
writing and reading fantasies despite these pitfalls, and arrives at the
conclusion that fantasy is at base a celebration of identity.
Despite their reservations about the genre, Manlove and Irwin did
much to establish a set of works to be discussed under the rubric fantasy
and a framework for their discussion. Like Rabkin and Todorov, how-
ever, these critics tended to focus on the rhetorical and psychological
aspects of the genre. Stephen Prickett's 1979 Victorian Fantasy, on the
other hand, is more purely a historical study, and as such is important
in establishing a context for some of the functions of major works in
the genre. Far from being self-indulgent escapism, Prickett argues, fan-
tasy narratives provided important means of exploring some of the major
concerns of the era-madness, sexuality, childhood, and the hidden
worlds revealed by the emerging sciences of biology, chemistry, phys-
iology, and geology. Furthermore, fantasy became a kind of mediator
for some of the chief social tensions of the era-progress versus tradition,
freedom versus inhibition, prosperity versus poverty, justice versus
repression. Although he docs not construct a clear taxonomy of fantasy
types, his demonstrations of how individual works reacted against and
moved beyond the prevailing norms of realism provide an impressive
case for the importance of historical research to fantasy scholarship. A
xxiv INTRODUCTION

similarly historical work concerning American literature is Brian At-

tebury's The Fantasy Tradition in American Literature ( 1980), which
sees American fantasists working even more in a kind of "underground,"
given what Attebury finds is a persistent bias against the fantastic in
American folklore and culture. American fantasists, he argues, have
sought to reclaim for the American experience the older storytelling
traditions in the hopes of constructing a uniquely American version of
fairyland.
By the early 1980s, fantasy scholarship was fairly widespread and
reasonably well accepted by the academy. It is even possible to identify
emerging schools of criticism of the genre: While Christine Brooke-
Rose's 1982 A Rhetoric of the Unreal draws upon Todorov and later
traditions of European post-structuralist criticism, Ann Swinfen 's 1984
In Defence of Fantasy returns clearly to Tolkien as its critical model.
Kathryn Hume's Fantasy and Mimesis, also published in 1984, explores
the notion that fantasy may not be a genre at all, but rather a response
to reality opposed to the more traditional mode of mimesis. Roger
Schlobin's 1982 The Aesthetics of Fantasy Literature and Art, probably
the first collection of critical essays on the topic, demonstrates a variety
of critical approaches and even conflicting definitions without appearing
to lose its focus, indicating perhaps that the first generation of fantasy
scholarship is at an end.
But future students of fantasy must look beyond academic studies in
order to get a complete picture of how ideas about fantasy have evolved
during the past twenty years. Publishers, fan writers, anthologists, bib-
liographers, and librarians have all contributed to the establishment not
only of a fantasy canon but also to the terminology and to the estab-
lishment of what author Samuel R. Delany calls "reading protocols."
''Adult fantasy," which once was a code word for pornography, became
a kind of critical term largely through the efforts of Lin Carter, who
chose this rubric as the title for a highly successful series of paperback
reprints from Ballantine Books beginning in 1969, and who himself wrote
a popular history of fantasy as part of that series in 1973. Editors Robert
H. Boyer and Kenneth J. Zahorski, in a series of anthologies beginning
in 1977 (and which are widely used in the classroom), did much to pop-
ularize such terms as "high fantasy," "low fantasy," and "Christian fan-
tasy." Bibliographies such as those by Roger Schlobin, Diana Waggoner,
and Marshall B. Tymn (in collaboration with Boyer and Zahorski) im-
plicitly add to critical debate not only in their introductions and annota-
tions, but by their very principles of inclusion and classification. The
delineation of such subgenres as "sword and sorcery" and "science fan-
tasy" has been worked out sometimes to incredible detail in the fan press.
And for better or worse, the marketing and acquisitions practices of pub-
lishing houses have tended to emphasize certain conventions and narra-
INTRODUCTION XXV

tive modes over others. The multivolume novel or continuing series of

novels, for example, have almost become more the norm than the excep-
tion, and popular extratextual devices such as maps, genealogies, illus-
trations, and glossaries have very nearly become forms in themselves.
Despite its growing legitimacy, the study of fantasy is far from a settled
matter, still very much fragmented by the various communities that have
given rise to it, and still uncertain in its critical vocabulary.

THE GROWTH OF SCIENCE FICTION SCHOLARSHIP

If fantasy criticism developed largely as an adjunct to formal literary
study, growing from the early isolated defenses of the genre to more
theoretical studies and eventually to historical and bibliographical ap-
proaches, science fiction criticism evolved in a radically different man-
ner: Its beginnings lay clearly outside the realms of traditional literary
discourse, in pulp and fan magazines, and within the specialty presses.
It might not be too much of a generalization to say that fantasy schol-
arship is an outgrowth of English and European critical tradition, while
science fiction scholarship, like modern science fiction itself, is largely
an American phenomenon: populist, combative, and dominated in its
initial stages by the kind of bibliographical and historical concerns that
are as much of interest to the collector as to the scholar. In many ways,
early science fiction criticism constitutes a unique kind of popular schol-
arship, and even today the close relationships among author, editor,
reader, and critic are an unusual characteristic of science fiction.
From the beginning of the pulp era, letter columns such as "The
Eyrie" in Weird Tales (founded 1923), "Discussions" in Amazing Stories
(1926), "The Reader Speaks" in Wonder Stories (1929), and "Science
Discussions" {later '"Brass Tacks'') in Astounding Stories (1930) debated
the merits of stories from previous issues, as well as artwork, editorials,
layout, scientific and pseudoscientific matters, and-inevitably-the na-
ture and characteristics of "scientifiction" as a genre (although a term
like "genre" would have seemed radically out of place in such columns).
It did not take long for correspondence with the magazines and with
each other to seem inadequate for some fans, and individually produced
"fanzines" began to appear by 1930, with organized fan meeetings and
"conventions" only a few years behind. The science fiction folk culture,
with its passion for neologisms and grand debates, was under way-and
since many of these early fans would in time become professional authors
themselves, the vocabulary of fandom gradually would become conflated
in part with the vocabulary of the professional author, and in turn with
the vocabulary of the publishing industry. Later academic critics, con-
fronted with this makeshift critical tradition which had seemingly grown
in virtual isolation from any identifiable literary or critical discourse,
xxvi INTRODUCTION

found themselves in an almost unprecedented situation, and the relation

of fan scholarship to formal scholarship remains a topic of debate within
the genre.
What is perhaps the most significant critical work to emerge from the
early fnn publications concerned itself more with fantasy than with sci-
ence fiction. H. P. Lovecraft's long essay, Supernatural Horror in Lit-
erature. was first commissioned for an amateur publication in 1924 and
later revised for a fanzine in the 1930s (although the fanzine folded, and
the essay finally appeared in the 1939 omnibus volume, The Outsider
and Others, from Arkham House-which itself began with the devotion
of a fan, August Derleth). Lovecraft's work was in part derivative of
earlier studies and was as resolutely eccentric as his fiction, but it brought
to fandom a tradition of what Lovecraft himself would no doubt have
enthusiastically termed "gentlemanly scholarship" and demonstrated
that works of academic significance could emerge from the community
of pulp magazines and fan writers. Later fan undertakings would range
from ambitious histories of the genre to useful but highly specialized
concordances (such as a 1968 concordance to the works of E. E. Smith),
many of them taking advantage of private collections, correspondence,
interviews, and other sources not readily available to later scholars in
universities.
After World War II, as science fiction began to move from the ex-
clusive province of magazines into the bookstores and libraries, and as
the pulp era died, more thoughtful book reviews and occasional surveys
of the field began to appear in the professional magazines as well as in
the fan press. In 1947, Lloyd Arthur Eshbach edited for his newly formed
Fantasy Press a symposium of articles by well-known science fiction
authors Of Worlds Beyond: The Science of Science Fiction Writing (prob-
ably the first book-length treatment of modern science fiction). The
most significant contribution to this symposium, Robert A. Heinlein's
"On the Writing of Speculative Fiction," raised important questions
about the proper name of the genre (Heinlein preferred speculative
fiction") and about the role of extrapolation (which remains one of the
key buzzwords of the field and eventually became the title of an academic
journal). Jack Williamson's "The Logic of Fantasy" discussed a number
of principles which he saw as governing internal consistency in a fantastic
story and which anticipated more formal attempts to describe the genre
by later critics. Other essays, by John Taine (Eric Temple Bell), A. E.
Van Vogt, L. Sprague de Camp, Edward E. Smith, and John W. Camp-
bell, Jr., focused more narrowly on how to write stories-and indeed,
the general thrust of the volume was that of a writers' handbook. Never-
theless, appearing the same year as the Oxford University Press volume
which featured essays by Tolkien and Lewis, Of Worlds Beyond was in
lNTRODUCTlON xxvii

its way as significant to the development of science fiction criticism as

the former volume was to the development of fantasy criticism.
Formal academic attention to science fiction is also generally said to
have begun in 1947, with the publication of J. 0. Bailey's historical
study Pilgrims through Space and Time: Trends and Patterns in Scientific
and Utopian Fiction. Written mostly during the 1930s and published not
by a university press but by a New York bookseller, Bailey's work is in
two parts: a historical survey that outlines the prehistory of the genres,
focuses heavily on the period 1870-1915, and appends a chapter written
later on post-1915 science fiction; and an attempt at identifying various
narrative characteristics and themes of the genre. Although the book's
rather mechanical taxonomizing of concepts provides little in the way
of a coherent critical approach, and although some members of the fan
community objected to the short shrift given magazine science fiction,
Bailey's work did much to establish the groundwork for all future his-
torical studies of the genre. Together with Everett Bleiler's lengthy
bibliography, The Checklist of Fantastic Literature, which appeared the
following year (also from a specialty press), it also helped establish a
canon of early works, provided evidence of a long and significant tra-
dition of science fiction writing, and developed a context for discussion
of emerging trends and themes.
Bailey's study might have had greater impact at the time had it not
come up against the distrust of some fans who viewed him as an "out-
sider." "Inside" and "outside" had by the 1940s already become sig-
nificant categories to readers of science fiction when discussing critical
treatments of the genre; perhaps sensitive to a scathing 1939 essay in
Harper's in which mainstream critic Bernard DeVoto attacked the pulps,
readers had become wary of any such attention tendered by "academics"
or "literary types" (especially if they were not American: William L.
Hamling devoted an entire editorial in a 1953 issue of the science fiction
magazine Imagination to a sneering attack on an early essay about sci-
ence fiction by the Polish writer Stanislaw Lem). 21 At the same time,
writers and editors within the genre seemed anxious to capitalize on
such "outside" attention, and The Magazine of Fantasy and Science
Fiction did not hesitate throughout the 1950s to parade on its back cover
endorsements from Clifton Fadiman, Orville Prescott, Basil Davenport,
and other "literary types." Davenport himself wrote a short study of
science fiction in 1955, Inquiry into Science Fiction, in which he discussed
with some sophistication questions of definition, the distinction between
science fiction and fantasy, and such subgenres as space opera, "scientific
science fiction," and speculative science fiction.
A literary essay by a mainstream figure that was in many ways quite
similar to Davenport's was Kingsley Amis' New Maps of Hell (1960),
xxviii INTRODUCTION

based on a series of lectures given at the Christian Gauss seminars at

Princeton. Again raising questions of definition and the relationship to
fantasy, Am is begins with a breezy survey of the early history of the
genre and settles in to base his defense of it largely on the satirical and
anti-utopian works that emerged from Galaxy magazine in the llJ50s,
and in particular on works by Ray Bradbury, Robert Sheck ley, and
Frederik Pohl (whom Amis characterizes as "the most consistently able
writer science fiction, in the modern sense, has yet produced"). 22 By
focusing on science fiction largely as a satirical mode, Amis was able to
link the modern genre directly with a respectable literary tradition; by
focusing on contemproary works, he was able to draw attention to sci-
ence fiction as a vital ongoing phenomenon and not as a curiosity of
literary history or popular culture. For these reasons (as well as Amis'
reputation), New Maps of Hell probably had greater impact outside the
genre than any earlier critical work-and its influence within the genre
was assured by its being reprinted by Ballantine Books in its mass-market
series of science fiction paperbacks.
Meanwhile, ''inside" criticism and theory continued its own devel-
opment in books as well as magazines. Following Eshbach's lead, Reg-
inald Bretnor edited three collections of original essays on science fiction
in 1953, 1974, and 1976. The first of these, Modern Science Fiction: Its
Meaning and Its Future, was a comprehensive attempt to assess the status
of the genre in 1953, with contributions from John W. Campbell, Jr.,
Anthony Boucher, Isaac Asimov, Arthur C. Clarke, Philip Wylie,
Fletcher Pratt, L. Sprague de Camp, and others. The collection intro-
duced a number of definitions of the genre and raised a number of
issues-including relationships to the mainstream, "social sc'ience fic-
tion," religious themes, and the influence of publishers-which would
remain key topics for discussion in later scholarship. Bretnor's second
collection, Science Fiction Today and Tomorrow, reassessed the field
from the vantage point of 1974 and featured essays by Pohl, Frank
Herbert, Theodore Sturgeon, James Gunn, Gordon R. Dickson, Jack
Williamson, Poul Anderson, and a number of other writers. While some
of these essays covered the same ground as the earlier collection, others
focused more on the growing acceptance of science fiction as literature
(and the concomitant need for critical methods and vocabularies), while
others focused more on technique. Bretnor's third collection, The Craft
of Science Fiction, emphasized technique in particular, although several
of the essays contained valuable critical and historical insights.
L. Sprague de Camp's Science Fiction Handbook appeared in 1953,
and the anonymously edited collection (with an introduction by Basil
Davenport) The Science Fiction Novel: Imagination and Social Criticism,
based on talks by major writers at the University of Chicago, in 1959.
While de Camp's book (revised and reissued in 1975) is very much a
INTRODUCTION xxix

how-to manual, the Davenport collection of essays by Heinlein, C. M.

Kornbluth, Alfred Bester, and Robert Bloch was one of the first to raise
significant questions regarding what might be called the "social con-
science" (or lack of it) in the genre. Kornbluth's essay in particular
comments on the failure of the genre to fully realize its potential, and
this attitude of critical self-examination is evident in the other essays as
well. Although a slim volume, this collection is representative of a ma-
turing of the genre's self-awareness that was also reflected in the mag-
azine criticism of Damon Knight and James Blish.
Magazine criticism, in fact, was perhaps even more important in es-
tablishing a common set of critical assumptions than the various books
we have been discussing. Blish published a four-part survey of "The
Science in Science Fiction" in 1951 and 1952 issues of Science Fiction
Quarterly, and James Gunn published several articles (derived from his
master's thesis) on "The Philosophy of Science Fiction" and "The Plot-
forms of Science Fiction" in Dynamic Science Fiction in 1953 and 1954.
Such essays drew both on the authors' academic training and on their fa-
miliarity with the genre as readers and authors, and thus represent the
earliest attempts at deriving a consensus critical vocabulary for the genre.
Blish, with his critical assessments of magazine fiction (collected under
the name "William Atheling, Jr.," in The Issue at Hand [1964] and More
Issues at Hand [1970]), and Knight, with his reviews published in the
professional magazines (collected as In Search of Wonder [1967]), each
held the genre to rigorous standards of critical analysis during the crucial
years of the early 1950s, identifying major themes and concepts with a
clarity- that would prove of great value to later scholars seeking an
understanding of this period. The importance of the genre's major in-
ternal critics in establishing a context for later science fiction and fantasy
criticism cannot be overestimated, although it is sometimes surprising
how few academic researchers are familiar with the work of these critics/
reviewers. From the synoptic early reviews of the pulps and early digest
magazines (sometimes with several books neatly disposed of in a simple
paragraph or even on a chart), genre reviewing has emerged as a sig-
nificant body of critical work in its own right, with Algis Budrys (who
has also contributed to academic publications) the most notable example
since 1965. Budrys's reviews in Galaxy (collected in Benchmarks: Galaxy
Bookshelf, 1985) and later The Magazine of Fantasy and Science Fiction
often digress into critical theory and inevitably seek to establish a context
for the book under discussion, and his essay "Paradise Charted" (pub-
lished in Triquarterly, Fall 1980) remains the most useful and insightful
short survey of the development of modern science fiction.
Despite the presence of such acute critics as Blish, Knight, and Bud-
rys, the magazines did not entirely forgo the celebratory and often
defensive traditions of earlier fan criticism. Sam Moskowitz's sketches
XXX INTRODUCTION

of major writers in the genre, originally published in magazines and

gathered into two volumes in 1963 (Explorers of the Infinite) and 1966
(Seekers of Tomorrow), tended distinctly toward uncritical celebration
and dogged source-hunting, sometimes sacrificing accuracy of detail for
the dramatic anecdote. Yet these volumes were widely read and were
for a considerable time virtually the only published source of biograph-
ical data about a number of writers. More important than these volumes,
as works of scholarship, are Moskowitz's various historical anthologies
of early science fiction which began appearing in the late 1960s.
Yet there was still little dialogue between "insiders" and ''outsiders,"
and with the exception of Bailey, few of the "outsiders" were profes-
sional scholars formally engaging the genre in any systematic way. The
so-called academic awakening, associated with the study of science fic-
tion and fantasy in universities, would not really get under way until
the 1970s, and it came about not only because of literary scholars turning
their attention to science fiction, but because of science fiction writers
such as James Gunn, Jack Williamson, Brian Aldiss, and Samuel R.
Delany entering the arena of literary scholarship.
Probably the first academic study of science fiction to be published
under the imprimatur of a university press was Robert M. Philmus' Into
the Unknown: The Evolution of Science Fiction from Francis Godwin
to H. G. Wells, published by the University of California Press in 1970.
Oxford University Press had published H. Bruce Franklin's anthology
Future Perfect: American Science Fiction of the Nineteenth Century, with
its extensive critical commentary, in 1966, but Philmus' book was ex-
clusively a critical and historical study, more carefully researched and
theoretically coherent than similar material covered in Bailey's 1947
volume. Somewhat dated in the light of later research, it remains a
pioneer study.
During the 1970s, academic studies of science fiction began to appear
with increasing regularity. Bowling Green University Popular Press is-
sued Thomas D. Clareson's SF: The Other Side of Realism, a collection
of essays by various hands, in 1971; and Clareson's Science Fiction Crit-
icism: An Annotated Checklist appeared from Kent State University
Press in 1972, the first extensive bibliography of writings about science
fiction. Clareson, a fan-turned-academic who had been involved in the
first Modern Language Association seminars on science fiction and who
founded the journal Extrapolation, continued to edit volumes of essays
throughout the 1970s, and contributed much valuable research of his
own concerning the early history of American science fiction and the
lost-race narrative in particular, culminating in Some Kind of Paradise:
The Emergence of American Science Fiction (Greenwood Press, 1985).
David Ketterer's New Worlds for Old: The Apocalyptic Imagination,
INTRODUCTION xxxi

Science Fiction, and American Literature (1974) was one of the first
theoretically rigorous attempts to locate science fiction in a tradition of
literary discourse (what Ketterer called the "apocalyptic"); and in 1975
David Samuelson's Visions of Tomorrow provided detailed readings of
six classic science fiction novels, demonstrating convincingly that the
best science fiction could stand up to the kind of sophisticated textual
and thematic analysis traditionally associated with the realistic novel.
That same year saw the appearance of a slim volume by Robert Scholes,
a renowned critic whose interest in narrative had brought him increas-
ingly closer to the genre over a number of years. Structural Fabulation,
based on a series of lectures delivered at Notre Dame, contained some
broad theoretical proclamations and limited analysis of individual works,
but it did demonstrate that science fiction was beginning to draw the
attention of the critical "establishment," much in the same way that
Kingsley Amis' 1960 volume seemed to represent the attention of the
literary mainstream.
By the late 1970s, enough of a body of criticism had been established
that it no longer seemed necessary for each new volume to be compre-
hensively theoretical or historical in scope. Paul A. Carter's The Creation
of Tomorrow (1977) focused exclusively on the history of American
magazine science fiction, while Walter Meyers' Aliens and Linguists
(1980) dealt with language in science fiction, Patricia Warrick's The
Cybernetic Imagination in Science Fiction (1980) dealt with artificial
intelligence, Warren Wagar's Terminal Visions (1982) dealt with escha-
tological themes, and Casey Fredericks' The Future of Eternity dealt
with mythologies and myth systems. Theoretical models for the discus-
sion of the genre were presented by Darko Suvin (Metamorphoses of
Science Fiction [1979]), Gary K. Wolfe (The Known and the Unknown:
The Iconography of Science Fiction [1979]), and Mark Rose (Alien En-
counters [1981]).
Of these theoretical studies, the most widely discussed and debated
has undoubtedly been Suvin's. Defining the essential quality of science
fiction as "cognitive estrangement," Suvin provides a carefully reasoned
argument for setting the genre apart from related genres of fantastic
literature and for treating utopian fiction as a subgenre. He is careful
to place science fiction in the context of an intellectual tradition of
sociopolitical thought and, in the second half of his volume, analyzes
this tradition in terms of the early history of the genre both in Europe
and in America. His work is significant not only for bringing to science
fiction the methods of structuralist and Marxist literary analysis (and for
bringing science fiction to the attention of these disciplines), hut also
for the attention it pays to Eastern European science fiction and the
utopian tradition. While a number of readers have complained of Suvin 's
xxxii INTRODUCTION

rather dense style, the rigor of his methodology helped to set new stan-
dards for the discussion of science fiction in the context of intellectual
history.
An equally rigorous and challenging critic emerged during this time from
within the genre itself. Samuel R. Delany's critical writings, collected in The
Jewel-Hinged Jaw ( 1977), The American Shore ( 1978), and Starboard Wine
( 1984), focus largely on the kinds of language that make up fantastic narratives
and the evolution of conventional ways of reading, or' 'protocols,'' that enable
the reader to relate such language meaningfully to experience. Delany's fre-
quently brilliant, often pyrotechnic critical approach draws equally on the
highly personal experiences of a young fan turned author and on extensive
study of European post-structuralist modes of analysis. More than any other
critic, Delany has shown promise of bridging the gap between the traditions
of the science fiction writer-critic and the academic, but largely because of
this his essays have not always been as widely or well received as they deserve.
(Part of the problem, too, is their relative inaccessibility from having been
published in hardbound editions by a specialty press.)
If "academic" critics began to focus largely on science fiction in a broader
intellectual context, a number of writers in the genre began to turn to its own
internal history and development, and the 1970s saw a number of ambitious
histories of the genre, followed soon by more detailed and personal memoirs
and autobiographies. The first and best of the histories was Brian Aldiss'
Billion Year Spree: The True History of Science Fiction ( 1973), which im-
mediately generated controversy by its assertion that science fiction is a Ro-
mantic, post-Gothic narrative mode which began with Mary Shelley's
Frankenstein in 1817. Using that novel as his starting point, Aldiss proceeds
to persuasively demonstrate how the fundamental concerns laid out by Shelley-
the Faustian theme, the dual nature of human consciousness, the use and
misuse of science-have informed science fiction works throughout the nine-
teenth and twentieth centuries. Aid iss' British perspective provides him not
only with an acute sensitivity to the traditions of the English novel that science
fiction initially worked within and against, but also with a certain distance
from the American magazine tradition, which he treats with a rare objectivity
and good humor.
Much closer to the official" American history (in the sense of one which
conforms to the most widely held beliefs of many writers and fans) is James
Gunn's lavishly illustrated Alternate Worlds: The Illustrated History of Sci-
ence Fiction ( 1975). Gunn's work is avowedly a popular history rather than
a work of detailed scholarship, and it is valuable particularly for its treatment
of the evolution of science fiction in terms of the growth of technology and
the evolution of techniques of mass market publishing. Gunn makes few
controversial claims regarding the major figures in the field, but he does
provide the perspective of a working writer, and he conveys a sense of science
fiction as a profession and a popular art form in a way that more purely literary
INTRODUCTION xxxiii

treatments of the genre often miss. A similar "writer's" perspective may be

found in Lester del Rey's resolutely idiosyncratic The World of Science Fic-
tion: the History of a Subculture ( 1979), a highly anecdotal and opinionated
survey that covers much of the same ground as Gunn, but with more attention
paid to the fan subculture and to del Rey's own career.
Where there are histories, there will be bibliographies and reference works.
Everett F. Bleiler's Checklist of Fantastic Literature ( 1948) long served as
the standard bibliography of the genre, but with the rise of more specialized
audiences for bibliographies-libraries, teachers, and scholars as well as col-
lectors-there came a need for more detailed and selective bibliographies and
encyclopedias. For a genre still in the process of establishing its basic canon
and lineage, this came both as a blessing and a curse: Authors found them-
selves entombed before their times, reputations were concretized in a few
glib paragraphs, obscure authors were elevated to permanence, and younger
authors were often relegated to limbo. More than in most fields of literary
study, the reference work in science fiction (or fantasy) is inevitably a critical
act. Early and fairly comprehensive bibliographies such as R. Reginald's
Stella Nova ( 1970) (expanded in 1979 to the massive two-volume Science
Fiction and Fantasy Literature) were relatively uncontroversial, but the col-
laborative efforts that led to Neil Barron's attempt at a definitive science
fiction bibliography for libraries and scholars with Anatomy of Wonder (1976;
second edition, 1981) seemed to constitute a consensus critical assessment of
the genre. Particularly in its second edition, Barron's bibliography is inval-
uable, as is Peter Nicholls' The Science Fiction Encyclopedia ( 1979). Much
of the value of these books is that they do offer critical judgments, but some
critics have argued, for example, that the Nicholls volume seems biased
toward the "New Wave" or that the Barron volume (in its first edition)
slighted non-English-language science fiction.
While the Nicholls and Barron volumes were compiled by teams of scholars
working together, other reference works have solicited contributions from
wide ranges of authors and academics, with the result that they often partake
both of the essay collection and the encyclopedic dictionary. Curtis C. Smith's
Twemieth Century Science Fiction Writers ( 1981) is among the most complete
of such volumes, with entries on over 600 authors consisting of short essays
by various critics and bibliographies compiled sometimes by the editor. David
Cowart and Thomas L. Wymer's Twentieth Century American Science Fiction
Writers ( 1981 ), a volume in Gale Research's Dictionary of Literary Biog-
raphy, follows a similar format but attempts to focus the essays somewhat
by the rubric "literary biography"; this volume ran into some problems with
its sometimes arbitrary assignment of author and critic-essayist, although in
general its essays are more detailed than those in the Smith volume. But by
far the most ambitious undertaking of this sort was the Salem Press Survey
of Science Fiction Literature ( 1979), edited nominally by Frank Magill but
with most of the work done by Keith Neilson. Focusing on 500 key works
xxxiv INTRODUCTION

of science fiction, this five-volume set features original essays on these works
by an anny of scholars and critics. Apart from the critical compromises
implicit in selecting works for inclusion, these essays are inevitably uneven
and widely divergent in their critical approaches. Nevertheless, the volume
represents one of the most exhaustive critical undertakings ever devoted to a
popular genre.
As a result of all these reference works and essay collections, for a while
more critics were spending time writing general-purpose assessments of au-
thors than were contributing to the major journals in the field. Extrapolation,
the first academic journal on science fiction, had existed since 1959, growing
from a semiannual newsletter for the Modem Language Association's Seminar
on Science Fiction to a full-fledged journal. Under the editorship of Thomas
Clareson from its founding until 1986, it remains the most eclectic of the
field's journals, and it was for years the source of the standard annual bib-
liography of scholarship until these bibliographies began to be issued sepa-
rately by Kent State University Press, which now publishes the journal as
well. (In 1985, the annual bibliography returned to Extrapolation.)" Foun-
dation, the first British science fiction journal, appeared in 1972 and con-
sistently features essays of the greatest clarity of style; many of the contributors
are the scholars who worked on Nicholls' Encyclopedia. Like that work,
Foundation partakes of certain traditions of fan scholarship and has perhaps
won greater acceptance among fans and writers than the other journals. Sci-
ence-Fiction Studies (SFS) was founded in 1973 under the editorship of Darko
Suvin and R. D. Mullen and soon became associated with political, socio-
logical, and semiotic approaches to the genre, and with discussions of non-
English-language science fiction. By far the most theoretical of the periodicals,
SFS has also had the most consistent viewpoint, despite its own protestations
of eclecticism.
By the mid-1970s, these three journals were publishing a combined total
of nine issues per year, and at least a half-dozen university presses were
including science fiction and fantasy scholarship on their lists. At least five
of these-Oxford, Indiana, Southern Illinois, Kent State, and Bowling Gree~
would commit to publishing series of studies on fantastic literature. Specialty
presses as well, most notably Borgo and Starmont House, began issuing series
of individual author studies, critical and reference works, and collections of
interviews. G. K. Hall began issuing a series of library-bound bibliographies
of individual science fiction and fantasy authors, and Greenwood Press un-
dertook an extensive series of original studies and collections of essays under
the editorship of Marshall Tymn as 'Contributions to the Study of Science
Fiction and Fantasy." In 1984, UMI Research Press began to mine uncon-
verted doctoral dissertations for a series of "Studies in Speculative Fiction.
Taplinger and Ungar issued series of essay collections. Textbook publishers,
too, found a market for science fiction anthologies and texts, as did library
reprint houses and yet more reference book publishers.
INTRODUCTION XXXV

Whether this relatively sudden blossoming of essays and books about sci-
ence fiction and fantasy meets a genuine need is of course questionable, and
raises again the question discussed earlier concerning the potential academic
exploitation of the field. At the same time, it is apparent that interest in the
fantastic is generally far greater than it once was, and that it cannot be
accounted for solely by library markets for new books or by ambitious college
faculty. Those who have contributed to the recent spate of reference books
and critical anthologies include not only academics, but fans who had pre-
viously published in unpaid fanzines, professional authors from within the
genre, and "literary essayists" whose interest in the work is neither purely
professional nor purely academic. The problem is that each of these groups
brings to their work a different set of critical assumptions and terminology,
and the resulting confusion arguably compromised the coherence of a great
many of the critical volumes on the genre that have appeared in the last decade
or so. While it might reasonably be argued that science fiction scholarship is
no more eclectic in its terminology than literary scholarship in general, it is
also true that there has been too little attention paid to the etiology and
etymology of some of the more specialized terms, and perhaps a concomitant
failure in communication among the various communities that have contrib-
uted to and continue to contribute to the scholarship of fantastic literature.
Scholars and fans almost certainly need to pay more attention to the best of
each other's work, and there may even be insights from such work that the
''pro" community of writers, editors, and publishers could find useful. It
may seem a simplistic claim, but only when these various communities begin
to look at each other's words can they fairly evaluate each other's ideas.

NOTES
I. Algis Budrys. "Books," Magazine of Fantasy and Science Fiction 64, no.
1 (January 1983); 19. Budrys was reviewing George Slusser, Eric S. Rabkin,
and Robert Scholes' Bridges to Fantasy (Carbondale: Southern Illinois Univer-
sity Press, 1982). Rabkin's response to the review appeared in Fantasy News-
letter, no. 60 (June/July 1983). The earlier attacks on academia include Lloyd
Biggle, Jr., "Science Fiction Goes to College: Groves and Morasses of Aca-
deme,'' Riverside Quarterly 6 (April 1974); 100-109, and "The Morasses of
Academe Revisited," Analog 98 (September 1978): 146-163; William Tenn,
Jazz Then, Musicology Now," The Magazine of Fantasy and Science Fiction
42 (May 1972): 107-110; Ben Bova, "Teaching Science Fiction," Analog 93
(June 1974): 5-8; and Lester del Rey, "The Siren Song of Academe,'' Galaxy
36 (March 1975): 69-80, reprinted in Antaeus 25126 (Spring/Summer 1977); 312-
322. Russell Letson's essay "Contributions to the Critical Dialogue: As an
Academic Sees It," delivered at the 1986 International Conference on the Fan-
tastic in the Arts but unpublished at the time of this writing, is perhaps the most
intelligent discussion of this debate so far.
xxxvi INTRODUCTION

2. Everett F. Bleiler. "Pilgrim Award Acceptance Address," SFRA News-

letter, no. 123 (July/August 1984): 12.
3. R. D. Mullen, "Every Critic His Own Aristotle," Science-Fiction Studies,
no. 10 (November 1976): 311. The book under review was Eric S. Rabkin's The
Fantastic in Literature (Princeton: Princeton University Press, 1976).
4. Joseph Addison, The Spectator 411 (June 21. 1712).
5. Quoted in Lilian R. Furst, Romanticism in Perspective (New York: Hu-
manities Press, 1970), p. 332.
6. Cited in "Imagination," Oxford English Dictionary.
7. William Blake. "A Vision of the Last Judgment," in Geoffrey Keynes,
ed., Complete Writings (London: Oxford University Press, 1967). p. 604.
8. Samuel Taylor Coleridge, Biographia Literaria, excerpted in Selected Po-
etry and Prose, ed. Donald R. Stauffer (New York: Modern Library. 1951),
p. 156.
9. Coleridge, p. 263.
10. Stephen Prickett, Victorian Fantasy (Bloomington: Indiana University
Press, 1979). p. 2.
11. Ruth Amelia Berman, "Suspt!uding Disbelief: The Development of Fan-
tasy as a Literary Genre in Nineteenth-Century British Fiction as Represented
by Four Leading Periodicals: Edinburgh Review, Blackwood's, Fraser's, and
Cornhill," Ph.D. diss., University of Minnesota, 1979.
12. Quoted in Donald P. Haase, "Romantic Theory of the Fantastic," in
Frank N. Magill, ed .. Survey of Modem Fantasy Literature (Englewood Cliffs,
N.J.: Salem Press, 1983), vol. 5, p. 2251.
13. Quoted in Gary K. Wolfe, "Contemporary Theories of the Fantastic,"
in Magill, V, p. 2221.
14. Adam Bede (New York: Signet, 1961 [1859]}, p. 176.
15. Terry Eagleton, Literary Theory: An Introduction (Minneapolis: Uni-
versity of Minnesota Press, 1983), p. 27.
16. Quoted in Wolfe, p. 2222.
17. Quoted in Wolfe, p. 2222.
18. J. R. R. Tolkien, "On Fairy-Stories," A Tolkien Reader (New York:
Ballantine, 1966), p. 26.
19. Eric S. Rabkin, The Fantastic in Literature (Princeton: Princeton Uni-
versity Press, 1976), p. 227.
20. W. R. Irwin, The Game of the Impossible (Urbana: University of Illinois
Press, 1976), p. 4.
21. The DeVoto essay was titled "Doom beyond Jupiter," Hurper's 179 (Sep-
tember 1939); 445-448; a more sympathetic treatment of the genre by Clemence
Dane ("American Fairy Tales," North American Review 242 [September 1936);
143-152) was generally overlooked. Hamling's editorial (Imagination; Stories of
Science and Fantasy 4, no. 4 [May 1953); 4-5) was largely an anticommunist
diatribe that attempted to argue that, since science fiction was written for en-
tertainment and money. it was proof of the advantages of American freedom.
22. Kingsley Amis, New Maps of Hell (New York: Ballantine, 1960), p. 102.
CRITICAL TERMS FOR SCIENCE
FICTION AND FANTASY

Cross-references to other entries in the glossary are marked with

an asterisk(*), except for the terms "science fiction," "fantasy,"
and "genre" (which appear too frequently to make this practical).
References to enumerated sources in the list of Works Consulted
are given in brackets, while citations to works not listed there
are given in context in the entry itself. In a few cases, in which
a term is so widespread or so variant in usages that citations
would prove impractical, no source is given.
A

ABSURD. Albert Camus' term for the human condition (Le Mythe de
Sisyphe, 1942; trans. "The Myth of Sisyphus," 1955), which became
commonplace in criticism after Martin Esslin used it in 1961 to describe
a group of postwar dramatists-Beckett, Ionesco, Pinter, and others-
who rejected representational techniques of the realistic theatre in favor
of a variety of fantasy devices [44]. Since then, the term has been applied
to fiction as well, in particular the fiction of those authors like Beckett
who are associated with the Theatre of the Absurd. Many, if not most,
absurd works are in some degree fantasies, and some partake of the
thematic furniture of science fiction as well. For example, Eugene
Ionesco's Rhinoceros (1960) concerns the transformation of humans into
beasts, while Samuel Beckett's Endgame (1957) is set in a desolate world
resembling that of Post-Holocaust* fiction (198]. Peter Nicholls has also
described an .. absurdist" tradition within science fiction, which includes
works of J. G. Ballard, Kurt Vonnegut, Jr., Harlan Ellison, Brian Aldiss,
and Thomas M. Disch [144). Finally, the term is often applied to works
of fantasy that prefigure the term itself, such as those of Franz Kafka,
Raymond Roussel, or Alfred Jarry.

ACADEMIC. Used both as an adjective and a noun to describe the

involvement of professional scholars and teachers in the criticism, history,
theory, and teaching of science fiction. Such a meaning might seem
obvious, but the term has gained a great many overtones, usually either
disparaging or defensive, and has come rather imprecisely to be contrasted
both with fan or amateur scholarship in the field, and with the various
"internal" works of history and criticism generated by science fiction
and fantasy writers themselves. In this usage, the "academic" is often
regarded as an outsider trained in traditional humanistic methodologies
4 ADAPTATION

that are sometimes felt to be inadequate for science fiction; interestingly,

the tenn is seldom applied to university scientists or even social scientists,
suggesting that it refers not necessarily to the academic world per se,
but specifically to inhabitants of English or history departments in
universities.

ADAPTATION. E. M. Forster's term for fantasy narratives that recast

already familiar materials; for example, C. S. Lewis' Till We Have Faces
(1956) is an adaptation of the Cupid and Psyche myth [87]. Later, the
term came to be used more broadly and popularly to refer to the recasting
of story materials from one medium into another; the film Charly (1968),
for example, is an adaptation of Daniel Keyes' novel Flowers for Algernon
(1966), while Alan Dean Foster's novel Alien (1979) conversely is an
adaptation of the Ridley Scott film of that name. (See also Novelization*.)
In the latter sense, the term has become somewhat problematical as
"package" contracts and "property development" specialists help to
create confusion regarding the extent to which books and films are in
fact created separately. A projected film production may have such
financial impact on a book contract that film considerations become part
of the conception of the novel itself.

ADDITIVE WORLD. (alternatively, "augmented world"). A fictional

world which is "notably fuller, richer, and more varied and vivid than
our everyday reality," according to Kathryn Hume [102]. Hume sees
this, along with Subtractive Worlds* and Contrastive Worlds,* as one
of three principal ways a fictional world can comment on reality.

ADULT FANTASY. Term popularized by Lin Carter of Ballantine Books

for a series of fantasy reprints and original anthologies that Carter began
editing in 1969 [47]. Probably based more on marketing considerations
than generic characteristics, the term has come to refer to any fantasy
narrative not specifically directed toward a juvenile audience. In an
entirely different sphere of popular culture, the term sometimes refers
to pornography.

ADVENTURE DOMINANT. American science fiction from 1926 to 1938,

according to a chronology suggested by Isaac Asimov in 1962; the period
from 1938 to 1950 he labeled "technology dominant," and from 1950
to the time he was writing as "sociology dominant" [14]. Later, with
Asimov's concurrence, James Gunn suggested a fourth period, "style
dominant," which began in the mid-1960s, presumably under the
influence of the New Wave* [97]. Earlier, writing in 1953, Asimov had
used the term "adventure science fiction," which was intended to
distinguish the second of four eras in the history of science fiction (the
ALLOPLASTIC 5

others being the "primitive era," from 1815 to 1926; the Campbell Era,*
from 1938 to 1945-which Gunn later labeled "science-dominant"-and
the "atomic era" ofpost-1945 science fiction, dominated by Social Science
Fiction* as represented in the pages of Galaxy magazine, founded in
1950 (35).

ADVENTURE SCIENCE FICTION. See ADVENTURE DOMINANT.

ALL-AGES FANTASY. A rather unsatisfactory term used by some critics

and bibliographers to refer to fantasy novels that appeal both to children
and adults (199].

ALLEGORY. "A wall decoration with a label attached," according to

David Lindsay (Devi/'s Tor, 1932). Allegory in its usual sense of
symbolizing the immaterial through fixed fictional figures has been
disclaimed by a number of other fantasy writers as well, most notably
C. S. Lewis, who in The Allegory of Love (1936), a critical study of
medieval allegory, contrasted allegory with the Sacramental ism* or
Symbolism* that came to characterize his own fantasy writing [119).
Some of this resistance to allegory is almost certainly a reaction to
persistent attempts among critics and reviewers to read fantasies as
allegories. Authors from George MacDonald to J. R. R. Tolkien have
comf>lained of such reviews. (In Tolkicn's case, for example, one
commentator viewed The Lord of the Rings as an allegory of World
War II.) Nevertheless, the early history of fantastic literature is closely
allied with allegory in works such as Edmund Spenser's fueri[! Queene
(1596) or Jonathan Swift's Gulliver's Travels (1726), and the allegorical
tradition has not altogether died out in modern fantastic writing, as
evidenced by works such as George Orwell's Animal Farm (1945) or
William Golding's Lord of the Flies (1954).

ALLOPLASTIC. The anthropologist Geza R6heim suggested that one

distinction between primitive and technological societies is the means
by which they seek integration with the environment: Primitive societies
tend to "autoplastic" means, manipulating the body to suit the perceived
environment (as in surgical rites of passage), while technological societies
use "alloplastic" means, manipulating the environment to make it more
hospitable (Australian Totemism, 1925). Gary K. Wolfe has applied this
distinction to science fiction, noting in particular how the alloplastic
fantasy expresses itself through such concepts as "terraforming" or the
autoplastic in such stories as Robert A. Heinlein's "Waldo" (182).
6 ALTERITY

ALTERITY. The quality or state of "otherness"; sometimes used to

describe the reversal of Ground Rules* or Displacement* characteristic
of fantastic narratives [106].

ALTERNATE HISTORY. A narrative premise claimed equally by science

fiction and fantasy-namely, that time contains infinite branches and
that universes may exist in which, for example, the Allies lost World
War II (Philip K. Dick's The Man in the High Castle, 1962) or the Spanish
Armada was victorious (Phyllis Eisenstein's Shadow of Earth, 1979, or
Keith Roberts' Pavane, 1962). One of the earliest genre treatments of
this theme, Murray Leinster's "Sidewise in Time" (1934), is clearly
intended as science fiction. The theme has been present in the genre at
least since 1926, although Darko Suvin has identified a number of
"alternate histories" published as early as 1871. Suvin's definition,
somewhat broader than the commonly accepted use of the term, relates
the alternative history to utopian or satirical fiction, identifying it as
"that form of SF in which an alternative locus (in space, time, etc.) that
shares the material and causal verisimilitude of the writer's world is used
to articulate different possible solutions of societal problems, those
problems being of sufficient importance to require an alteration in the
overall history of the narrated world" [188]. Another bibliography of
such works, by Barton C. Hacker and Gordon B. Chamberlain, appeared
in Extrapolation 22, no. 4 (Winter 1981).

ALTERNATE WORLD. See ALTERNATE HISTORY. The term is

also occasionally applied, as in James Gunn's history of the genre, to
any of the imagined worlds of science fiction or fantasy [97].

ANACHRONISM. An object, character, event, custom, or language

pattern chronologically inappropriate to its setting. Usually regarded as
one of the hazards of writing any fiction with a historical setting and the
bane of inexperienced or careless authors, anachronism has, however,
been cited by L. Sprague de Camp as one of the principal techniques
employed in humorous or comic science fiction; the technique is used
to good effect, for example, in Mark Twain's A Connecticut Yankee in
King Arthur's Court (1889) [84].

ANAEMIC FANTASY. C. N. Manlove's characterization of a number

of fantasy authors whom he sees as yielding to self-indulgence and self-
consciousness in their narratives and avoiding "the harsh facts of pain,
loss, ugliness and evil." Among authors he includes in this category are
William Morris, Lord Dunsany, E. R. Eddison, and Peter Beagle [131].
ANTHOLOGY 7

ANALOGY. The rhetorical device of comparison of the familiar with

the unfamiliar, identified by Darko Suvin as an essential Protocol* for
reading science fiction; any "significant SF text," he argues, is "always
to be read as an analogy." [187].

ANATOMY. Northrop Frye's term for Menippean* or Varronian satire-

a prose fiction work that is heavily expository and covers a wide range
of subject matter, such as Robert Burton's Anatomy of Melancholy
(1621). According to Frye, the genre includes Utopian* works as well
as works of fantasy such as Charles Kingsley's The Water Babies (1863)
[92].

ANIMAL FANTASY. Any narratives focusing on self-conscious animals

or communities of animals. Of broader scope than Beast-Fables,* such
fantasies are usually not set in a Secondary World,* but rather posit
hidden or unknown aspects of animal behavior. According to Ann
Swinfen, such tales draw on the traditions of folklore, animal fables,
animal satires, naturalists' tales, and the use of animal characters in
fantasy in general [189].

ANIMISM. The attribution of spiritual motives to natural phenomena.

Animism probably entered fantasy from early religion by way of folklore;
at any rate, this convention has become a staple even of nonreligious
fantasy.

ANTHOLOGY. "A gathering of flowers," literally, and used in fantastic

literature as elsewhere to denote a collection of writings by diverse hands
(as opposed to "collections" of stories by a single author). In science
fiction especially, however, the anthology gained considerable historical
significance during the 1940s and 1950s as a means of defining the genre
and establishing its major texts and trends; since then, the anthology
has continued to exert far greater influence than in most other popular
genres. One might even argue that, with its various subtypes, the
anthology has itself become a subgenre of science fiction, with its own
aesthetic and critical principles.
Donald A. Wollheim's The Pocket Book of Science Fiction (1943) is
often credited as the first true genre anthology, although earlier books
edited by Phil Stong and others had drawn some material from the
science fiction and fantasy Pulps.* But it was Raymond J. Healy and J.
Francis McComas' Adventures in Time and Space (1946) that is generally
viewed as having outlined the parameters of the modern genre,
particularly as developed in John W. Campbell, Jr.'s Astounding Science
Fiction. That same year, some months earlier, saw Groff Conklin's The
Best of Science Fiction, which with its thematic organization into six
8 ANTICIPATION

categories presaged the "theme" anthologies (such as Invaders of Earth,

1952) for which Conklin would become famous. In addition to theme
anthologies, other types that have remained popular are "original"
anthologies-made up of stories not previously published and pioneered
by Raymond J. Healy's New Tales of Space and Time (1951) and Frederik
Pohl's Star series for Ballantine Books (which in turn led to later anthology
series by E. J. Carnell, Damon Knight, Terry Carr, Robert Silverberg,
and others, to the point where such anthologies rivaled the magazines
in periodicity); the "best of the year" anthology, begun by E. F. Bleiler
and T. E. Dikty with The Best Science Fiction Stories 1949 and most
famously practiced by Judith Merril from 1956 to 1968; the individual
magazine anthologies, such as John W. Campbell, Jr.'s The Astounding
Science Fiction Anthology (1952), Samuel Mines' Best from Startling
Stories (1953), and numerous later series from Galaxy, Astounding/
Analog, and The Magazine of Fantasy and Science Fiction; the award
anthologies, including the three volumes of The Hugo Winners, edited
by Isaac Asimov from 1962 to 1977, and the annual Nebula A ward Stories
by various editors from 1966 to the present; and text anthologies, designed
for classroom use, such as James Gunn's four-volume The Road to
Science Fiction (1977-1982).

ANTICIPATION. Identified by Darko Suvin as a sub genre of science fiction

which includes tales "located in the historical future of the author's society,"
as opposed to Extrapolation,* which often exaggerates one or more specific
features of the author's society or depends upon technological advances that
may alter that society radically. Suvin cites no specific examples, but H. G.
Wells' "A Story of Days to Come" might be a likely candidate [187].

ANTICIPATORY ILLUSION. (German, Vor-Schein). Marxist philosopher

Ernst Bloch's term (Asthetic des Vor-Scheins, 1974) to describe how fairy
tales can mirror social processes by providing settings in which reason may
be used to realize the desires of fantasy [217].

ANTI-EXPECTED. A narrative event that signals a reversal of Ground

Rules* in that it is unexpected in the sense of being thought impossible.
According to Eric S. Rabkin, this signals the fantastic in a way that the merely
unexpected or the Dis-expected* does not [ 156].

ANTI-FANTASY. Tales that capture the reader's emotions rather than his
intellect, or that compromise the cognitive acceptance of the fantastic through
appeal to logical plausibility or archaic beliefs, according to W. R. Irwin,
who includes most traditional fairy tales in this category [I 05].
ANTI-UTOPIA 9

ANTINOMIES. See BINARY OPPOSITION.

ANTI-QUEST. Narrative in which one or more major conventions of the

Quest* motif is reversed. According to Christine Brooke-Rose, The Odyssey
is an anti-quest in that it concerns adventures of a homeward, rather than an
outward, j.oumey, and The Lord of the Rings is an anti-quest since it involves
disposing of a treasure rather than gaining one [38].

ANTI-SCIENCE FICTIOl\. Damon Knight's description of novels

(specifically The Power by Frank Rohinson and The Shrinking Man by Richard
Matheson, both published in 1956) characterized by "a turning away, not
merely from the standard props of science fiction (which are retained as
vestiges) but from the habits of thought and belief which underlie science
itself.'' Such works may appeal to popular fears and concerns about science,
but lack the rigor of thought that some regard as characteristic of true science
fiction r 1101. Others have suggested the term Sci-Fi* for such works, which
are more often associated with film and television than with modem science
fiction literature. More recently, "anti-science fiction" has been used by
Robert Scholes and Eric Rabkin to describe a group of works in which some
of the conventions of science fiction are used to present arguments in opposition
to Scientism,* notably the space novels of C. S: Lewis [174]. See also
ANTISCIENTISM.

ANTISCIENTISM. Used loosely by a number of writers on science fiction

to refer to everything from the attitudes toward science revealed in grade B
scie-nce fiction films to the general carelessness about scientific matters in an
author such as Ray Bradbury to the specific attacks upon scientific ideology
in works such as C. S. Lewis' That Hideous StrenRth (1946). The latter usage
is probably the most precise, since it refers to a work specifically set in
opposition to a brand of Scientism* (in Lewis' case, that represented by the
work of J. B.S. Haldane [121]). An author such as Bradbury may be said
to be "anti-science" when he expresses, as he does in several early stories,
a skepticism or disapproval of the general pattern of scientific thought or the
behavior of scientists, but "antiscientism" more properly implies an opposition
to a specific ideology of science.

ANTI-UTOPIA. A satirical or ironic treatment of utopian themes, sometimes

contrasted with dystopia (Gr., "the bad place"), which is taken to mean
narratives of undesirable societies that are not specifically satirical of
assumptions in utopian fiction. While anti-utopian narratives may occasionally
be joined with conventions of fantasy (as in George Orwell's Animal Farm,
1945), such narratives are more often regarded as belonging to the traditions
of utopian literature. John Huntington has argued for a clear distinction between
dystopia and anti-utopia; while utopian/dystopian works are built around good
10 APOCALYPTIC LITERATURE

or bad principles and provide the bases for coherently imagined societies that
the author wants to promote or warn against, anti-utopia, in Huntington's
terms, refers to "a type of skeptical imagining that is opposed to the
consistencies of utopia-dystopia,'' or that questions the very assumptions
concerning human behavior that utopias and dystopias promote [I 04].

APOCALYPTIC LITERATURE. Traditionally, religious or millenial

literature dealing with the end of the world and the establishment of a new
order. (The Greek apokalupsis means literally an "unveiling," especially of
future events or of invisible realms.) "Apocalypse" has gained currency as
a critical term through the work of George Snell, D. H. Lawrence, R. W. B.
Lewis, Ihab Hassan, M. H. Abrams, Northrop Frye, Frank Kermode, and-
especially in relation to fantastic literature-David Ketterer. While some of
these critics, such as Hassan, have identified apocalyptic literature with a kind
of existential confrontation with meaninglessness, others, such as Frye, have
emphasized the visionary aspect of the term; Frye's definition of apocalypse.
for example, is "the imaginative conception of the whole of nature as the
content of an infinite and eternal living body, which if not human, is closer
to being human than to being inanimate" [92]. Ketterer argues that apocalyptic
literature deals with "the creation of other worlds which exist, on the literal
level, in a credible relationship ... with the 'real' world, thereby causing a
metaphorical destruction of that 'real' world in the reader's head" [108].
Fantasy is thus distinguished from apocalyptic literature in that it lacks such
a "credible relationship," while mimetic literature attempts to represent the
"real" world itself. Earlier critics, such as Gerald Heard, had similarly identified
science fiction as "the apocalyptic literature of our particular and culminating
epoch of crisis'' [35], but in popular parlance the term has most often been
used to describe fiction in which an actual apocalypse is portrayed, such as
nuclear war. See also POST-HOLOCAUST.

APPLIED FANTASY. Fantasies in which motives such as political satire

or social consciousness raising play a significant part; specifically used by
Robert Crossley to refer to utopian romances that "apply" fantastic devices
toward social or philosophical ends [ 171].

ARCANOLOGY. The study of mysterious or initiatory bodies of knowledge,

commonly a feature of fantasy or supernatural narratives. Examples might
include the use of Rosicrucian ideas in Edward Bulwer-Lytton's A Strange
Story ( 1861) or the Celtic "weirdin" in Charles de Lint's M oonheart ( 1984).
See also OCCULT FICTION.

ARCHETYPE. C. G. Jung's notion of prototypical images providing evidence

of a collective unconscious ("Archetypes of the Collective Unconscious,"
1934). lung's concept, modified by later writers, has provided an intellectual
AUTOPLASTIC II

framework for discussing many of the common images and themes in fantasy
narratives (for example, the wise woman, the heroic quest) and has arguably
influenced a number of modem fantasy authors.

ARTIFICTION. Term coined by Brian W. Aldiss (in "Three Revolutionary

Enigmas," 1980) apparently as a portmanteau of "artifice" and "fiction"
and referring to highly structured and self-conscious works of fiction [96].
See also FABULATION.

AUGMENTED WORLD. See ADDITIVE WORLD.

AUTOPLASTIC. See ALLOPLASTIC.

B

BEAST-FABLE. A Fable* characterized by animals who talk and behave

as humans. Although excluded from the genre of fairy tales by Tolkien
and others, the beast-fable has provided the basis not only of major
children's fantasies such as Kenneth Grahame's The Wind in the Willows
(1908) but in recent years of adult fantasies such as Richard Adams'
Watership Down (1972). See also ANIMAL FANTASY.

BEM. A fan term meaning "bug-eyed monster" and used to signal a

parti<;ularly sensational variety of (usually) Pulp* science fiction. Unlike
most fan terminology, the term has achieved fairly wide usage in critical
and historical literature about science fiction as well, and is sometimes
used as a signal word to represent conventions of early pulp science
fiction.

BESTSELLER. Often used disparagingly by genre writers, and often to

refer to "mainstream" books which achieve a measure of success perceived
inaccessible to Ghetto* authors. In fact, bestseller lists, which first became
popular in the 1920s following their introduction by The Bookman in
1895, have always been skewed against popular genres, and "bestseller"
has come to mean merely a book appearing on one of these lists. But
such lists long ignored genre and paperback fiction and for years were
weighted heavily in favor of urban areas and the Northeast in particular.
In more recent years, such lists have employed more sophisticated polling
techniques (the New York Times Book Review, for example, claims to
sample not only 2,000 bookstores but a statistically weighted sample of
over 40,000 retail outlets of various kinds), but questions remain as to
the accuracy of reporting and the biases inherent in the sample. The
science fiction community was not long in picking up the implications
14 BINARY OPPOSITION

of this bias and now compiles its own bestseller lists based on reports
from mass market and specialty bookstores, the latter of which are
frequently ignored in more general compilations. (See, for example, the
lists published monthly in the science fiction newsmagazine Locus.)
While occasional science fiction or fantasy works by well-known authors
such as Arthur C. Clarke or Stephen King regularly appear on national
bestseller lists, the genre lists are as a rule more dependable in identifying
trends and popular new authors. As a critical term, "bestseller" retains
some of its disparaging overtones both within and without the genre,
usually referring to the perceived tendency of such works to reinforce
middle-class values, clarify or exploit ideas already in general circulation,
and provide accessible patterns of emotion and character.

BINARY OPPOSITION. A common technique used in Structuralist*

criticism and scholarship, popularized in language study by A. J. Greimas,
in anthropology by Claude Levi-Strauss, and in literary criticism by
Roland Barthes. Binary oppositions or antinomies are key structural
units that define the semantic space within which a given myth or tale
operates and around which other elements may be organized. Both Mark
Rose and Gary K. Wolfe have identified such oppositions which they
believe are central to science fiction; in Rose, it is the human/nonhuman
opposition [160), while in Wolfe it is the opposition of known and
unknown [208). Narratives built around such oppositions often seek to
resolve or make acceptable to the reader the opposition, which is itself
usually regarded as irreducible.

BLUE BOOKS. Popular novels, similar to Penny Dreadfuls,* which

gained popularity in early nineteenth-century England by reprinting
abridgements of Gothic* novels or cheap imitations; thus, early precursors
of the Pulp* magazines.

BLURB. Promotional copy written on the dust covers of hardbound

books and on the front and back covers and front page of paperbacks.
Although blurbs are most often written by promotional staff or freelance
public relations writers, they often include quotations from reviews or
specially solicited praise from fellow authors-to the extent that some
well-known authors have gained reputations for excessive generosity in
lending their names to the efforts of lesser known authors. Given the
overall importance of marketing and packaging to the audience's
perceptions of popular literature, blurbs can also be revealing clues to
the changing attitudes toward genres such as science fiction or fantasy.
One of the earliest science fiction anthologies, for example (Donald A.
Wollheim's The Pocket Book of Science Fiction, 1943), featured a blurb
that characterized the contents as belonging to "that realm of superscience
"BUSINESS" 15

where non-scientists try to anticipate science." Wollheim's later anthology

The Portable Novels of Science (1945) avoided the term "science fiction"
on the jacket cover by calling the contents "novels of scientific
speculation," while an early Judith Merril anthology disguised the science
fiction contents as "a different kind of mystery thrill" and a popular
anthology by Orson Welles used the term "interplanetary stories."
Similarly, a 1944 fantasy anthology from Penguin disguised its contents
as humor ("yarns based on DELIGHTFUL PHANTASY") despite the
inclusion of such relatively grim tales as Jack London's "The Scarlet
Plague." By the early 1950s, however, the paperback market for science
fiction at least (fantasy would emerge later) became sufficiently strong
that such evasive blurb copy was replaced by enthusiastic and frequent
use of the term "science fiction" (except in the case of novels, such as
Philip Wylie's Tomorrow!, 1954, directed at a wider market) and this
quickly led to complete lines of science fiction titles from Doubleday,
Ballantine, and other publishers. (It is interesting to note, however, that
after the success of Ray Bradbury's The Martian Chronicles, 1950, which
was labeled "Doubleday Science Fiction," his second book for
Doubleday, The Illustrated !Yfan, 1951, was not identified as science
fiction anywhere on the jacket.) As the market for science fiction grew
and diversified, blurbs came more to reflect what was known of reader
interest and consequently somewhat less hysterical. A common technique
(still in use, although perhaps more in fantasy) was to compare the work
with an acknowledged classic or a recent bestseller; reprints often became
instant classics themselves. Although most serious readers claim not to
be strongly influenced by blurbs, there is much to suggest that, along
with cover design, they are crucial in capturing the casual reader and
thus in influencing sales figures, which in tum of course influence patterns
of manuscript development and acquisition.

BOUND MOTIF. See MOTIF.

"BUSINESS." A term used by some writers and editors, including Lin

Carter, to describe certain pyrotechnic effects or "gimmicks" (the casting
of a spell, the sudden transformation of a landscape, etc.) which are
thought to give fantasy much of its appeal to readers [47].
c

CACOTOPIA. See KAKOTOPIA.

CAMPBELL ERA. The period in the history of science fiction

characterized by the dominant influence of John W. Campbell, Jr.
Campbell edited Astounding Science Fiction from September 1937 until
his death in 1971, and the period of his influence is widely called the
"Campbell era," just as fiction in the style of this period is often even
today called "Campbellian." Such fiction is generally characterized by
realistic depiction of carefully worked out science fictional ideas, often
with as much attention paid to the details of the imaginary society as
to the specific scientific concept being addressed, and necessary exposition
worked into the fabric of the narrative. As a historical term, however,
campbell era" is a bit slippery; Isaac Asimov used it to refer only to
the period 1938-1945 (see also Adventure Dominant*) [14], while later
writers would extend it to 1949 or 1950 (when the appearance of Galaxy
and The Magazine of Fantasy and Science Fiction began to challenge
the dominance of Astounding). Still other writers, referring particularly
to the history of Astounding, have used the term to encompass the entire
period of Campbell's editorship.

CAUTIONARY TALE. A story intended more as a warning than as an

extrapolation or as pure satire, usually focusing on present social, political,
or economic trends that the author feels to be dangerous in some way.
The most familiar example is probably George Orwell's 1984 (1949),
which also illustrates the importance of the difference between cautionary
tales and Predictions.* Orwell was disturbed in the months after the
novel appeared at the extent to which reviewers and readers seemed to
18 CHRISTIAN FANTASY

overlook the rhetorical strategy of the cautionary tale and instead read
the novel as a straightforward attempt at Anticipation.*

CHRISTIAN FANTASY ... Works of High Fantasy* whose contents reflect

Christian beliefs and attitudes," according to Kenneth J. Zahorski and
Robert H. Boyer [33].

CHRONOTOPE. The connection between temporal and spatial

relationships within the plot structure of a work of narrative art. The
word was borrowed from Mikhail Bakhtin by Darko Suvin as a means
of characterizing the Novum* which he argues is a defining factor in the
ideational structure of science fiction [187].

CINEFANTASTIC. Film or television science fiction and fantasy; the

term has been used occasionally by critics like Rosemary Jackson [106]
and, as Cinefantastique, as the title of a journal on this topic.

CLASSICAL FANTASY. Often used to refer to fantasy narratives based

on classical sources (such as novels by Thomas Burnett Swann). However,
Algis Budrys used this term to draw a distinction between earlier literary
traditions and popular genre fantasy. or Newsstand Fantasy* [41].

CLASS OF 1951. A group of young writers of varying backgrounds,

most with some university education, who began publishing science
fiction around 1951, mostly in Galaxy. The term is suggested by Algis
Budrys, who was a member of this group along with Michael Shaara,
Rohert Sheckley, Philip K. Dick, and others [43].

CLOSED SYSTEM. See SYSTEMS MODEL.

COGNITION. See COGNITIVE ESTRANGEMENT.

COGNITIVE ESTRANGEMENT. Widely quoted tenn from Darko Suvin

describing the defining characteristic of science fi.ction, which Suvin sees
as estranged from the naturalistic world but cognitively connected to it.
"Noncognitive estrangement," according to this scheme, would include
myths, folktales, and fantasies which are neither naturalistic nor
cognitively linked to the natural world. Suvin argues that the defining
characteristics of science fiction are Estrangement* and "cognition," the
latter referring to those elements of variability and detail drawn from
the empirical environment that establish a link between the experienced
world of the reader and the world of the work of fiction; a flying carpet,
therefore, would violate this principle of cognition (187).
CONCEALED ENVIRONMENT 19

COINCIDENCE OF OPPOSITIES. Jungian term referring to the

dissolution of the defining barriers between antitheses, as portrayed in
myth. For example, myths and folktales may blur the boundaries between
animate and inanimate. living and dead, etc. Casey Fredericks has used
the term in discussing the relationship of myth to science fiction and
fantasy narratives [89].

COLLECTIVE UNCONSCIOUS. C. G. Jung's notion of a part of the

unconscious which is not personally acquired, but rather is inherited
through ancient memories or Archetypes* ("Archetypes of the Collective
Unconscious," 1934). The idea is related to the Freudian concept of
"racial memory" (Moses and Monotheism, 1939) and has often been
cited in psychological discussions both of the appeal of fantastic literature
and of the origins and meanings of its characteristic conventions and
images.

COMIC FANTASY. In the broadest sense, any fantasy with humorous

intent; more specifically, one of two broad classes of fantasy described
by C. N. Manlove in his 1975 study Modern Fantasy. "Comic" or
Escapist* fantasy, according to Manlove, is that which lacks the deeper
meaning or serious purpose of Imaginative Fantasy* [132].

COMIC INFERNO. Oft-quoted phrase coined by Kingsley Amis to

des<;ribe humorous satirical dystopias or Anti-Utopias* characterized by
a "jesting tone" and "consistent and concrete elaboration." Examples
would be the satirical novels of Frederik Pohl and C. M. Kornbluth,
such as The Space Merchants (1953) (R].

COMIC SCIENCE FICTION. Humor has been a consistent substrain

of science fiction, which provides ample opportunities for the kind of
unexpected juxtapositions that often give rise to it. As a critical term,
however, "comic" has been used in a somewhat more specialized sense
by Donald M. Hassler, who sees it as a dislocation characteristic of
science fiction, but related to earlier modes of irony and narrative
indeterminacy; his science fiction examples include Ursula Le Guin,
Theodore Sturgeon, and Hal Clement [100].

CONCEALED ENVIRONMENT. Term attributed to Christopher Priest

which describes a science fiction narrative in which the true nature of
the setting is initially unknown to the characters and often to the reader;
the device is particularly common in "generation starship" tales such as
Robert A. Heinlein's "Universe" (1941) [96).
20 CONCEPTUAL BREAKTHROUGH

CONCEPTUAL BREAKTHROUGH. Peter Nicholls has identified this

as one of the central themes of science fiction, and the most characteristic
manner in which science fiction deals with the quest for knowledge which
is the genre's "central vision." Essentially, he describes the theme in
terms of the "paradigms" of scientific thought as outlined by Thomas
Kuhn in his study The Structure of Scientific Revolutions (1962): A
particular world view or framework for scientific thought is accepted
until anomalies generate crises that can only be resolved through
acceptance of a new framework or paradigm. Stories in which the
inhabitants of a world act on false or incomplete information about that
world (such as Heinlein's "Universe") or in which some inexplicable
form of transcendental knowledge is gained (such as Stanley Kubrick
and Arthur C. Clarke's 2001) are among the kinds of works Nicholls
identifies as employing this theme (144). See also PARADIGM.

CONCRETE MYTH. Mythic narrative generated from an abstract social

or scientific idea, according to Robert M. Philmus, who argues that
science fiction "generates its mythic fantasies by taking literally, and
dramatizing, the metaphors expressive of those ideas that define, at least
in part, the beliefs and nature of the social order" [ 150]. See also
DISPLACEMENT; MYTH.

CONDENSED NOVEL. J. G. Ballard's term for a series of short works

of fiction (collected in The Atrocity Exhibition, 1970) which explore in
elliptical and fragmented form various aspects of contemporary popular
culture and history. In more general usage, seldom relevant to fantastic
literature, the term refers to severely edited novels, such as those
published over a period of years by Reader's Digest Magazine. While
such condensed or shortened novels have not been uncommon in the
history of science fiction (nearly all the "Galaxy Novels" published in
the early 1950s, as well as many paperbacks, were edited to a specific
length), the term itself has seldom been used to describe them. Finally,
the term was used by Bret Harte for an 1867 collection of short parodies
of popular novelists of the day.

CONDITIONAL JOY. A term coined for "the pleasure of pedantry"

by G. K. Chesterton in his 1908 study Orthodoxy, "The Doctrine of
Conditional Joy" refers to the common motif in fairy tales of offering
a great boon to the protagonist on the condition of not violating a
seemingly arbitrary taboo. Chesterton argues that this reveals how the
natural laws of Faerie* are determined by human action rather than by
"scientific fatalism'' [50).
CONTRASTIVE WORLD 21

CONSENSUS FUTURE HISTORY. See COSMOGONY.

CONSENSUS REALITY. The "real world," or Zero World,* whose

norms provide the frame of reference for fantastic or impossible events
in a narrative (102).

CONSOLATION. J. R. R. Tolkien's term, in "On Fairy Stories" (1947),

for the effect of the "happy ending" or Eucatastrophe, * and one of the
four principal functions of fairy stories, along with Fantasy,* Recovery,*
and Escapey. [194]. Psychoanalysts such as Bruno Bettelheim have argued
that this may be among the most significant functions of fairy tales, in
that it directly addresses the fear of abandonment, or "separation
anxiety," experienced by young children [26).

CONTE PHILOSOPHIQUE. Genre developed in eighteenth-century

France as a means of popularizing philosophical notions through action
and style, with character and complex plot development subservient.
Frequently such tales made use of fantastic events or situations, and
while the genre's most famous practitioner is undoubtedly Voltaire
(Zadig, 1747; Micromegas, 1750; Candide, 1758), it also contributed to
the development of such science fiction themes as the futuristic romance
(Louis Sebastien Mercier's L'An deus mille quatre cent quarante, 1771,
translated as Memoirs of the Year Two Thousand Five Hundred) or the
Lost race* (Rest if de Ia Bretonne 's La Decouverte australe, 1781).

CONTINUUM OF THE FANTASTIC. A means proposed by Eric S.

Rabkin to differentiate among subgenres of the fantastic by arranging
works according to the degree of their fantastic content. On the broadest
scale, Rabkin suggests a series of works with Henry James' The
Ambassadors (1903) at one end and Lewis Carroll's Alice in Wonderland
(1865) at the other; within fantastic genres, a series with Isaac Asimov's
/, Robot (1950) at one end and David Lindsay's A Voyage to Arcturus
(1920) at the other might help to clarify the point at which science fiction
shades into fantasy [156].

CONTRANATURAL FICTION. Fiction presenting "a world view that

is in direct opposition to that of materialism," according to Everett F.
Bleiler (27).

CONTRASTIVE WORLD. A fictional world that comments on reality

by presenting two more limited realities in contrast to one another.
Kathryn Hume uses this term, along with Additive World* and
Subtractive World,* to describe the means by which narratives may
comment on reality (102).
22 COSMIC DISASTER STORY

COSMIC DISASTER STORY. Kingsley Am is' phrase for a long-popular

tradition of science fiction and fantasy stories that deal with world- or
even universe-threatening disasters brought on by natural forces (as in
John Christopher's No Blade of Grass, 1956, which Amis discusses) or
by human folly (as in numerous nuclear war tales; see Post-Holocaust*).
Amis argues that such tales differ from other science fiction in that they
bear no real extrapolative or analogical relationship with our own society,
but instead may be used to explore propositions about the nature of
society and human interaction. (Amis does not mention the nature of
reality, which came increasingly to be of central concern in J. G. Ballard's
series of disaster novels such as The Crystal World, 1966.) Such works
are perhaps more commonly referred to simply as '"disaster stories" or
"disaster novels" [8). See also APOCALYPTIC LITERATURE;
ESCHATOLOGICAL ROMANCE.

COSMIC VOYAGE. Those works of the Imaginary Voyage* genre which

concern voyages to other worlds and which characteristically focus as
much on the voyage itself as on the nature of the other world, according
to Marjorie Hope Nicolson (145). Mark Hillegas later distinguished this
from Space Fiction,* which is set on other worlds but with little or no
concern for how characters got there [54).

COSMOGONY. An account or theory of the origin of the universe.

While cosmogony has played a significant enough thematic role in many
works of science fiction and fantasy (with a few novels, such as C. S.
Lewis' The Magician's Nephew, 1955, openly cosmogonic in nature),
the word has come to have a rather odd meaning in discussions of science
fiction through its idiosyncratic use by Donald A. Wollheim to describe
a '"consensus" Future History* as revealed in science fiction of the 1940s
and 1950s. Wollheim's eight-stage .. cosmogony" includes the exploration
of the moon and planets, travel to the stars, three stages of a galactic
empire, an interregnum following the fall of the empire, a permanent
galactic civilization, and finally a .. Challenge to God." While interesting
as a means of revealing the assumptions and expectations of writers and
readers during an important period in the history of science fiction, this
"consensus" depends heavily upon writers who published in Astounding
Science Fiction, especially Isaac Asimov, and is of course not a
"cosmogony'' at all in the usual sense of the term [212).

COSMOLOGY. The structure and meaning of the physical universe as

revealed through a given system of thought. The narrative action of
most fantasy narratives implies such a cosmology, and a number of
authors (such as J. R. R. Tolkien) have carefully constructed such
cosmological systems as underpinning for the narratives themselves. In
CYBERPUNK 23

a few cases, such as Tolkien's Silmarillion (1977), the cosmology virtually

becomes the narrative. In science fiction study, the term usually refers
to the science of cosmology, which studies the structure and physical
nature of the universe. This science, always highly speculative and
theoretical, has been a natural breeding ground for a variety of popular
science fiction themes, including parallel worlds, worlds within worlds,
time travel, relativity effects, and Conceptual Breakthroughs,* such as
narratives of Concealed Environments* which describe societies with
incomplete or erroneous cosmological theories who eventually discover
the true nature of the universe (for example, Robert A. Heinlein's
"Universe," 1941).

COSMOTROPISM. Another odd term from Donald A. Wollheim (see

Cosmogony*), this time to describe the ''outward urge" toward space
exploration, which Wollheim sees as a principle of human nature that
is addressed only by science fiction [212).

COSY CATASTROPHE. Coined by Brian W. Aldiss to describe a group

of primarily British cosmic disaster stories characterized by their
preoccupation with middle-class environments and characters [1].

CRITIC, CRITICISM. As with many popular genres that evolved without

much serious critical attention outside the letter and review columns of
magazines or the commentary of the fan press, science fiction has
experienced some confusion over the meaning of the term "critic." Many
authors and fans still use the terms "critic" and "criticism" interchangeably
with "reviewer" and "review," and indeed much of the most valuable
criticism of the genre has come from reviewers such as Damon Knight
or Algis Budrys. "Critic" in the more literary sense of a commentator
upon a text or group of texts is thus of comparatively recent vintage.
Sometimes the phrase is qualified as "academic critic," to distinguish
professional scholars from fan or writer critics. Perhaps because of the
relative lack of a scholarly humanistic tradition in the field, some naive
assumptions remain; for example, that a critic is one who finds fault,
that the role of a "critic" is to recommend books for purchase, that
criticism is inevitably evaluative, etc. Partly for this reason, there persists
a noticeable gap between the assumptions of those who approach the
genre from the traditions of humanistic scholarship and those who
approach it from the perspectives of fans or professional authors.

CYBERPUNK. Used to describe a group of young science fiction writers

who emerged in the mid-1980s with narratives characterized by a
combination of advanced scientific concepts (especially relating to
cybernetics), New Wave* narrative techniques, and the fast-paced plotting
24 CYBERPUNK

characteristic of more traditional science fiction. The term may have

been coined by Gardner Dozois, and alternative terms which have been
suggested include "neuromantic" and "mirrorshade school." The most
often cited examples include William Gibson's novel Neuromancer (1984)
and Bruce Sterling's Schismatrix (1985).
D

DARK FANTASY. Term sometimes used interchangeably with Gothic*

fantasy.

DAYDREAM. See REVERIE.

DECENTRATION. See ESTRANGEMENT.

DEFAMILIARIZATION. See ESTRANGEMENT.

DEMONIC. Originally used to refer to a supernatural or diabolical force,

"demonic" has gradually come to refer to the darker aspects of character
or nature in fantastic literature. Rosemary Jackson traces this change
in meaning of the term, associating it with the concept of the Other*
as a "manifestation of unconscious desire" and citing Mary Shelley's
Frankenstein as among the earliest works giving evidence of the
internalization of the demonic [106].

DEMONIC AGENT. According to Thomas H. Keeling, a figure

characteristic of Gothic* narratives "whose obsession (or 'possession')
radically restricts [his) vision and behavior." Such figures may in fact
be possessed by outside forces, which in turn may be supernatural (as
in the case of the early Gothic) or merely alien (as in the case of demonic
agents in later science fiction narratives; Keeling cites works by Philip
K. Dick as examples, although the theme of "possession" by an alien
intelligence is one of the most persistent traditions of popular science
fiction). The demonic agent, however, is according to Keeling a defining
factor only in the gothic [ 181 ).
26 DEMONSTRATION POLEMIC

DEMONSTRATION POLEMIC. Used by Joe De Bolt and John R.

Pfeiffer as a general term to describe that large subgenre of fantastic
literature, including Utopias* and dystopias, which seek to dramatize a
particular "polemical" point of view through dramatic "demonstration"
[22]. See also APPLIED FANTASY.

DESIRE. A term sometimes used to describe the wish-fulfillment aspect

of the appeal of fantasy, and sometimes used (as by Rosemary Jackson
[ 106]) to characterize the nature of language in fantasy narratives, as
opposed to the more representational language of conventional narratives.
Leo Bersani's use of this term (in A Future for Astyanix: Character and
Desire in Literature, 1976), suggests that it refers to a generalized yearning
for something beyond the real, and thus might in part account for the
disintegration of realistic structures of character and narrative that is
often found in fantasy. The term has been used of science fiction as
well, notably in Boris Eizykman's Science Fiction et capitalisme (1974),
again with the implication of subverting dominant social structures
through idealization of the possible. Much contemporary use of the term
derives from the work of French psychoanalyst Jacques Lacan, and in
particular his discussions of desire in its relationships to fantasy and to
the "Other."*

DIGEST. Since 1922 and the founding of Reader's Digest, digest has
generally referred to magazines that present abridged or summarized
reprint articles on various topics; in science fiction and fantasy, however,
the term has come to refer exclusively to the trim size of the magazines
that became dominant in the 1950s, usually 5 114" x 7 112" or 5 112" x
7 112". Astounding Science Fiction was the first major science fiction
magazine to shift to digest size, in 1943, and often the term is used in
contrast with Pulp* magazines, which usually measured 7" x 10". In
fact, however, some digest size magazines (such as Other Worlds) were
printed on pulp paper stock in the later 1940s and early 1950s.

DIME NOVEL. Paperback booklets which reached their height of

popularity in the United States in the 1880s and 1890s. Although often
selling for less than a dime and almost never long enough to be considered
true novels, these popular series of adventure stories are important to
the history of science fiction not only as precursors of the Pulps,* but
because of the science fiction that sometimes appeared in them, probably
most notably in the "Frank Reade, Jr." stories of Luis Senarens.
DOMESTICATION 27

DISASTER NOVEL. See COSMIC DISASTER STORY.

DISCONTINUITY. Sometimes used in describing a "break" between

an imagined science fiction world and our own, which renders the
imagined world "discontinuous" from an Extrapolated* present; for
example, the sudden and unlikely growth in human intelligence in Poul
Anderson's Brain Wave (1954) renders his imagined world discontinuous
from our own. The term has also been invoked in science fiction study
in the sense proposed by Morse Peckham in Man's Rage for Chaos:
Biology, Behavior, and the Arts (1962), where he wrote of "perceptual
discontinuities" in the visual arts which force the viewer to rethink the
possibilities of art in order to respond to a radically new aesthetic work
[89).

DISENCHANTMENT. According to Theodore Ziolkowski, certain

fantastic images or icons such as magic mirrors or haunted portraits,
have undergone a process of "disenchantment" during the last two
centuries of literary history, becoming transformed from what Todorov
[193) might call the Marvelous* to rationalized or psychological images
and finally to parody and satire [216).

DIS-EXPECTED. Elements in a narrative "which the text had diverted

one from thinking about but which, it later turns out, are in perfect
keeping with the ground rules of the narrative," according to Eric S.
Rabkin, who views such elements (characteristic of jokes) as more closely
allied- to the fantastic than merely unexpected events, but not so
characteristic as the Anti-Expected* [156).

DISPLACEMENT. Technique by which science fiction achieves a fantastic

"state of affairs" by "a deflection of reality into myth, and especially
myth derived by dramatizing the metaphoric substance of various models
of reality," according to Robert M. Philmus [150].

DISTANCE MARKER. A "textual element that allows us to measure

the distance between the unfamiliar and the familiar worlds" in a work
of fantastic fiction, according to Mark Rose. When H. G. Wells' time
traveler finds artifacts of his own age in The Time Machine (1895), the
discovery serves as a "distance marker" between that future world and
the world of Wells' readers [160).

DOMESTICATION. Tenn used by H. G. Wells to describe the technique

whereby the primary "magic trick" of a fantastic narrative is made
believable and acceptable to the reader. Casey Fredericks has similarly
suggested that a function of science fiction is that of "domesticating the
28 DOPPELGANGER

unknown," that is, providing a rationale for a non-naturalistic

environment or set of norms by showing how such elements can be
accounted for by rational means [89, 203).

DOPPELGANGER. The theme of the double or alter ego. A staple of

fantasy since the early nineteenth century, the doppelganger was
popularized initially in Germany by such authors as Jean Paul Richter
and E. T. A. Hoffmann and later in the United States and England by
Edgar Allan Poe and Robert Louis Stevenson. A number of science
fiction themes have also made use of this convention, including the time-
travel story, robot tales, and stories, such as those of Philip K. Dick,
that question the nature of reality itself.

DOUBLE. See DOPPELGANGER.

DREAM LITERATURE. Joanna Russ' term for literature that appears

to be the expression of daydreaming in its fondness for the "ineffable
and inexpressible"; citing David Lindsay's A Voyage to Arcturus ( 1920)
as an example, she condemns such literature as "thin and schematic"
[ 164].

DREAM STORY. Waggoner's term for a story that reproduces a dream

experience, such as Alice in Wonderland [199). J. R. R. Tolkien excludes
such works from consideration as fairy stories since they cheat the
realization of "imagined wonder" [194).

DREAM-WORLD STORY. A fantasy set entirely in a Secondary World.*

Damon Knight, writing in 1953 about Fletcher Pratt's "The Blue Star"
( 1952), used this term and defined it as a story in which "the dream-
world must be completely insular, self-contained, having no point of
contact with the mundane universe either in space or in time"-in other
words, something quite similar to what is today more often called High
Fantasy.* Ironically, writing only a year before J. R. R. Tolkien 's famous
trilogy began to appear, Knight complained that this genre had become
"so rare nowadays I was beginning to think it was extinct" [110).

DYSCATASTROPHE. See EUCATASTROPHE.

DYSTOPIA. See ANTI-UTOPIA.

E

EASTERN TALE. See ORIENTAL TALE.

ECOLOGY. The study of the relationships between organisms or societies

and their natural environments. "Literary ecology" was a term proposed
by Joseph Meeker (The Comedy of Survival: Studies in Literary Ecology,
1974) to suggest that literature both reflects and forms our attitudes
about nature, even in such broad outlines as tragedy and comedy. Don
D. Elgin has applied this approach to fantasy narratives, which he sees
as partaking of a healthier comic perspective [80).

ECSTASY. Poetic transport or visionary fancy, in its most common

usage. The term is of particular interest in the study of fantasy and
supernatural fiction, however, because of Arthur Machen's conception
of "fine literature" as a means of communicating or leading the reader
toward ecstasy (Hieroglyphics, 1902), by which Machen seems to have
meant a whole complex of emotions-"wonder, awe, mystery, sense of
the unknown, desire for the unknown"-which are associated with inner
or deeper r~alitks and which later writers and critics have often identified
as some of the key effects of fantastic literature [127). See also DESIRE;
SUBLIME; WONDER.

EDENISM. A persistent romantic strain in Eschatological* or Cosmic

Disaster* fiction, as described by W. Warren Wagar. Specifically, Wagar
refers to the tendency to portray apocalypse as a means of r~turning lu
a more desirable, simpler, Edenic style of life. His examples include
William Morris' News from Nowhere (1890), Ray Bradbury's The Martian
Chronicles (1950), and Russell Hoban's Riddley Walker (1980) (198).
See also PRIMITIVISM.
30 EMPATHY

EMPATHY. From the German critic Hermann Lotze's Einfiihlung

(literally, "feeling into") and used to refer to the reader's identification
with an object, animal, or person. While much recent scholarship focuses
on the interpersonal aspect of empathy, fantasy may achieve this end
through literal transformations of its protagonists; hence. according to
Ann Swinfen, empathy is the "dominant mode" by which fantasy
enhances the "primary sense perceptions" [ 189).

ENCHANTMENT. "The elvish craft" to which fantasy aspires, according

to J. R. R. Tolkien, who argues that this is the emotional function of
Sub-Creation* [194].

ENTROPIC ROMANCE. Narratives set in the far future and concerning

the gradual death of the planet, solar system, or universe through natural
processes of entropy and the second law of thermodynamics. The term
is used by W. Warren Wagar to describe such novels as William Hope
Hodgson's The Night Land (1912) or Camille Flammarion's The End
of the World (La fin du monde, 1880), and the tradition has persisted
in genre science fiction with such tales as John W. Campbell, Jr.'s "Night"
(1935) and Brian W. Aldiss' Hothouse (1962) [198).

ENVIRONMENTAL FICTION. Sometimes loosely used to refer to any

fiction with an environmental theme (an extreme example might be
Philip Wylie's 1972 The End of the Dream), but proposed by Brian W.
Aldiss as a way of characterizing works that "deal with man in relation
to his changing surroundings and abilities"-an arena in which ''the
greatest successes of science fiction" have taken place [1).

EPIC. A long narrative poem, usually dealing with the exploits of national
heroes and often featuring fantastic events. In popular usage, however,
the term has come to refer to almost any narrative on a grand scale,
and Patrick Parrinder may be justified in his complaint that a "debased"
use of the term is "one of the most regular features of the promotional
material on SF put out by publishers and film companies" [149). See
also EPIC FABLES; EPIC FANTASY.

EPIC FABLES. Short works of science fiction in which "a single future
crisis is portrayed with precision and economy," and that imply a future
heroic age of epic proportions, according to Patrick Parrinder, who views
such shorter works as generally more successful than longer attempts at
epic narrative forms in science fiction, which he also refers to as "truncated
epic" [181). Parrinder's views reflect indirectly Edgar Allan Poe's earlier
argument that poetry is essentially a discontinuous mode best suited for
the achievement of particular effects, which led to a fragmentation of
ESTRANGEMENT 31

the epic form in poetry, with shorter poems implying a larger unwritten
epic framework of which they are only a part. An example of such a
technique in science fiction might be the work of Cordwainer Smith
(Paul M. A. Linebarger), whose "Instrumentality uf Mankind .. stories
imply a broader narrative that Linebarger never published.

EPIC FANTASY. Fantasy that shares characteristics common to the

epic, such as elevated style, grandly heroic figures, vast settings, and
supernatural intervention-all involved in a struggle in which some central
cultural value or values are at stake. Publishers have come to use the
term somewhat more loosely to describe almost any multivolume fantasy
work.

ESCAPE. Popularly (and loosely) used to describe the appeal of much

fantastic literature, and referring to the presumed function of such
literature as a kind of psychological safety valve. Tolkicn uses the term
more specifically as one of the key functions of the fairy story, and
argues that it is not so much an escape or flight from reality as a liberation
into a wider reality: the "Escape of the Prisoner" as opposed to the
.. Flight of the Deserter" [194). C. S. Lewis elaborates on this argument
by emphasizing that "escape" is a criticism of the reader rather than
the work. and that many readers might well "escape" into realistic
fictions (120). See also CONSOLATION; FANTASY; RECOVERY.

ESC~ATOLOGICAL ROMANCE. A narrative concerned with last

things-the end of a civilization, a species, the world, the entire universe.
W. Warren Wagar includes in this subgenre a wide variety of Cosmic
Disaster* stories as well as recent novels such as Doris Lessing's The
Memoirs of a Survivor (1974) [198).

ESEMPLASTIC. Literally, Greek for molding into unity." Samuel

Taylor Coleridge (Biographia Literaria, 1817) described the
Imagination 's* ability to create unity from diversity as the .. esemplastic
power" [93].

ESTRANGED FICTION. Darko Suvin's term for works of fiction that,

in opposition to ''naturalistic fiction," pose radically different formal
frameworks for the narrative, such as unverifiable characters, places, or
events (187). See also ESTRANGEMENT.

ESTRANGEMENT. Broadly, the gaining of new perspectives through

devices of defamiliarization and distancing. First suggested as a critical
term by the Russian Formalist Viktor Shklovsky in 1917 ("'lsskusstvo
kak priem," trans. 1965 as "Art and Technique"), "estrangement" came
32 ETHICAL FANTASY

into common usage especially among Marxist critics following its usage
by Bertolt Brecht during the 1930s. (Although the exact derivation of
the term is complicated by the fact that Shklovsky's original ostranenie
has been variantly translated as .. defamiliarization" and Brecht's
Verfremdung as "'alienation," Darko Suvin combined these into the
single "estrangement" in his study of science fiction.) Brecht argued
that estrangement was a technique that allowed us to recognize a subject
while at the same time making it seem unfamiliar ("Kieines Organon
fi.ir das Theater," trans. 1964 as "A Brief Organon for the Theatre"),
and Suvin argued that this is a defining technique of science fiction (see
Cognitive Estrangement*) [187]. Casey Fredericks extended the term
to include psychological adjustment to radically new systems of thinking,
and compared it to the "decentration" of the psychology of Jean Piaget,
the "perceptual discontinuity" of Morse Peckham's analysis of the visual
arts, the "Paradigm* shift" of Thomas Kuhn's theory of the history of
science, and the Recovery* aspect of J. R. R. Tolkien's discussion of
fairy tales [89].

ETHICAL FANTASY. A fantasy, usually for children, characterized by

didactic or values-oriented motives [136]. The term has also been used
to describe fantasies that explore or develop ethical systems; Alexei and
Cory Panshin, for example, characterized David Lindsay's A Voyage to
Arcturus (1920) as an "ethical fantasy" [204].

EUCATASTROPHE. Tolkien's widely quoted term for the "happy

ending" which he argues marks the true fairy tale and is associated with
Joy*; as opposed to the "dyscatastrophe" of tragedy [194].

EUCHRONIAN. LiteraHy, "happy time," and sometimes used in

discussions of Utopian* or futuristic fiction to denote a period of (usually
future) history characterized by prosperity, often resulting from
technological advances. Although uncommon, the term does provide
an alternative to the more ideologically loaded "'utopia."

EVOLUTIONARY FANTASY. Term used by Brian Aldiss specifically

to describe the work of Olaf Stapledon; by implication, it may also refer
to any fantastic work whose time frame is sufficiently large to provide
a dramatization of long-term evolutionary processes [1]. See also
ENTROPIC ROMANCE.

EXCHANGE. A theory or social model which holds that exchanges of

rewards, esteem, and so forth, are fundamental structuring forces in
society. Exchange theory is associated in sociology with the work of
George Homans and Peter Blau, and in anthropology with Marcel Mauss
EXTRAPOLATION 33

and Claude Levi-Strauss. The imaginary societies of science fiction and

fantasy, then, must implicitly maintain some patterns of exchange to
remain credible, and thus, some critics have argued (most notably Jeanne
Murray Walker), exchange models constitute a valid approach to the
analysis of such texts [200).

EXISTENTIAL FANTASY. In a general sense, any fantasy associated

with the existential movement in philosophy and art, or the writers
associated with that movement-Jean-Paul Sartre's Les Jeux Sont Faits
(1947), for example. George E. Slusser, however, has suggested a broader
meaning for the term, and uses it to identify a tendency in some modern
fantasy toward opacity and nonreferentiality of images [182].

EXOLINGUISTICS. Coined presumably on the model of "exobiology"

by Myra E. Barnes to describe the study of imaginary or extraterrestrial
languages as concocted by writers of science fiction and fantasy [21].
See also Walter E. Meyers, Aliens and Linguists (1980) [133).

EXTRAORDINARY VOYAGE. See COSMIC VOYAGE; VOYAGES

EXTRAORDINAIRES.

EXTRAPOLATION. Probably derived from "interpolation" and used

by statisticians to refer to the process of predicting a value beyond a
known series by detecting patterns within the series. Extended into the
social_and natural sciences, "extrapolation" has become one of the most
common characteristics cited in discussions and definitions of science
fiction, and even provided the title for the field's first academic journal,
founded in 1959. Generally, it is used to mean the technique of hasing
imaginary worlds or situations on existing ones through cognitive or
rational means; a Satire,* therefore, may be based on extrapolation but
need not be, since the relationship of the world of the satire to our own
might be purely metaphorical. An example of an extrapolative science
fiction satire is Frederik Pohl and C. M. Kornbluth's The Space Merchants
( 1952), in which a future society dominated by advertising agencies is
clearly an outgrowth of trends visible in the early 1950s.
The term is closely allied with Speculative Fiction,* and one of its
earliest important usages occurred in the Robert E. Heinlein essay in
which he proposed the latter term: In the "speculative science fiction
story," he wrote, ''accepted science and established facts are extrapolated
to produce a new situation, a new framework for human action" [84].
Perhaps in part because of its scholarly sound, the term quickly gained
popularity, and by 1955 Basil Davenport could report that extrapolation
was ''a word that is almost as great a favorite in discussions of science
fiction as 'space-warp' is in science fiction itself; it may be defined as
34 EXTRAPOLATION

'plotting the curve' ., [66]. While treating extrapolation as a defining

characteristic of science fiction would seem to limit the genre to fiction
of the future, critics have managed to adapt the word to include
extrapolations about the past, about Alternate Worlds,* and about other
favorite themes. Other critics, however, have argued for distinctions
between "extrapolative" and "nonextrapolative" kinds of science fiction
narratives, while still others have expressed hope that the term might
be banished altogether as restrictive and misleading.
F

FABLE. In its most general sense, any short, symbolic narrative pointing
up a moral (a definition that would seem to include parables as well).
Some folklorists argue that the fable is a variant of the etiological animal
tale, that its purest form is the Beast-Fable,* and that the moral pointed
up is always one of common sense. Science fiction has on occasion been
touted as a means of presenting fables to less credulous modem audiences;
as early as 1874 Robert Louis Stevenson argued that a "modern fable"
would provide a "logical nexus between the moral expressed and the
machinery employed to express it"-in other words, that modern readers
seemed less willing to accept the pure fantastic as represented by earlier
fables [150]. See also EPIC FABLE.

FABULATION. Robert Scholes' term for fiction that presents a world

"radically discontinuous from," yet cognitively related to, our own.
Popularized originally in Scholes' The Fabulators (1967), in which Scholes
discussed such authors as Kurt Vonnegut, Jr., and John Barth,
.. fabulation" describes a kind of postrealistic work characterized by self-
conscious attention to design, a sense of "art and joy," and didactic or
satirical purpose [174, 175]. Scholes distinguishes two kinds of fabulation:
''dogmatic," which operates out of a closed system and is roughly
analagous to religious romances; and "speculative," which arises from
humanistic tradition and incorporates the scientific romance [176].

FAERIE. ''The realm or state in which fairies have their being," according
to J. R. R. Tolkien, although he actually uses the term more broadly
to describe the nature of the Secondary World* in general [194]. In
general usage at least since Edmund Spenser's The Faerie Queene (1590)
36 FAERIE ROMANCE

it refers to the realm of the fairies or the world of the supernatural; also
spelled "faery."

FAERIE ROMANCE. A term used by George MacDonald as the subtitle

of his 1858 fantasy Phantastes. The term was not widely adopted, and
MacDonald subtitled his own later Lilith (1895) simply a "romance."

FAIRY TALE. In continuous use in English at least since 1750, but

seldom used to refer exclusively to stories or legends dealing with fairies.
Indeed, the most familiar tales, such as those collected by the Grimm
brothers or Andrew Lang, feature few if any fairies. By the early
nineteenth century, especially in Germany, the fairy tale or Miirchen*
came to be valued as a dream-like story in which inexplicable supernatural
occurrences and the frequent suspension of causality were taken as
evidence of the "true vision" of the unconscious; this, together with the
eventual liberation of the form from the Ghetto* of children's literature,
has been cited by Manlove [132] and others as significant in the
development of modern fantasy.

FANCY. In Samuel Taylor Coleridge's famous distinction between fancy

and Imagination* (Biographia Literaria, 1817), the lesser "aggregative
and associative" function to imagination's more fundamental "shaping
and modifying" power. This dichotomy has survived in various forms
in discussions of fantastic literature ever since. Leslie Stephen in 1879
described fancy as dealing with "superficial resemblances" while
imagination deals with "the deeper truths that underlie them," and
George MacDonald in 1893 argued that fancy represented "mere
inventions" in the creation of secondary worlds while imagination
represented "new embodiments of old truths." More recently, C. N.
Manlove associates fancy with "comic" or "escapist" fantasy that carries
no deeper meaning, as opposed to "imaginative" fantasy which seeks
to invest the imagined world with a deeply felt sense of reality. He cites
as examples of the former Milne, Morris, Dunsany, Eddison, and others;
and ofthe latter Kingsley, MacDonald, Tolkien, Lewis, and Peake [132].

FANDOM. The organized readership of science fiction and, to a lesser

extent, of other popular literatures. Sometimes carelessly used to refer
to science fiction readership in general, fandom is more properly
determined, as Algis Budrys points out, by participation in various
"fannish" activities such as conventions and fanzines, and may or may
not be related to the extent or nature of one's reading in the genre [43].
Although other popular genres such as the horror story or the detective
novel have bodies of organized enthusiasts, "fandom" is usually confined
to science fiction, and refers to a substantially smaller group than the
FANTASTIC 37

readership at large of the genre. Often styled-or self-styled-a

"subculture" because of its emphasis on jargon and ritualized behavior,
fandom more closely approaches the definition of a folk culture, since
by and large it does not constitute a complex of living conditions that
set its members apart from the culture at large, but rather is a self-
determined community whose members are deeply committed to it and
whose "secrets" are passed along by oral tradition.

FANTASCIENCE. Cited by J. 0. Bailey [19] as an early variant of

"science fiction" (although the usage seems to be rare in English). In
Italy, however, Fantascienza has been in common usage since 1952 to
refer to science fiction, and provided the title of a study of the genre
by Lino Aldani in 1962 (La Fantascienza: Che Cos'e', Come e' Sorta,
Dove Tende).

FANTASIA. Generally, a work of art unrestricted by conventions of

form or verisimilitude. The word has seldom been used in direct
connection with fantastic literature, however, and Arnold Bennett even
used it to refer to a series of light, satirical novels that were not in
themselves fantasies. A more conventional usage is that of Rrian Aldiss,
who subtitled his 1970 novel Barefoot in the Head "A European Fantasia,"
presumably reflecting the variety of styles and forms used in that novel.

FANT ASMATIC. The level of discourse associated with the fantastic,

as opposed to the "noematic" discourse of more "realistic" writing.
David Clayton describes the fantasmatic as "an investment of unconscious
desire," but cautions that it is not the "unreal"-it exists only in
relationship with the noematic, which "conceptually organizes the
real"[57]. See also SUBJUNCfiVITY.

FANTASTIC. As a critical term, now frequently used in Tzvetan

Todorov's sense of the uncertainty, when reading an apparently fantastic
work, as to whether the impossible events are really occurring or whether
they may be rationally explained. Once this uncertainty is resolved, the
work belongs to the related genres of the Marvelous* (the supernatural
accepted) or the Uncanny* (the supernatural explained) [193]. Many
European scholars, however, have used the term in the sense first
described by the French scholar Roger Caillois as a "break in reality,"
and thus almost diametrically opposed to the marvelous in that it is
characterized by the intrusion of the supernatural or marvelous into an
otherwise well-ordered world [162].
38 FANTASTIC OBJECfiVITY

FANTASTIC OBJECTIVITY. The treatment of fantastic situations or

events as objectively real, with no realistic .. norms,. presented from
which the narrative may deviate in its introduction of the fantastic; T. E.
Apter's example is the work of Franz Kafka [ 11 J.

FANTASTIC-PROPHETICAL AXIS. E. M. Forster's term for a broad

range of fiction characterized by a .. sense of mythology." His examples
include Sterne and Melville as well as William Beckford and Walter de
Ia Mare [871. See also FANTASY; PROPHECY.

FANTASTIC ROMANCE. A "supergenre" defined by R. D. Mullen as

"autonomous narratives depicting marvels as objectively real" and
including the genres of science fiction, utopian fiction, and fantasy [141].

FANTASTIKA. Russian term for science fiction, shortened from

nauchnaia fantastika and in use at least since 1925, when it was used as
part of the subtitle of the magazine World Pathfinder [22].

FANTASY. A fictional narrative describing events that the reader believes

to be Impossible.* This is the most commonly cited definition of literary
fantasy, although it has been argued that such a definition places too
great an emphasis on reader response and not enough on structural or
thematic characteristics-not to mention its use of such an imprecise
term as "impossible." A second problem with the term is the ongoing
debate over whether it properly refers to a large narrative genre
encompassing such subgenres as science fiction and horror, or whether
these subgenres are in fact distinct. R. D. Mullen has attempted a
compromise between these views by suggesting that fantasy is in fact a
genre within the Supergenre* of Fantastic Romance* and is characterized
by ''autonomous narratives depicting supernatural, pseudonatural, and/
or sociocultural marvels as objectively real" (141 ). Other definitions of
fantasy:
E. M. Forster (1927): Fiction that "implies the supernatural, but need
not express it" [87].
Herbert Read (1928): "The product of Fancy," in Coleridge's sense,
and characterized by "objectivity and apparent arbitrariness" best
exemplified by the fairy tale [159].
J. R. R. Tolkien (1947): "The most nearly pure form" of art,
characterized by "arresting strangeness" and "freedom from the
domination of observed 'fact' "; in other words, Sub-Creation* combined
with "strangeness and wonder" [ 194].
Reginald Bretnor (1953): "Imaginative fiction in which no logical
attempt is made, or needed, to justify the 'impossible' content of the
story" [35].
FANTASY 39

Robert A. Heinlein (1957): A story that is "imaginary-and-not-possible"

[67).
Rudolph B. Schmerl (1960}: "The deliberate presentation of
improbabilities through any one of four methods-the use of unverifiable
time, place, characters, or devices--to a typical reader within a culture
whose level of sophistication will enable that reader to recognize the
improbabilities" (1731.
Andrzej Zgorzelski (1967): "The breach of internal literary laws";
fantasy appears when "the internal laws of the fictional world are
breached," as indicated by reactions of characters in the story (162).
Lloyd Alexander (1968): "Reality pretending to be a dream" [31.
Donald A. Wollheim (1971): "Pure fantasy is that branch of fantasy
[in the whole of which Wollheim also includes science fiction and weird
fiction 1 which, dealing with subjects recognizable as nonexistent and
entirely imaginary, is rendered plausible by the reader's desire to accept
it during the period of reading" [212).
Ursula K. Le Guin (1973): "An alternative technique for apprehending
and coping with existence,., characterized by a "pararational"
"heightening of reality" and (in Freudian terms) primary process thinking
[ 115].
Jane Mobley (1974): "A nonrational form ... which arises from a
world view essentially magical in its orientation. As a fiction, it requires
the reader's entering an Other World and following a hero whose
adveqtures take place in a reality far removed from the mundane reality
of the reader's waking experience. This world is informed by Magic,
and the reader must be willing to accept Magic as the central force
without demanding or expecting mundane explanations" [134].
C. N. Manlove (1975): "A fiction evoking wonder and containing a
substantial and irreducible element of supernatural or impossible worlds,
beings or objects with which the mortal characters in the story or the
readers become on at least partly familiar terms" [ 132].
W. R. Irwin (1976): "A story based on and controlled by an overt
violation of what is generally accepted as possibility; it is the narrative
result of transforming the condition contrary to fact into 'fact' itself"
[ 105).
Eric S. Rabkin (1976): The ''polar opposite" of reality; literature
characterized by a "'direct reversal of ground rules'' from those of everyday
existence" [ 1561.
Marshall B. Tymn, Kenneth J. Zahorski, and Robert H. Boyer (1979):
"Works in which nonrational phenomena play a significant part" (with
''nonrational phenomena" further defined as those that ''do not fall
within human experience or accord with natural laws as we know them")
[1971.
40 FANTASY ADAPTATION

Roger C. Schlobin (1979): "That corpus in which the impossible is

primary in its quantity or centrality" [170).
Brian Attebery (1980): "Any narrative which includes as a significant
part of its makeup some violation of what the author clearly believes
to be natural law" [17].
Rosemary Jackson (1981): "A literature of desire, which seeks that
which is experienced as absence or loss" [106].
Ann Swinfen (1984): "The essential ingredient of all fantasy is 'the
marvellous', which will be regarded as anything outside the normal
space-time continuum of the everyday world" (189].
Kathryn Hume (1984): "Any departure from consensus reality"; "the
deliberate departure from the limits of what is usually accepted as real
and normal" [102].

FANTASY ADAPTATION. See ADAPTATION.

FANTASY OF INNOCENCE. According to Irwin, a fantasy in which

the innocence of children or childlike beings is informed or "organized"
by principles such as energy or love [105).

FANTASY PASTORAL. See PASTORAL.

FANZINES. The periodical publications of Fandom, * which have ranged

in size from postcards to magazines of professional quality. The term
has sometimes been misused to include any periodical publications
concerning science fiction or fantasy, including various scholarly journals.

FEMINIST SCIENCE FICTION. Variously applied to critical

methodologies, to the ideological content of specific works, or to groups
of works viewed in the context of a perceived commonality of outlook.
Of these usages, the latter is the least precise, and has led to numerous
attempts to trace a generic pattern from present feminist concerns back
through the works of such authors as Leigh Brackett and Andre Norton.
In the most extreme version of this usage, "feminist science fiction"
might include practically any science fiction written by women, when
viewed in terms of specific reading Protocols.* A considerably more
narrow definition was offered by Barry Malzberg, who argued that
"genuine" feminist science fiction would be that "in which women are
perceived to react to events and internalize in a way which is neither a
culturally received stereotype nor a merely male stereotype projected
onto female characters" [129]. Such a definition, focusing almost
exclusively on means of characterization, tends however to overlook the
political concerns that have historically characterized feminist fiction.
Although "feminism" is perhaps as hard to define as "science fiction"
FIX-UP 41

itself, there is nevertheless a long tradition of such self-consciously feminist

fiction, and within this tradition there is a history of fantastic fiction,
which includes such works as Charlotte Perkins Gilman's Her/and {1915)
and Joanna Russ' The Female Man (1975). The authors most commonly
characterized as "feminist science fiction" authors-Russ, James Tiptree,
Jr. (Alice Sheldon), Suzy McKee Charnas, Suzette Haden Elgin, and
others-are often those who write in this intersection between feminist
tradition and the science fiction genre.

FICTIONAL BIOGRAPHY. A work or series of works structured as an

imaginary biography. A common tradition in both realistic and fantastic
literature, the fictional biography is represented most extensively in
fantastic literature by the twenty-three-volume Biography of the Life
of Manuel (1904-1929) by James Branch Cabell.

FICTIVE IDSTORY. Fiction that implies or reinforces a view of historical

reality, or that is itself an imitation of a historical document. As Robert
H. Canary observes, all novels are thus in some sense fictive histories,
but works of science fiction and fantasy present special problems in that
they are frequently laid outside of recognizable historical realities. Such
works, however, may constitute fictive histories if they imply a notion
of historical process either through Extrapolation or through employing
a widely held historiographical view, such as Historical Cyclism* [46].
See also FUTURE HISTORY; HISTORICAL PLURALITY.

FIRST CONTACT STORY. A science fiction story depicting initial

meeting or communication with aliens or extraterrestrials, and a common
Subgenre* of science fiction narratives which may take its name from
Murray Leinster's story in Astounding Science Fiction, "First Contact"
( 1945).

FIX-UP. Coined by A. E. Van Vogt in his memoirs to describe an

extended fictional work comprising stories previously published but
altered and connected in the extended text. The term entered the science
fiction critical vocabulary through its liberal use in Peter Nicholls' The
Science Fiction Encyclopedia {1977) [144). The term seems convenient
for a genre that evolved largely in magazines that could accommodate
only shorter pieces or Serials,* since the raw material for many novels
in the genre has often consisted of ideas previously worked out in short
stories. But since the term is widely applied to novels, or books marketed
as novels, it has drawn criticism from some authors (notably James Gunn
in Foundation, no. 30) because of the implied generic distinction between
a novel "written" as a novel and one published in segments as shorter
pieces. Gunn argues that this suggests the latter are inferior and
42 FOLK TALE

"episodic," and that "episodic" is itself a deprecatory term. In addition,

one might argue that "fix up" from general usage carries a connotation
of contrivance and even salvage. A further problem is that the term
sometimes confuses manner of publication with manner of cumpusiliun;
novels written as such but excerpted for magazine publication are included
under the term as well as groups of short stories reworked to resemble
a novel.

FOLK TALE. A tale from oral tradition, as opposed to the literary fairy
tale or the Miirchen. *While folk tales often provide the source for such
works, they also may be the basis for other fantasy Adaptations* such
as horror and ghost stories, as well as a narrative strategy in the works
of authors from Ludwig Tieck to Manly Wade Wellman.

FORMULA. A combination or synthesis of a number of specific cultural

conventions with a more universal story form or archetype," according
to John G. Cawelti [49]. Cawelti actually refers to two kinds of formulas
in this definition: conventional ways of describing people or things, which
tend to be specific to particular cultures; and recurrent conventional
patterns of story or plot, which tend to be more universal. In the latter
sense, "formula" is often confused with genre, particularly in those
highly conventionalized forms of popular literature, such as the classical
detective story, in which the rules of narrative construction become a
key defining factor. However, such a usage becomes especially
problematic in fantasy and science fiction, which may draw on narrative
formulas from other popular genres and incorporate them into fantastic
settings or populate them with fantastic beings (such as the detective
story displaced into a science fiction world by Isaac Asimov or the spy
thriller displaced into a fantasy world by Katherine Kurtz). While there
are a number of narrative formulas specific to both fantasy and science
fiction (Frank Cioffi has attempted to identify a number of the latter
specific to science fiction of the 1930s [52]), and while hoth genres
certainly partake of the culturally localized stereotypes and conventions
identified with formula writing, neither genre can be easily defined
according to dominant narrative patterns, at least at the surface level.
Some critics, however, notably Mark Rose [160) and Gary K. Wolfe
[208], have attempted to identify more broadly thematic formulas for
science fiction; in Rose, it is the encounter of human and nonhuman,
and in Wolfe the encounter of known and unknown. While neither
formula is generative exclusively of science fiction works, each provides
a useful means of revealing connections between disparate works both
inside and outside the field.
FUTURE HISTORY 43

FORTEAN. Of or relating to the works of Charles Fort (1874-1932),

an American journalist whose various collections of acounts of
unexplained phenomena (The Book of the Damned, 1919; Lo!, 1931;
Wild Talents, 1932, etc.) influenced a number of popular science fiction
and fantasy writers during the 1930s and 1940s. Though not pretending
himself to be a serious theorist, Fort's examples of strange phenomena
provided fodder for authors including Eric Frank Russell, Damon Knight,
and L. Ron Hubbard.

FREE FANTASY. Fantasy narratives unencumbered by specific ground

rules, whether from a source or from the design of the author; the term
is C. S. Lewis' [120].

FUNCTION. In the folk or fairy tale, an act performed by a specific character,

"defined from the point of view of its significance fur the course of the
action,'' according to Vladimir Propp in his classic study Morphology of the
Folktale, (1928) [155]. Functions are supposedly generative of folktales in a
manner analogous to the way in which grammatical functions generate
sentences, and thus "serve as stable, constant elements in folktales, independent
of who performs them, and how they are fulfilled by the dramatis personae.''
They also are supposedly finite in number and always occur in the same
sequence. Propp identified thirty-one such functions in oral tales; examples
are the hero leaving home or magical tests the hero must undergo. Many of
Propp's functions remain conventions of modem fantasy narratives, and his
techniques of analysis have influenced later structuralist critics and the study
of narrative formula in general.

FUTURE HISTORICAL. ''A tale of the future using the techniques of the
historical novel," according to Isaac Asimov, whose own Foundation series
( 1942-1950) is the most famous example of the type [ 14].

FUTURE HISTORY. A metafictional device for connecting a number of

stories set in a common future, most often associated with the stories published
by Robert A. Heinlein during the 1940s (although the chronological charts
often associated with future histories had been used as early as I 930 by Olaf
Stapledon). Future history chronologies may be either presented by authors
in connection with their own stories, as is the case with Heinlein, or derived
from an author's work by critics, as is the case with R. D. Mullen's chronology
of James Blish's Cities in Flight series (1955-1962). Other authors who have
employed this common device are Cordwainer Smith, Larry Niven, and Ursula
K. Le Guin. See also COSMOGONY; FICTIVE HISTORY; HISTORICAL
CYCLISM; HISTORICAL PLURALITY.
44 FUTURE SHOCK

FUTURE SHOCK. Journalistic term derived from the title of Alvin Toffter's
popular 1970 study of the impact of rapid technological and social change
on individuals and the culture at large. The term has been widely invoked in
discussions of the value of science fiction, and has arguably had some impact
on certain writers in the genre, notably John Brunner. See also FUTUROLOOY.

FUTURE WAR. Although still a common Subgenre* of science fiction,

future war tales enjoyed a particular vogue in the latter nineteenth century
and were a continuing tradition in Proto Science Fiction.* Used as a generic
term, "future war" often refers specifically to such earlier works, sometimes
specifically to those produced between the publication of George T. Chesney's
The Battle of Dorking ( 1871) and the advent of World War I [56]. Anthologies
of more recent science fiction on this theme include Gordon R. Dickson's
Combat SF ( 1975) and Reginald Bretnor's three-volume The Future at War
( 1979-1980).

FUTURIANS. A group of science fiction fans from Brooklyn active from

1938 to 1945. "Futurian" is sometimes extended to describe their collective
influence on the way science fiction was written-specifically, a shift away
from the Superscience* conventions of earlier Pulp* writing and toward a
more satirical focus on character and the ways in which individuals might
react to technological change. The group included Donald Wollheim, Cyril
Kornbluth, Frederik Pohl, Robert Lowndes, James Blish, and Damon Knight,
whose The Futurians ( 1977) is a history of the group.

FUTUROLOGY. The interdisciplinary study of possible futures. Coined by

German historian Ossip Flechtheim in 1949 but in common use only since
the mid-1960s, "futurology" is an attempt to provide a scientific label for
the methodical and systematic study of potential future trends and events.
Although such movements have been fairly common in the past (a particular
outbreak of such thinking in the late 1920s in England is believed by Brian
Stable ford to have influenced the development of science fiction in that country
[22]), their connections to modem science fiction have been relatively slight
[81 ].
G

GADGET SCIENCE FICTION. Almost self-explanatory, but most often

associated with science fiction of the Gernsback Era* and the years
immediately following. Isaac Asimov suggested this term in 1953 as a
means of describing those tales of this period that, in contrast to adventure
science fiction, stressed technology at the expense of almost everything
else and leaned heavily toward exposition as the brilliant or crusty or
mad scientist explained his latest invention in interminable detail to the
hero and/or heroine [35]. The term has on occasion been used to refer
to mo~e recent science fiction in this tradition, in which the technology
appears to be the raison d'etre of the narrative.

GEDANKENEXPERIMENT. See THOUGHT EXPERIMENT.

GENRE. (French, .. type, kind"). Usually, a group of literary works with

common defining characteristics or conventions. In its oldest sense, the
major historical genres of literature, derived from the Greeks, are drama,
epic, and lyric; this led Northrop Frye to speculate that the original
principle of generic distinction involved the "radical of presentation,"
that is, the manner in which a work is conveyed to its audience [92]. In
practice, the term has gained much narrower usage and has come to
refer to major formal, technical, or even thematic elements that unite
groups of works within a larger genre; hence the genre of prose fiction
was commonly divided into further genres of novels and romances during
the nineteenth century (based on content) or into genres of novels,
novellas, and short stories (based on length and the structural conventions
governed by length). As a result of the widely varying usages of this
term, legitimate debates have arisen concerning whether science fiction
and fantasy constitute true genres at all.
46 GERNSBACK ERA

Two general approaches to the term "genre" have proved useful in

discussing fantastic literature, however. John Cawelti suggested that
genres may be identified as "archetype-genres," which relate specific
works to broad "universal" forms such as tragedy or romance; or
"formula-genres" (more commonly "popular genres") which relate such
works to other works with the same specific conventions (49). A given
work of fantasy, then, might be discussed either in tenns of other fantasies
of the same type, or in terms of the broad tradition of romance to which
many fantasies also belong. A second definition, used by Mark Rose,
approaches genre not as a means of classification but as a set of reading
Protocols,* "a context for writing and reading" [160]. This approach
has the advantage of describing how works are written and read in
specific times and places, and avoids some of the historical confusion
that arises when purely formal definitions of genre are attempted. A
problem with many, if not most, definitions of science fiction and fantasy
is that they attempt to identify formal characteristics that may seem to
connect works that common sense tells us do not readily belong in the
same genre. While such formal characteristics may enable historians of
science fiction to include, for example, Dante's Divine Comedy (1311)
as part of the great tradition of Proto Science Fiction,* the contextual
approach would correct this by pointing out that neither Dante nor his
readers were aware of any science fiction tradition and that modern
science fiction readers would not expect to find such a work as the Divine
Comedy in the pages of their favorite magazines. The term "genre
science fiction," as often used by Peter Nicholls and others, generally
employs such a contextual approach to genre, and refers to works self-
consciously written, published, and received in the context of similar
works and acknowledged conventions [144].
Genre is sometimes distinguished from Formula,* which often refers
to specific narrative conventions, and "mode," which refers to narrative
strategies within a genre (so that, as science fiction evolves toward greater
integration with the Mainstream,* it becomes less of a genre unto itself
and more of a mode of presentation).

GERNSBACK ERA. Commonly cited as one of the major periods of

historical development in twentieth-century science fiction, and specified
by Isaac Asimov as the years 1926-1938---or roughly from the founding
by Hugo Gernsback of Amazing Stories to the beginning of John W.
Campbell, Jr.'s editorship of Astounding Science Fiction [35). The dates
are of course arguable, since Gernsback began publishing science fiction
in his popular technology magazines as early as 1911, and since his own
avowed interest in science fiction as a means of popularizing science was
never as dominant a force in Amazing as Gernsback might have hoped.
In any event, the term survives as a general way of describing that period
GHOST STORY 47

of science fiction in which Gernsback exerted some editorial influence,

and perhaps as a way of isolating and defining a body of early science
fiction for which few claims of literary or social merit are made.

GHETTO. A kind of literary backwater. Since at least the late 1940s,

science fiction writers and editors have complained of the "ghettoization"
of the genre by publishers, booksellers, and reviewers. "Ghetto" thus
refers not only to the evolution of science fiction as a commercial
bookselling category, but to a complex of critical and social attitudes
that have come to influence factors as disparate as authors' contracts,
book design, the placement of popular reviews, the teaching of the
genre, and literary fellowships and awards. While other genre writers
have also complained about "ghettoes'' of westerns, mysteries, romance
novels, and the like, science fiction writers have been perhaps the most
vocal and possibly the best-organized group in opposing this tendency.
Anthony Boucher argued that such literary ghettoes arose from four
factors: the tendency of popular writers to specialize in a particular
genre, the tendency of readers to buy fiction by category, the tendency
of academics to increasingly separate popular from "serious" fiction,
and the realization on the part of publishers that more predictable sales
could be gained by segmenting audiences according to special interests
[35]. In fact, the latter factor is arguably the most significant in the
historical evolution of the "ghetto" of science fiction, which for much
of its history has been dominated by magazines (which have been sold
by popular category since the nineteenth century), and which did not
enjoy significant paperback publication until long after Robert de Graaf
of Pocket Books had discovered the principle of shelving genre books
together in order to increase their sales. Similarly. hardbound science
fiction did not become widespread until after hardcover publishers had
been forced into similar marketing techniques by the success of the
"paperback revolution." In more recent years, the very success of science
fiction has exacerbated the situation, as authors who have established
track records of dependable sales within the genre often find it difficult
to persuade publishers to market books in any other way; the most
famous examples are Harlan Ellison's contretemps with a publisher who
attempted to label as science fiction reprints of the author's early realistic
and autobiographical writings, and Isaac Asimov's losing argument with
a publisher who refused to label his 1972 novel The Gods Themselves
as science fiction.

GHOST STORY. In the most obvious sense, a supernatural narrative

characterized by the presence of spirits of the dead; in a somewhat
broader and perhaps more common sense, any narrative that implies
the presence of such spirits in a significant way, such as Henry James'
48 GOLDEN AGE

"The Turn of the Screw" ( 1898). In a still broader sense, the term has
sometimes been applied to the metaphoric presence of ghosts, as in
James Joyce's "The Dead." Julia Briggs includes in her definition stories
not only about ghosts, but about "possession and demonic bargains,
spirits other than those of the dead, including ghouls, vampires,
werewolves, the 'swarths' of living men and the 'ghost-soul' or
Doppelganger.*" Such stories, she argues, are "generically related
through a common intention of inducing fear by the use of the
supernatural," and thus are distinct from the tradition of fantasy which
derives from Fairy Tales* and from stories dealing with magical omens
or portents [37].

GOLDEN AGE. The earliest and most perfect of the Ages of the World
as described by Hesiod in his Works and Days (ca. 700 B.c.), and thus
often related to Utopian* thinking. In discussions of literary history,
however, "golden age" refers to a period of unparalleled productivity
and quality in the literary history of a nation or region-such as Latin
literature ca. 80 B.c.-14 A.D. In this latter sense, the term is often
informally applied to those periods during which popular art forms
developed and solidified major conventions and themes; "golden age"
has on occasion been defined with only some flippancy as the phase of
an individual reader's life during which he or she first fell in love with
a genre. In science fiction, however, the term most often refers to the
Campbell Era,* and has been even more specifically delimited by Isaac
Asimov as the years 1938-1950, during which Astounding Science Fiction
under Campbell dominated the market and published the early works
of a large number of major writers [ 14]. The term is, as Robert Scholes
and Eric Rabkin state, characteristic of science fiction Fandom* in being
"overstated, self-approving, and quite uncritical" [178). However, other
Pulp* genres have also been said to have their own golden ages; for
example, Sam Lundwall cites the years 1928-1939 for Weird Tales
magazine, those being the years in which authors such as H. P. Lovecraft,
Robert E. Howard, and Clark Ashton Smith published the stories that
would eventually come to define their particular Subgenres* (125).

GOTmC. Originally, relating to Goths, later to Teutonic culture in

general, then to "barbarian" cultures, and eventually, in the eighteenth
century, to the styles of the Middle Ages [93). In 1765, Horace Walpole
appended the subtitle "A Gothic Tale" to the second edition of his novel
The Castle of Otranto, and the term quickly entered literary discourse
both as a condemnation of works of excessive violence and supernatural
extravagance and as a marketing device for a new genre of cheap thrillers.
The medieval settings or ruined castles characteristic of many such
narratives probably led critics to associate them with the then-despised
GOTHIC SCIENCE 49

excesses of Gothic architecture, but the term has survived in literature

to describe a variety of ghostly or supernatural tales that have little if
anything to do with the devotional meaning of "Gothic" to art historians
or the associations with barbarian Europe to historians in general. (Were
the latter the case, Sword and Sorcery* would be deserving of the term.)
While the Gothic novel as a genre survived well into the nineteenth
century, it eventually gave way to genres as disparate as the horror story
and the romantic novel (and, according to Brian Aldiss and other critics,
science fiction [1 ]). While horror fiction inherited the more extravagant
supernatural appurtenances of the Gothic, the romantic novel, through
the Brontes and later Daphne du Maurier, adopted its settings and the
conventions surrounding the Gothic villain to spawn a genre of modern
popular novels of romantic suspense that have come to appropriate the
term Gothic for marketing purposes, even though such novels may have
little or nothing to do with the supernatural.

GOTHIC HIGH FANTASY. A hybrid Subgenre* combining elements

of High Fantasy* and Horror.* Critics Robert H. Boyer and Kenneth
J. Zahorski define "Gothic" as supernatural tales concerned with the
sense of dread or apprehension upon confronting the unknown or
unnatural; in "Gothic high fantasy" these supernatural elements are
explainable in terms of the laws of a fully imagined Secondary World,*
whereas in "Gothic low fantasy," which is set in the "real world," they
are generally not explainable [30].

GOTHIC LOW FANTASY. See GOTHIC HIGH FANTASY.

GOTHIC NOVEL. Originally a historical term used to refer to a genre

of popular sensational novels of the late eighteenth and early nineteenth
centuries, the term has come to be applied to modern novels using the
conventions of that genre, to a broader category of romances featuring
exotic settings and often featuring women protagonists, and in some
cases to almost any fiction of the supernatural which is heavily atmospheric
and not set in a Secondary World.* See GOTHIC; GOTHIC HIGH
FANTASY; GOTHIC SCIENCE.

GOTHIC SCIENCE. Scientific or pseudoscientific ideas presented in the

framework of Gothic* novels or tales. J. 0. Bailey cites as examples
alchemy in Edward Bulwer-Lytton's Zanoni (1842) and Honore de
Balzac's The Quest of the Absolute (1R34), mesmerism in Edgar Allan
Poe's "The Facts in the Case of M. Valdemar" (1845), and chemistry
in Nathaniel Hawthorne's "The Birth Mark" (1846) [19]. The phrase
has not been widely adopted, but is a convenient term for indicating
how in early science fiction-like tales, science was often adapted and
50 GROTESQUE

altered for atmospheric purposes. The term might also be applied to

various attempts at pseu'doscientific "explanations'' of Gothic
conventions, such as Richard Matheson's attempt at a bacterial rationr_~le
for vampirism in I Am l.egend (1954).

GROTESQUE. A style characterized by distorted, warped, or exaggerated

representations of reality. Identified as "a branch of the fantastic" by
an essay in the Pall Mall Gazette in 1888, the term originally referred
to the kind of ornamental design originally discovered in excavations of
ancient architecture (hence, Grotteschi or grottoes). The term gained
currency among art historians and was widely used by Horace Walpole,
but probably first entered critical discourse through Sir Walter Scott's
1827 Fortnightly Review essay "On the Supernatural in Fictitious
Composition." From here, apparently, it was picked up by Edgar Allan
Poe, who used it in the title of his 1840 collection Tales of the Grotesque
and Arabesque. While there is some disagreement as to how Poe intended
the meaning of these terms-some have argued that his notion of
"grotesque" represented the distorted view of reality imposed by human
senses and intellect-"grotesque" has since evolved in common usage
to refer to distorted or wildly exaggerated representations of reality. It
is, as Wolfgang Kayser said in his 1963 study The Grotesque in Art and
Literature, "the estranged world, our world which has been transformed"
[ 107]. In fantasy, the term is associated, for example, with works such
as those of Mervyn Peake, and in the Mainstream* with authors as
diverse as Carson McCullers and Gunter Grass.

GROUND RULES. Broadly, any rules of causality or physics that are

accepted as a given in a work of fiction. While the "ground rules" of
realistic fiction are essentially those of the experiential world, works of
fantasy contravene these rules and thus, according to Eric Rabkin, become
dependent on the internal consistency of their own ground rules [156].
H

HAPPY ENGINEER. "One of the great uninvestigated myths of

contemporary science fiction." according to Barry Malzberg, who coined
the term to describe the commonly accepted belief that science fiction
of the Golden Age* was characterized by technological optimism
represented by brilliant engineer-heroes who successfully solved all
problems by application of the scientific method. Malzberg argues that
the Happy Engineer is a myth associated with John W. Campbell, Jr.'s
own beliefs, but not widely reflected in the fiction of his era [129].

HARD SCIENCE FICTION (sometimes also "hardcore science fiction").

Science fiction in which the Ground Rules* are known scientific principles,
and in which speculation based on such principles constitutes a significant
part of the work. Coined presumably on the model of "hard sciences"
(the physical and biological, as opposed to social sciences), "hard science
fiction" is ostensibly that written around known scientific facts or at
least not-unproven theories generated by 'real' scientists," according to
Norman Spinrad [34]. Thomas N. Scortia somewhat more narrowly
defines it as a "closely reasoned technological story" [36). Neither
definition quite encompasses the breadth with which the term is actually
used, however. In some cases it refers only to stories in which the setting
is carefully worked out from known scientific principles (as in the work
of Hal Clement or Larry Niven), in other cases to stories in which the
plot hangs on such a principle, and in still other cases to almost any
science fiction associated with such stories in time or place. In the last
sense, the term may become almost synonymous with science fiction of
the Campbell Era.* See also SOFT SCIENCE FICTION.
52 HEGEMONIC NOVUM

HEGEMONIC NOVUM. According to Darko Suvin, the "Novum,"*

or "strange newness," which is at the center of science fiction narratives
is "hegemonic" in that it "determines the whole narrative logic" of the
tale. Some other critics and reviewers have adopted hegemonic novum"
as a concise, if somewhat eccentric, way of characterizing science fiction
[ 187).

HEROIC FANTASY. Often commercially applied to Sword and Sorcery*

tales featuring muscular barbarian heroes, but sometimes to any variety
of Epic* or Quest* fantasy, particularly those that derive from specific
heroic traditions, such as Arthurian tales.

HERO TALE. A variety of Folk Tale* dealing with the adventures of

a local or traditional hero; sometimes cited as the precursor in folklore
of Heroic Fantasy.*

HETEROTOPIA. Originally a medical and biological term referring to

a displacement of an organ or an organism; thus, broadly, a
"displacement." "Heterotopia" was suggested by Robert Plank in 1968
as a convenient term for works of fiction that invent "not only characters
but also settings." Plank included science fiction, much fantasy, and
utopian fiction under this t~rm, which in this sense is obviously derivative
of Utopia* [151). Although not widely adopted, the term was invoked
in the subtitle of Samuel R. Delany's novel Triton (1976): "An Ambiguous
Heterotopia."

HIEROPHANY. Mircea Eliade's term for any specific object or being

in which is manifest the numinous and sacred, from "elementary
hierophanies" of stones and trees to the supreme hierophany" of the
incarnation of God. Any hierophany is also a "kratophany," or
manifestation of power (79). See also NUMINA.

HIGH FANTASY. Fantasy set in a fully imagined Secondary World,*

according to Boyer and Zahorski, as opposed to Low Fantasy* which
concerns supernatural intrusions into the "real" world [31].

HISTORICAL CYCLISM. The tendency of many science fiction

narratives to adopt one of several cyclic views of history, perhaps most
frequently those of Arnold Toynbee or Oswald Spengler. The term has
been used by Paul Carter [48] and others, although the more specific
"Spenglerian" has sometimes been invoked to describe works by those
writers, such as James Blish or A. E. Van Vogt, who deliberately adapted
Spengler's notions of historical periodicity in fictional contexts. Carter
suggests that the dominance of periodicity in the natural sciences may
HUGO AWARD 53

have made a parallel view of history attractive to many science fiction

writers; it is equally possible, however, that cyclic history is merely one
of a limited number of ways of imagining the future and that it inevitably
became a major theme in science fiction by virtue of the limited
alternatives. A great many of the Future Histories* of science fiction,
and certainly Donald Wollheim's "consensus Cosmogony,"* adopted a
limited cyclic view of future history, with one or two periods of reversion
and catastrophe followed by an eventual millenium or Utopia.*

HISTORICAL PLURALITY. Multiplicity of historical meanings or

theories embodied in fiction. Samuel R. Delany has suggested that, in
addition to the Theoretical Plurality* by which science fiction of the
1930s and 1940s challenged the hegemony of accepted scientific tenets
and limitations, the genre developed a "historical plurality" through
which it examined and challenged various notions of historical
development, oft~n within the same series of stories. Isaac Asimov's
"Foundation" series (1942-1951) is cited as an example [71]

HORROR. A genre of popular fiction unusual in that it is labeled not

according to its own conventions or structures, but according to its
desired effect. This leads to some difficulties in attempting to draw
generic lines between horror and fantasy or horror and science fiction
(John W. Campbell, Jr.'s story "Who Goes There," for example, might
properly be described as a science fiction horror story), although a
numb~r of critics have made the attempt. Roger C. Schlobin has argued
that horror is virtually the opposite of fantasy, with the former presenting
a maimed and destructive notion of the natural world threatening the
protagonists and by extension the reader, whereas fantasy offers the
promise of greater worlds beyond and is hopeful where horror is
pessimistic [169]. Although horror has seldom been clearly defined as
a genre beyond its evocation of fear and dread, it has come to be a
widely accepted book-marketing category, and most, if not all, works
so marketed contain supernatural elements.

HOUSEHOLD TALE. Jakob and Wilhelm Grimm's term for their story
collections which eventually became universally known as Fairy Tales.*
The term probably refers to the manner in which the tales were transmitted
through oral tradition, both by parents telling them to their children
and by household workers telling them as entertainment during boring
or repetitive tasks.

HUGO A WARD. The Science Fiction Achievement Award, presented

annually since 1953 (except for 1954) by the World Science Fiction
conventions and voted on by fans who are members of those conventions.
54 HUMAN RACISM

HUMAN RACISM. Term used by C. S. Lewis (The Abolition of Man,

1945) to attack the ideas of Scientism* which he perceived in the novels
of H. G. WeHs and others. Lewis strongly objected to the proposition
that humans enjoyed a kind of manifest destiny to conquer the universe,
and argued against it in his novels as we11 as his criticism. The implied
Cosmogony* of science fiction derived by Donald A. Wollheim is a good
example of the sort of notion that offended Lewis.

HYPOTHETICAL PROBABILITY. "What would be probable if the

initial situation occurred"; C. S. Lewis' term to describe the Ground
Rules* of narratives based on unrealistic or fantastic presuppositions
[120].
I

ICONOGRAPHY. Origina11y from art history, where it was used to

discuss the icons of early art and later (ca. 1900) to discuss the significance
of images or patterns of images in works of art. "Iconography" has
occasionally been invoked as a method of examining popular genres
through their recurrent patterns of imagery. Gary K. Wolfe has termed
such images in science fiction and fantasy 'icons," and defined these as
.. something we are willing to accept because of our familiarity with the
genre" but which may retain their power even when isolated from specific
fictional contexts, as opposed to stereotypes, which originate in the
culture at large, or conventions, which are specific to groups of texts.
Examples in science fiction are robots, cities, monsters, and spacecraft
[208].

ICONOLOGY. Sometimes used interchangeably with Iconography,*

although some critics of art (notably Erwin Panofsky) have argued that
iconology more properly refers to the use of visual images to examine
a more general history of culture or ideas. The term has been used in
the study of fantastic literature by Theodore Ziolkowski, who used it
as a method of tracing the rise of materialism in fiction through several
key fantastic images, such as the mirror, as represented in various works
of fiction over time [216].

IDEA AS HERO. Kingsley Amis' characterization of much early science

fiction. Edmund Crispin once suggested a type of detective story which
he characterized with the term "plot as hero," and on this model Amis
suggested a parallel type of science fiction which he called "idea as hero."
The primacy of the central idea, he suggested, tended to make the story
effective in paraphrase (and hence perhaps to generate word-of-mouth
56 IDIOT PLOT

transmission which was of importance especially during the Pulp* era),

but de-emphasized both character and style, and in some cases even
plot (8). See also LITERATURE OF IDEAS; THOUGHT-VARIANT.

IDIOT PLOT. Probably coined by James Blish, but popularized through

the reviews of Damon Knight, who defined it as a plot that ''is kept in
motion solely by virtue of the fact that everybody involved is an idiot."
Specifically, he refers to stories in which characters act at the convenience
of the author rather than through any perceivable motivation, and uses
the term to attack fantastic works that seem based on the assumption
that fantastic elements obviate the need for fictional credibility. Similar
terms have been employed by other critics of popular fiction and film
(110].

IMAGINARY VOYAGE. In its broadest sense, any account of a voyage

that did not actually take place, whether or not fantastic elements are
present, as long as the voyage constitutes a central part of the narrative.
Philip Babcock Gave persuasively demonstrated that the imaginary
voyage constituted a major genre of imaginative fiction from the sixteenth
century to the present, but had some difficulty in arriving at any sort of
a consensus definition of the genre. The earliest definition, by A. J.
Tieje, specified that such voyages should be aimed at either literary
criticism, at "amusement through the introduction of the wildly fantastic,''
or at social improvement, and that they should take the reader into
"unexplored regions." Later definitions specified that the lands visited
should be little known or imaginary, that the function of the tale should
be satirical, or that a description of the society found at the end of the
voyage should be central. Almost certainly a literary outgrowth of the
traveller's tale, the imaginary voyage is of considerable importance in
the history of fantastic literature because of its early treatment of
extraterrestrial, subterranean, or "lost" civilizations (95]. See also
VOYAGES EXTRAORDINAIRES.

IMAGINATION. Term used by Coleridge, MacDonald, and others to

describe a higher faculty than mere Fancy.* See also FANCY.

IMAGINATIVE FANTASY. C. N. Manlove's category of those fantasies

that seek to establish a fully realized fantastic world, as opposed to those
that merely whimsically build closed systems (132). In a later essay [171]
Manlove omitted this distinction between "imaginative" and "fanciful"
fantasy. See also FANCY.
INNER SPACE 57

IMAGINATIVE FICTION. An early attempt at defining a Supergenre*

that would include both fantasy and science fiction. While some might
find the term redundant, L. Sprague de Camp defined it as modem
stories that are "nonrealistic, imaginative, based upon assumptions
contrary to everyday experience, often highly fanciful and often laid in
settings remote in time and space from those of everyday life" [35]. See
also FANTASTIC ROMANCE.

IMPOSSIBLE. Perhaps the most frequently cited defining characteristic

of fantasy. Such definitions often note that fantasy deals with the
impossible, as opposed, say, to science fiction, which deals with what
might be possible given the conditions of the universe as described to
us by science. The term is somewhat value-laden in that notions of what
is possible, and therefore of what is impossible, vary from culture to
culture and from age to age-even to some extent from individual to
individual. Neither psychotic constructs on the one hand nor religious
texts ~n the other are usually regarded as belonging to the fantasy genre,
though each may describe impossible events or beings.

INKLINGS. A group of writers and scholars who met informally on

Thursday evenings at Oxford from the early 1930s until 1949; since the
membership of the group prominently included C. S. Lewis, J. R. R.
Tolkien, and Charles Williams, and since occasionally members would
read al0ud from works in progress, the term has come to refer to the
"school" of Christian Fantasy* writing that derived from the mutual
influence of members of this group upon each other. Humphrey
Carpenter's The Inklings (1978) is a history of the group. See also
OXFORD CHRISTIANS.

INNER SPACE. J. G. Ballard's term for a group of biological and

psychological themes which he viewed as more appropriate to modern
science fiction than the focus on .. outer space" and technology that had
earlier characterized the genre. Writing in the May 1962 issue of the
British magazine New Worlds, Ballard called for more "psycho-literary
ideas, more meta-biological and meta-chemical concepts, private time
systems, synthetic psychologies and space-times, more of the remote,
somber half-worlds one glimpses in the paintings of schizophrenics, all
in all a complete speculative poetry and fantasy of science" ("Which
Way to Inner Space?" New Worlds 40 [May 1962]: 117-118). The term
came widely to be associated with the New Wave,* not only in terms
of its themes, but in terms of the styles and narrative structures used to
accommodate such themes.
58 INSTRUMENTALIZATION

INSTRUMENTALIZATION. Means by which the devices of fantasy

may be appropriated for specific social or cultural ends, usually by the
dominant culture and usually by recasting fantastic narratives to reflect
chosen values [217].

INTERNATIONAL ASSOCIATION FOR THE FANTASTIC IN THE

ARTS. Academic organization that promotes the study of all aspects of
the fantastic in a variety of disciplines, primarily through its annual
conference. The organization was founded in 1982 as an outgrowth of
the International Conference on the Fantastic in the Arts, which began
in 1980.

INTERPLANETARY ROMANCE. Broadly, an adventure tale set on

another, usually primitive, planet. Largely under the influence of Edgar
Rice Rurroughs, American science fiction from World War I until the
founding of Amazing Stories in 1926 was characterized by action-filled
narratives set in exotic locations, including the moon and other planets.
Although often referred to at the time as Scientific Romances,* these
works, which seldom focused on the technology of travel to other planets,
have come increasingly to be referred to as "interplanetary romances,"
perhaps in part to distinguish them from the scientific romances of H. G.
Wells. Besides Burroughs, the major authors in this Subgenre* included
Otis Adelbert Kline, Ralph Milne Farley, and Homer Eon Flint, although
on occasion the term has been more broadly used to include such
otherworldly fictions as those of C. S. Lewis. See also SCIENCE
FANTASY; SWORD AND SORCERY.

INVASION NOVEL. A type of novel, popular in England during the

last quarter of the nineteenth century, which depicted invasions of
England by external aggressors (usually from Europe, but occasionally
from the Orient). The prototype may well have been Sir George Chesney's
The Battle of Dorking (1871), and among the best of the type is Erskine
Childers' The Riddle of the Sands (1903). H. G. Wells' The War of the
Worlds (1898) almost certainly owes something to this tradition, which
was effectively parodied by P. G. Wodehouse in The Swoop! Or How
Clarence Saved England (1909). See also FUTURE WAR.

INVENTION. In its original rhetorical sense, the discovery of material

as the first step in argument or oration. H. G. Wells, however, used
this term for the hypothetical initial situation upon which the fantastic
events in a narrative are founded [ 150]. See also HYPOTHETICAL
PROBABILITY.
ISOLA TED SYSTEM 59

IRRATIONALISM. A world view that holds that the universe and

humanity are not governed by any fundamental principles of reason.
W. Warren Wagar cites Friedrich Nietzsche, Sigmund Freud, and Jean-
Paul Sartre as major exponents of this tradition, which finds expression
in fantastic literature through works as various of those of Franz Kafka
and the New Wave* in science fiction [198]. In a considerably more
technical sense, L. Sprague de Camp uses the term to describe a technique
in humorous writing in which a character is made to behave in a
deliberately stupid or irrational way to achieve comic effects and provide
the reader with a sense of superiority [84]. See also ABSURD.

IRRATIONALITY. See IRRATIONALISM (de Camp usage).

ISLAND UTOPIA. A work portraying a utopian or satirical utopian

community isolated from the world by virtue of its being located on an
undiscovered or hidden island. Before extraterrestrial or subterranean
voyages became accepted conventions in fantastic literature, this was
perhaps the most common means of accounting for a society's isolation
in a work of fiction [8].

ISOLATED SYSTEM. See SYSTEMS MODEL.

J

JOY. The dominant emotion associated with the Eucatastrophe* in

J. R. R. Tolkien's discussion of fairy tales. "Joy" is essentially for Tolkien
a religious concept, and one that implies the promise of salvation in the
happy endings of such stories [194]. For C. S. Lewis, who also adopted
the tenn, it came to represent a kind of "signpost" leading to the discovery
of faith-again, the promise of salvation but not the salvation itself [121 ].

JUNIOR NOVEL. See JUVENILE.

JUVENILE. Term favored by publishers and librarians (along with "junior

novel" and "young adult") to characterize works written for the teenage
market. In this sense, the term usually means books that are somewhat
longer and more sophisticated than children's books, although often the
term is used to include any book written for children. A great many
science fiction and fantasy authors have written for this market, and
some, such as Lloyd Alexander, have gained considerable reputations
in the genre at large through such works (although in general, fantasy
juveniles are less segregated from the adult market than are science
fiction juveniles). The science fiction juvenile as a definable market
probably began in 1947 with the publication of Robert A. Heinlein's
Rocket Ship Galileo; Heinlein followed this with a series of novels
published by Scribner's, and the John C. Winston Company further
exploited the market with a series beginning in 1952 that included works
by Lester del Rey, Chad Oliver, Arthur C. Clarke, Poul Anderson.
While a number of major writers have written whole series specifically
62 JUVENILE

for the juvenile market, others, such as del Rey, have argued that the
segregation of specific works into such a market is artificial [74], and
indeed a number of so-called juveniles were either written as standard
science fiction novels or later released as such.
K

KAKOTOPIA. Term used rather eccentrically by Lewis Mumford (The

Pentagon of Power, 1970) to refer to a concept more usually labeled
Dystopia.*.

KINEMATIC. A narrative technique identified by Algis Budrys that

borrows from film the devices of rapid motion, sensory stimulation, and
"compressed data" in so that the prose "engages some of the information-
processing habits the reader has developed from watching movies and
TV" [42]. Such techniques are of course widely used by authors of
popular fiction in a variety of genres; an example in science fiction might
be Gregory Benford's Artifact (1985).

KITCHEN-SINK STORY. Damon Knight's tenn for a story overwhelmed

by the inclusion of almost any new idea that may occur to the author
in the process of writing it; some such uncontrolled stories may be found
as the most extreme examples of the Thought-Variant* stories of the
1930s [ 110].

KRATOPHANY. See HIEROPHANY.

KUNSTMARCHEN. The "art fairy tale"; used by early nineteenth-

century German romantic writers to distinguish their works from the
traditional March en.*

KUNSTSAGE. Sometimes used by the German romantics to describe

stories written in imitation of legends or family histories.
L

LABOR DAY GROUP. Coined by Thomas M. Disch to describe a group

of science fiction writers born between 1945 and 1948 and who began
publishing between 1969 and 1973. Disch labeled such writers the ''Labor
Day Group" because of their regular attendance at World Science Fiction
conventions, traditionally held over the Labor Day weekend and regarded
as the major event in science fiction Fandom. * Disch argued that this
group of writers, which includes George R. R. Martin, Vonda Mcintyre,
Ed Br'yant, and John Varley, was influenced by the expectations of the
fan community to the detriment of their own personal visions, and
cites-perhaps somewhat circularly-the frequent awards won by these
writers from the fans as evidence of such involvement [75]. Martin's
rebuttal to Disch's charges appeared in the December 1981 issue of The
Magazine of Fantasy and Science Fiction.

LAWS OF ROBOTICS. Widely adopted rules governing the behavior

of science fiction robots. A critical term only in that it has generated a
degree of controversy, the three famous "laws of robotics" derived by
Isaac Asimov and John W. Campbell, Jr., following the publication of
Asimov's first two robot stories in 1941 (and first formulated in his
"Liar!" Astounding Science Fiction, May 1941) are in actuality narrative
rules convenient for generating later "puzzle" stories about robots. The
laws state that a robot must not harm or allow harm to come to a human
being, a robot must obey orders given by humans unless they conflict
with the first law, and a robot must protect its own existence as long as
this does not conflict with the first two laws.
66 LEGEND

LEGEND. In its folkloric sense, a short narrative associated either with

a historical individual or a particular landscape. Some scholars distinguish
between "local legends" fixed in one locality and "migratory legends,"
which are transmitted from place to place and adapted to local conditions.
More broadly, the term has come to mean any narrative passed down
through oral tradition, often distinguished from Myth* by its stronger
basis in historical events. While some specific legends, such as those of
Arthur, have had particularly strong thematic influences on fantasy
narratives, the general tone or style of legends has been even more
widely adopted in both fantasy and science fiction, by authors ranging
from Lord Dunsany to Cordwainer Smith.

LITERARY ECOLOGY. See ECOLOGY.

LITERATURE OF IDEAS. Along with Sense of Wonder* and Modern

Mythology,* one of the most common popular descriptions of the appeal
of science fiction. Used in the 1950s by James Blish and Isaac Asimov,
the phrase has been traced by Samuel R. Delany as far back as Balzac
[72], although it is doubtful that the science fiction usage of the term is
directly connected to such earlier usages. The argument implied by the
term is that science fiction traffics in intellectual constructs rather than
in character, style, or narrative complexity, but inconsistent usage renders
the term of limited use. On the one hand, it can hardly be seriously
claimed that Mainstream Fiction* cannot support ideas, while on the
other trivial notions or frivolous conceits may often pass for the "ideas"
of science fiction. (See Thought-Variant.*) The term nevertheless is
important in signifying a common definition of science fiction most often
associated with Hard Science Fiction.* See also IDEA AS HERO.

LOGICAL FANTASY. T. E. Apter's term for fantasy concerned with

the set of logical structures by which we come to understand the world.
Jorge Luis Borges, for example, attacks the notion of logic itself by
using it to construct fantastic or absurd situations [ 11 ]. The term has
also occasionally been used to refer to the rigorously worked uuL fantasies
characteristic of John W. Campbell, Jr.'s magazine Unknown, for which
Campbell demanded that rules of magic be obeyed as logically and
systematically as rules of science in science fiction.

LOGIC OF CHARACTER. See LOGIC OF PREMISE.

LOGIC OF PREMISE. H. G. Wells' notion that in a given fantastic

narrative the reader should be asked to assume only a single basic
premise or Invention* [203]. Jack Williamson has characterized this as
"logic of premise" and cited it-along with ''logic of character"-as one
LUDDISM 67

of the two central principles of successful fantasy writing [84]. See also
HYPOTHETICAL PROBABILITY.

LOST RACE FANTASY. A Subgenre* of the fantastic especially popular

during the latter part of the nineteenth century and which in its early
expressions, according to Thomas P. Clareson, was largely a modification
of Utopia.* These narratives of the discovery of hidden or forgotten
civilizations are sometimes claimed for the history of science fiction as
well as for fantasy [53].

LOW FANTASY. Narratives in which the fantastic element intrudes on

the "real world," as opposed to fantasies set all or partially in a Secondary
World,* according to Robert H. Boyer and Kenneth J. Zahorski [31].
See also HIGH FANTASY.

LUDDISM. A popular movement in England from 1811 to 1816 in which

masked bands of men attempted to destroy machines associated primarily
with the textile industry. The name comes from Ned Lud, who was said
to have broken into a house in 1779 and destroyed two knitting machines.
Popularized by C. P. Snow in his 1959 The Two Cultures and the Scientific
Revolution, the term has come to refer to almost any antiscientific or
antitechnological bias. While this meaning has been retained in defenses
of science fiction as bridging the Two Cultures,* Luddism (or its variant,
"neo-luddism") is also sometimes used to refer to antiscientific attitudes
in fictional, often Post-Holocaust,* societies such as that in Leigh
Brackett's The Long Tomorrow (1955).
M

MAGICAL FANTASY. Used by Jane Mobley as an alternative term to

High Fantasy,* but with the added implication of fantasy that serves a
shamanistic or ritual-like function; opposed to Supernatural Fiction*
[ 135].

MAGIC REALISM (sometimes also "Magical Realism"). A style and

narrative technique combining realism with elements of the fantastic,
either through vivid language and metaphors or through the introduction
of fantastic events into the narrative itself. Such narratives may also
partake of aspects of oral tradition and Legend.* The term is most often
applied to Latin American writers, among whom it has become a
recognizable tradition (the most famous example perhaps being Gabriel
Garcia Marquez's Cien Anos de Soledad (1967; trans. 1970 as One
Hundred Years of Solitude), although authors of other nationalities, such
as Peter Carey in Australia, have also been related to this tradition.

MAGIC TIME. See SACRED TIME.

MAINSTREAM FICTION. Fiction that is not written, published,

marketed, or reviewed as part of a popular genre. The term may have
gained currency during the ascendancy of the Pulp* magazines to
distinguish those magazines directed at a general audience from those
directed at special-interest audiences; in any event, it has since been
adopted by publishers as a rather vague category for marketing or
displaying books in bookstores. Sometimes it refers to all nongenre
fiction, from literary classics to ephemeral bestsellers, and sometimes it
refers more specifically to "Mid-List"* authors whose works are neither
heavily promoted nor directed at a genre audience. Among science
70 MARCHEN

fiction and fantasy writers and critics, "mainstream" is even more loosely
employed to refer to almost anything that is not science fiction or fantasy,
and "mainstream author" to refer to any author whose major work or
reputation lies outside the field. Such references are often acompanied
by complaints-often justified-that such works and authors are granted
a frequently undeserved mantle of respectability denied to genre authors;
this situation is not helped by publishers who often seek to broaden the
market for a book by denying its genre (thus, the ironic complaint that
a sure way to tell if a book by a mainstream author is science fiction is
if the dust jacket proclaims it not to be science fiction).
An early example of the usage of this term within the science fiction
community may be found in a letter from Isaac Asimov to the Bulletin
of the Atomic Scientists (13, May 1957), in which he argued that much
science fiction was as well written as "many 'mainstream' novels." An
example of the rhetorical misuse of the term which has since become
common in science fiction Fandom* is Donald A. Wollheim's astonishing
reference to "Portnoy's Complaint, The Love Machine, The Arrangement,
and the rest of that constant stream of psychiatrists' couch and bedroom
agonies that mark the triumphs of the mainstream" [212]. Usages such
as this led critic George Turner to describe "mainstream" as a "term
of insolence" and complain that "sf is the only genre which ever had
the blazing impudence to announce itself worthy of a consideration
separate from and beyond the body of traditional (whatever they thought
that word meant) literature" [196]. An anthology by Harry Harrison
(The Light Fantastic: Science Fiction Classics from the Mainstream, 1971)
contains a useful introductory essay by James Blish on these issues [28].
There is some confusion resulting from the more common use of this
term to refer to the dominant traditions of an art form or genre, or the
use common in jazz parlance since the 1950s to refer to jazz which has
its roots in a particular historical period, that is, the swing era. In the
latter sense, "mainstream science fiction" is sometimes used to refer to
Modern Science Fiction.*

MARCHEN. German term loosely translated as "Fairy Tale"* or "Folk

Tale,"* although neither is precise; in its original meaning from the
middle high German Mare, it meant news or gossip. The traditional oral
tales collected by the Grimms and others are sometimes referred to as
Volksmiirchen, or folk tales, to distinguish them from the Kunstmarchen,
or literary imitations such as were written by Ludwig Tieck, Navalis,
and others.

MARVELOUS. "The supernatural accepted"; Todorov's term to

distinguish works in which the supernatural is accepted as a given (the
marvelous) from those in which it is explained (the Uncanny*) [193].
MEDICAL UTOPIA 71

MASTER IDEAS. Algis Budrys' characterization of several themes that

became dominant during science fiction's Golden Age.* Budrys identified
several .. master ideas" deriving from Superscience* themes of the 1930s
which established themselves as staples of Modern Science Fiction.*
Such ideas, he argued, should not be confused with the specific scientific
or technological themes used to explore them; examples are the loss of
identity, the '"white man's burden" (concerning the responsibilities
inherent in advanced society or technology), the by-products of
technological advance, and the failure of technological dictatorships
through technology itself [43].

MATERIAL FANTASY. (Russian, material 'naja fantasticnost'). Term

borrowed from Dostoevsky to describe the fantastic in authors such as
Edgar Allan Poe as distinct from the '"unknowable" horrors of earlier
Gothic writers. According to Julius Kagarlitski, the achievement of Jules
Verne was to interpret the traditions of material fantasy in a directly
realistic spirit, giving rise to Realistic Fantasy* as a precursor of modem
science fiction [54]. The term has been used in a slightly different sense
by John Cawelti, for whom it meant a fantasy .. in which the writer
imagines a world materially different from ordinary reality, but in which
the characters and the situations they confront are still governed by the
general truths of human experience." Cawelti distinguished this from
"'Moral Fantasy,"* which represents a more idealized version of our
own world, as in nonfantastic popular genres [49].

MATTER. Any one of three broad categories of subject matter for the
medieval romance, identified by the thirteenth-century poet Jean Bodel,
and which have since become traditionally known as the "matters" of
France, Rome, and Britain. The matter of Britain included much
Arthurian material that has since provided inspiration for innumerable
fantasies.

MECHANISTIC. Sometimes applied to fantastic literature in its original

sense of the Aristotelian doctrine of efficient causes, and sometimes in
the sense of early Cosmologies.* The term has also been given a specific
usage by Arthur C. Clarke in distinguishing two types of space-travel
fiction: the mechanistic," in which space is traversed through
technological means, and the "nonmechanistic," in which it is traversed
through psychic forces, dreams, visions, or supernatural intervention
[35].

MEDICAL UTOPIA. Suggested by Ernest Bloch (The Principle of Hope,

1959) for "Golden Age"* Utopias* characterized by long life or
immortality, freedom from disease, and eternal youth [187].
72 MEDIEVAL FUTURISM

MEDIEVAL FUTURISM. John Carnell's term for science fiction stories

set in a future, often Post-Holocaust,* environment in which medieval
history provides all or part of the model for the imagined social structure
[125]. See also POSTHISTORY.

MENIPPEA. A tradition of classical satire that, according to Mikhail

Bakhtin, prefigured much modern fantastic literature in its violation of
the norms of realism and its fluidity of structure; examples include
Apuleius' The Golden Ass and Ludan's Strange Story. Rosemary Jackson
borrowed the term to discuss essential qualities of fantastic texts [106].
See also ANATOMY.

METAFICTION. Generally, fiction that takes as its primary subject

matter the nature of fiction itself or the fictional process. Suggested by
William Gass, the term has been widely appropriated by European and
American critics to describe works that incorporate the processes of
criticism or that depend upon their own discourse as the only verifiable
fictional world. Thus, qualities of narrative voice, formal structure,
philosophical speculation, and genre may play significant roles in such
fiction. While Robert Scholes has incorporated the concept of metafiction
into his ideas of Fabulation* (defining metafiction as "experimental
fabulation" [174]), the term has been widely used in other contexts as
well. In science fiction and fantasy, it is often associated with the New
Wave* and with such authors as Samuel R. Delany, J. G. Ballard, and
Peter Beagle.

METAMORPHOSIS. A fantasy narrative based on "impossible personal

change," according to W. R. Irwin, such as the transformation of a
human into a beast or an insect [105].

METAPHYSICAL. Apart from the traditional literary historical meaning

of this term, it has been applied specifically to the genres of myth, Folk
Tale,* and fantasy by Darko Suvin, who observes that in such genres
physics is related to ethics; by denying the "autonomy" of a neutral
physics such genres become "metaphysical" (187].

METAPHYSICAL FICTION. Edward Bulwer-Lytton's term for

narratives, such as his own A Strange Story (1861), in which "typical"
(as opposed to allegorical) characters are thrown into often-fantastic
situations in order to explore philosophical or "metaphysical" ideas
(127].
MIMESIS 73

MICROCOSMIC ROMANCE. Subgenre* popularized during the 1920s

especially by Ray Cummings, whose The Girl in the Golden Atom (1919)
described adventures in a world-within-world of submicroscopic size.
Although the idea had been present in nineteenth-century science fiction,
it was largely because of Cummings that it became a staple of the Pulp*
era, surviving well into the 1930s and recurring in various forms even
later [22].

MIDDLE LANDSCAPE. One of the key myths of modern Western

cultural history, according to Leo Marx and other cultural historians.
The "middle landscape" lies somewhere between the pastoral and the
technological and exhibits the tensions and tendencies of each. Elizabeth
Cummins Cogell has argued that this myth survives and has to some
extent been reclaimed for an urban society by science fiction works which
combine it with Apocalyptic* themes [59].

MID-LIST. Publishing term, used imprecisely to refer to authors whose

works, though possibly enjoying a steady rate of sale, fall somewhere
between specific generic markets and highly promoted Bestsellers. * See
also MAINSTREAM FICTION.

MILLENIALISM. (also "millenarianism "). Derived from the Christian

prophecy of the return to earth of Christ after 1,000 years, and widely
used to describe any belief in a cataclysmic or salvationary end to the
existing social, economic, or political order with its attendant problems.
While some social historians have perceived millenialist tendencies in
the popularity of science fiction or fantastic literature in general, the
term is more often used in reference to specific themes or motives in
the fiction itself. See, for example, COSMIC DISASTER STORY;
DESIRE; ESCHATOLOGICAL ROMANCE.

MIMESIS. Literally, "imitation." Apart from its traditional meanings

associated with representational or nonfantastic literature, and specific
thematic meanings associated with the science fiction theme of the
imitation of one life form by another, "mimesis" has been suggested by
Alberto Manguel as a specific technique characteristic of much fantasy,
namely, the technique whereby "seemingly unrelated acts ... secretly
dramatize each other" [ 130]. Portents in nature of dramatic events are
an example of the technique, which like a number of similar techniques
suggests an ethical physics for the imagined world. See also
CONDITIONAL JOY; METAPHYSICAL.
74 MIRRORSHADE SCHOOL

MIRRORSHADE SCHOOL. See CYBERPUNK.

MODE. In general usage, a fashion or convention; in literary usage, a

convention or group of conventions that characterize a type of literature.
Northrop Frye distinguishes five modes in literature-myth, romance,
high mimetic, low mimetic, and ironic-and associates them with the
powers assumed by the protagonist toward the people and environment
around him [92]. Largely because of Frye's formulation, a number of
critics, among them Rosemary Jackson [106] and Kathryn Hume [102],
have explored the notion that fantastic literature may be more properly
regarded as a mode than as a genre.

MODERN FANTASY. Most commonly used to describe the

contemporary genre of popular literary fantasy, and to distinguish it
both from related genres such as science fiction and from antecedents
such as the Romance* or the Fairy Tale.* Although fantasy as a
commercial market category is largely the product of the immense
popularity of J. R. R. Tolkien 's Lord of the Rings during the 1960s,
critics usually trace the beginning of modem fantasy to Victorian England.
A common work cited as a somewhat arbitrary starting date for the
genre is George MacDonald's 1858 Phantastes, although some writers
have placed the beginnings of a self-conscious genre as late as 1894 with
William Morris' The Wood beyond the World or as early as 1837 with
Sara Coleridge's Phantasmion.

MODERN MYTHOLOGY. Very loosely used catch-phrase to describe

modern fantastic literature in general and science fiction in particular;
the argument is essentially that such fiction serves for a technological
age the role served by Myth* in earlier societies. See also NEW
MYTHOLOGY.

MODERN SCIENCE FICTION. Commonly used to refer to science

fiction published primarily in Astounding Science Fiction following John
W. Campbell, Jr.'s assuming the editorship of that magazine in 1937,
although Donald A. Wollheim defines it as science fiction published
after Isaac Asimov's Foundation series (1942-1949) [212]. As Algis Budrys
points out, the term probably gained currency after its use in the 1946
anthology Adventures in Time and Space, edited by Raymond J. Healy
and J. Francis McComas, who used it to differentiate the predominantly
Astounding stories in that collection from earlier traditions of science
fiction. Budrys (who capitalizes the term "Modern Science Fiction" to
distinguish it from general references to modern works in the genre)
further suggests that the period ends about 1950 and is followed by Post-
Modern Science Fiction* [43].
MYTH 75

MONOMYTH. Joseph Campbell's term, borrowed from James Joyce's

Finnegans Wake, to describe the primordial hero myth of separation,
initiation, and return. The term has been widely appropriated by critics
of fantasy [45] _

MORAL FANTASY. John Cawelti's term for popular fictions in which

the narrative world is exaggerated or idealized according to fantasies of
wish-fulfillment or nostalgia, as opposed to works of Material Fantasy*
(49].

MOTIF. Recurrent or signal narrative events or figures, especially in

folklore, where thousands of motifs and variants have been identified-
many of them equally common in fantasy narratives. Science fiction has
evolved a complex set of motifs of its own, and for a number of years
various scholars have proposed a motif-index to the literature, presumably
on the model of Stith Thompson's Motif-Index of Folk-Literature (1955-
1958). No one has yet completed such an index, nor has anyone quite
explained what it would be for.

MUNDANE. Originally from Fandom, *where it is used as either a noun

or an adjective to describe people or concerns either outside the science
fiction community or outside science-fictional worlds. The term early
entered science fiction discourse as shorthand for fiction set in the "real"
world. While this led to C. M. Kornbluth's rather improbably describing
Cervantes' Don Quixote as "a mundane tale about a lunatic" (67], it
has nevertheless gained currency in the work of critics of the genre such
as Samuel R. Delany.

MYTH. Employed with abandon by scholars of every sort of fantastic

literature, and among the most redefined and debated of all cultural
concepts. While most scholars have abandoned the nineteenth-century
view of myth as a marvelous story associated with something called the
"primitive mind," more recent definitions have ranged from any narrative
associated with a rite (Lord Raglan) to "the expression of unobservable
realities" (H. W. Bartsch) to a tale designed to give meaning and structure
to life by providing models for behavior (Mircea Eli a de) to an instrument
of language designed to provide logical resolutions for contradictions
within a culture (Claude Levi-Strauss). Myth may be taken to mean a
"sacred" narrative, an explanatory cosmological tale, a means of
bestowing or transmitting values, or even, in the Jungian sense, as
evidence of a general racial unconscious. As a narrative mode, the term's
use in literary criticism has perhaps most been influenced by Northrop
Frye, who defined it simply as a stylized narrative featuring superhuman
beings whose actions could "happen only in stories" (92]. A discussion
76 MYTH FANTASY

of science fiction and fantasy in the context of particular myth patterns

is Casey Fredericks' The Future of Eternity [89]. See also MONO MYTH;
NEW MYTHOLOGY.

MYTH FANTASY. Fantasy Adaptations* whose source materials are

pre-existing bodies of mythology; used as a category by anthologists
Robert Boyer and Kenneth Zahorski [31] and by bibliographer Diana
Waggoner [199]. Examples might be the work of novelists such as Thomas
Burnett Swann or Robert Holdstock.

MYTHIC DISPLACEMENT. See DISPLACEMENT.

MYTHIC TIME. See SACRED TIME.

MYTHOLATRY. Presumably a portmanteau of"myth" and "idolatry,"

and used disparagingly by James Blish in describing the work of writers,
mostly in the New Wave,* who questioned or attacked the rationalistic
world view of earlier science fiction [16]. See also ANTISCIENTISM;
SCIENCE FANTASY.

MYTHOLOGICAL TALE. One of a group of tales "whose norms are

supposed to have subtemporally (timelessly or continuously) determined
man's basic relations to man and nature,!' according to Darko Suvin,
the mythological tale differs from other forms of fantasy and folklore
in that it forms a systematic whole with others of its type [187].

MYTHOMORPHIC. Fiction in the shape of myth; fiction that is

structurally or morphologically similar to tales from mythology.

MYTHOPOEIA, MYTHOPOEIC. Conscious artistic fabrication of myths

or myth-systems, sometimes regarded as an attempt to "remythologize"
experience as a reaction to perceived dehumanizing forces. Among fantasy
narratives, J. R. R. Tolkien's The Silmarillion (1977) is a good example.
The term has also been used by anthropologists and cultural historians
to describe a world view and way of using language characteristic of
preliterate, ritualistic, or "pre-logical" societies.

MYTHOS. Originally and literally, narrative or plot. Two radically

different but specific meanings have been applied to this term in
discussions of fantasy, neither of them, ironically, particularly related
to this original Greek meaning: (1) In the sense employed by Northrop
Frye, any aspect of the narrative of a work, and in particular one of
four archetypal narrative patterns--comic, romantic, tragic, or ironic
[92]. (2) ln the usage popularized by H. P. Lovecraft, a body of stories
MYTH OS 77

based on some fundamental set of fantastic premises, as his own "Cthulhu

mythos." Though the latter term potentially has broad applications in
fantasy study, it is usually found only in discussions of Lovecraft's own
body of work and pastiches by later writers.
N

NARRATIO FABULOSA. Perhaps the earliest critical attempt to define

a genre of narrative similar to what is now called Speculative Fiction.*
The fourth-century neoplatonic philosopher Macrobius, in his
commentary on Cicero's Dream of Scipio, identified narratives that he
called narratio fabulosa, which dealt with issues of natural philosophy
in an exploratory way, rather than with the purely fictitious material
and entertaining motives of Fables* [181].

NATURAL PRESENT. A term borrowed from E. R. Eddison by

Waggoner and used to describe works whose settings differ from reality
only in that magical forces or beings "actively operate on the lives of
people" [199].

NEBULA AWARD. Annual awards for novels and short fiction presented
since 1966 by the Science Fiction Writers of America,* whose membership
votes on the awards.

NEGATIVE RELATIONALITY. The notion that fantasy achieves its

effects by contravening or negating accepted notions of reality.
Considered in terms of traditional realism, according to Rosemary
Jackson, fantasy depends largely upon the impossible, the unreal, the
invisible, etc. Jackson argues that this "negative relationality" "constitutes
the meaning of the modem fantastic" [106]. See also ESTRANGEMENT;
IMPOSSIBLE; NEGATIVE SUBJUNCTIVITY.
80 NEGATIVE SUBJUNCTIVITY

NEGATIVE SUBJUNCTIVITY. Used by Joanna Russ to describe the

contravention of reality in fantasy: ''Fantasy is what could not have
happened" (165]. The idea is borrowed from Samuel R. Delany. See
also SUBJUNCfiVITY.

NEOGOTIDC. The adaptation by later writers of elements originally

associated with the Gothic Novel.* Leslie Fiedler referred to science
fiction as a "neogothic" form [86), and a number of other critics have
since noted the persistence of such elements in the genre. The term has
on occasion been applied to modern Horror* fiction as well, particularly
that which introduces traditionally Gothic elements into urban or
contemporary settings.

NEOLUDDISM. See LUDDISM.

NEOPRIMITIVISM. An attitude, associated most often with the work

of Edgar Rice Burroughs but sometimes applied to a broader range of
fantastic literature from William Morris to Sword and Sorcery,* that
rejects modern civilization as effete and emasculating and celebrates
wilderness and warrior-hunter societies.

NEUROMANTIC. See CYBERPUNK.

NEW GEOGRAPHIES. Fantasies that take place in imaginary, but not

necessarily supernatural, worlds [199]. See also HEROIC FANTASY.

NEW HISTORIES. Diana Waggoner's way of classifying works based

on "alternate versions of primary history" [199). See also ALTERN ATE
HISTORY.

NEW MAP. A frequently used metaphor for science fiction's techniques

of Extrapolation* and Estrangement.* Although this phrase is now
commonly associated with Kingsley Amis' 1960 study of science fiction
New Maps of Hell (whose title Amis adapted from his own earlier poem,
"Science Fiction") [8], the map metaphor as a means of describing
science fiction's unique function in relation to Mainstream* literature
was suggested as early as 1953, when Reginald Bretnor argued of "the
impossibility of stretching the 'old maps' to fit the new terrain" [35).
The "new map" story later came to describe a very specific type of space
travel narrative characterized, as Judith Merril described it, by a "detailed,
sometimes highly technical, often very knowledgeable, explication of
some as-yet unfilled-in area in a territory recently explored by the 'concept'
and 'research' people, but open now to settlement and building-up by
the 'engineering' and 'applications' men" [54).
NEW WAVE 81

NEW MYTHOLOGY. An oxymoron perhaps too often used to

characterize science fiction's or fantasy's function or appeal. Variants
are "contemporary mythology," "modern myth," or "twentieth-century
mythology." Such terms possibly arise out of a desire to find cultural
significance in a field that has seldom gained the serious attention of the
dominant literary culture. The concept of science fiction as a modern
analogue of myth probably became cemented in place with the publication
in 1978 of Science Fiction: Contemporary Mythology: The SFWA-SFRA
Anthology (Harper), edited by Patricia Warrick, Martin Harry
Greenberg, and Joseph Olander. However, this anthology, like most
criticism making mythic claims for science fiction, is characterized by
some rather vague and unpersuasive claims: that science fiction covers
some of the same concerns as earlier mythology, that science fiction
stories are structured according to basic mythic patterns, or that favorite
science fiction themes are-perhaps simply by virtue of their recurrence-
to be regarded as myths. Earlier versions of this argument were presented
by Philip Wylie, who described science fiction as a "modern mythology"
in 1953 [35], and perhaps most importantly by Olaf Stapledon, who
wrote in the preface to Last and First Men (1930), "We must achieve
neither mere history, nor mere fiction, but myth" and described his
novel as "an essay in myth creation." The most persuasive study
examining this argument is Casey Fredericks' The Future of Eternity:
Mythologies of Science Fiction and Fantasy [89).

NEWSSTAND FANTASY. Fantasy published in or associated with Pulp*

magazines, as opposed to earlier traditions of Classical Fantasy,*
according to Algis Budrys f41).

NEW WAVE. Fram;oise Giraud's term (nouvelle vague) to describe a

group of younger French film directors who emerged in the late 1950s
has since been enthusiastically appropriated by promoters of almost any
unconventional movement within a popular art form previously
characterized by conventions or formulae. In science fiction, the term
was introduced by Judith Merril in a 1966 essay for The Magazine of
Fantasy and Science Fiction ("Books," 30, no. 1 [January 1966]) to refer
to the highly metaphorical and sometimes experimental fiction that began
to appear in the English magazine New Worlds after Michael Moorcock
assumed the editorship in 1964, and that was later popularized in the
United States through Merril's own appallingly titled anthology England
Swings SF: Stories of Speculative Fiction (Garden City: Doubleday, 1968).
Although Harlan Ellison's anthology of original stories the preceding
year (Dangerous Visions, Garden City: Doubleday, 1967) has sometimes
been retroactively credited with unleashing the American version of the
New Wave, and though Ellison spoke of the book as "a revolution" of
82 NONCOGNITIVE ESTRANGEMENT

"new horizons, new forms, new styles, new challenges," Ellison himself
has expressed chagrin at having once been labeled the "chief prophet"
of the New Wave in America (by The New Yorker: "The Talk of the
Town: Evolution and Ideation" [September 16, 1967]). Similarly, many
of the other writers associated with this movement, such as Brian Aldiss,
J. G. Ballard, Thomas M. Disch, Samuel R. Delany, and Robert
Silverberg, have on frequent occasions expressed disdain for or confusion
over the term. Nevertheless, writers associated with the New Wave have
been credited with introducing new narrative strategies into science
fiction, with releasing the power of science fiction images as metaphor,
and with weakening the boundaries that had long separated science
fiction from Mainstream Fiction.*

NONCOGNITIVE ESTRANGEMENT. See COGNITIVE ESTRANGE-

MENT.

NONMECHANISTIC. See MECHANISTIC.

NONSENSE. A variety of Whimsy,* usually in verse and characterized

by meaningless words, logical paradoxes, and various impossibilities.
Nonsense narratives are allied to fantasy in that they are usually fantastic,
but the fantastic elements are generally the result of linguistic
transformations rather than narrative conceptions.

NOVEL. The dominant modern genre of extended prose fiction. Most

of the debates concerning whether the novel encompasses any long prose
narrative or whether it properly concerns only the fictional representation
of characters governed by the laws of probability (as opposed to
Romance*) are so broadly drawn as to be of limited relevance to the
history of generic science fiction and fantasy. To be sure, the works of
such authors as William Morris or George MacDonald may have been
excluded from the "novel" according to nineteenth-century standards
of realism, and the early science fiction of H. G. Wells may have been
termed Scientific Romances* for much the same reason, but by the
twentieth century the novel had become as much a publisher's product
as a theoretical genre, and for most modern writers the publishers'
concerns have been highly relevant. In American popular science fiction,
the novel-length narrative was practically unknown until after World
War II; as a result, many Pulp* magazines would advertise "complete
novels" that in fact might run no more than 15,000 words in length
(although some later magazine editors might publish novels of 30-40,000
words). Even hardbound book publishers (Avalon being the most notable
example) would publish novels of no more than 40,000 words. As a
result, an informal definition of the science fiction novel emerged as
NOVELLA 83

anything long enough to be sold as a novel, whether in book or magazine

form. This might include long magazine stories, Serials* published in
book form, Fix-Ups* drawn from series of short stories, or even collections
of stories with only slight connective tissue (such as Ray Bradbury's The
Martian Chronicles). With the gradual liberation of science fiction and
fantasy narratives from the vagaries of pulp editors and the dictates of
trim sizes and page gatherings, however, novel came less to be defined
according to word count or market strategies and more to be regarded
as a narrative mode within the genres [43, 68].

NOVELET. A long story. Although sometimes defined as a short, light,

and sentimental Short Novel*, and occasionally specified by Mainstream*
magazines at lengths of approximately 15,000 words, "novelet" became
a convenient term in science fiction and fantasy magazines for almost
any story longer than the average but not long enough to be termed a
Novel.* Traditionally, a novelet was defined as 10-20,000 words, although
in some magazines "novelets" may have ranged from 5-12,000 words,
anything longer being labeled a novel [43, 68).

NOVELIZATION. Originally, almost any novel-length narrative adapted

from other narrative material (plays, biographies, myths, operas, etc.).
The term now refers almost exclusively to novels written for a market
generated by the film or television source materials from which the
novels are adapted. Although the novelization is practically as old as
the science fiction film--dating back at least to Thea von Harbou's
novelized versions of her husband Fritz Lang's films Metropolis (1926;
trans. 1927) and A Girl in the Moon (Frau im Mond, 1928, trans. Rocket
to the Moon, 1929)-and although such well-known authors as Murray
Leinster, Isaac Asimov, and Theodore Sturgeon have written in this
form, it remains virtually unexplored critically. Novelizations are almost
invariably dismissed as the most frankly commercial ventures in popular
fiction (and indeed they can be among the most profitable), but at times
they can provide interesting commentaries on their source material (such
as William Kotzwinkle's 1982 novelization of the film E. T.) or represent
a rethinking or recasting of the author's own earlier work (such as Peter
George's 1963 novelization of the film Dr. Strangelove, which was itself
based on his somewhat different earlier novel Red Alert [1958]).

NOVELLA. Originally a short story or tale, often specifically applied

to early French or Italian writers such as Boccaccio. "Novella" eventually
came also to be applied to works with greater character and theme
development than the short story, but usually simpler plots than the
Novel*-such as Joseph Conrad's "Heart of Darkness" (1902). The term
84 NOVEL OF SCIENCE

entered the vocabulary of science fiction and fantasy editors and readers
in the 1950s and may have been first used by Horace L. Gold of Galaxy
magazine. Often, a "novella" in the science fiction magazines was
indistinguishable from a Novelet, * but some editors would present
novellas and novelets in the same issue, usually with the novella somewhat
longer. By tradition, a novella ranged from 20,000 to 40-45,000 words.

NOVEL OF SCIENCE. A short-lived euphemism for science fiction.

Donald A. Wollheim's The Portable Novels of Science (New York:
Viking, 1945) was among the earliest hardbound anthologies of science
fiction, and although Wollheim freely used the term "science fiction"
in his introduction, "novels of science" appears to have been an early
attempt at finding an alternative for this term in order to reach a more
general audience.

NOVUM. A "strange newness" introduced into the experience of the

reader of science fiction and generating the Estrangement* which Darko
Suvin sees as defining the genre. Borrowing the term from Ernest Bloch,
Suvin defines it further as "a totalizing phenomenon or relationship
deviating from the author's and implied reader's norm of reality" [187].

NUMINA, NUMINOUS. Terms used primarily to refer to localized spirits

or deities, to magical figures, or to the sense of the "wholly other" or
"supramundane" as suggested by the German theologian Rudolph Otto,
who coined this latter meaning in his 1917 study Das Heilige (trans. The
Idea of the Holy}. "Numinous" may thus describe the general sense of
awe inspired by a fantasy narrative or various supernatural figures within
the narrative. The term is sometimes confused with Kant's concept of
noumena, or the "things-in-themselves" that lie beyond direct experience.
0

OCCULT FICTION. Fiction based in specific systems of mystical thought,

or supernatural fiction in general. The notion of a secret reality that lies
beyond the perceived world and is accessible through devices ranging
from witchcraft to telepathy is a persistent one, and fiction based in such
beliefs might seem to encompass a broad spectrum of fantasy and horror.
ln practice, however, "occult fiction" has been used to refer more
narrowly to works by authors interested in particular occult beliefs, such
as Edward Bulwer-Lytton or Marie Corelli; to (usually minor) works
of fiction designed to dramatize the ideas of writers promoting particular
systems of belief, such as those by Aleister Crowley or P. D. Ouspensky;
or to fictions based in some popularly held belief or anxiety. The latter
would include tales of witchcraft or demonic possession, for example,
but not most Secondary World* fantasies or science fiction treatments
of psychic or telepathic themes. As a contemporary marketing category,
occult fiction includes such bestsellers as Ira Levin's Rosemary's Baby
(1967) and William Peter Blatty's The Exorcist (1971).

OMNIPOTENCE OF THOUGHT. Freudian term referring to a fantasy

that thinking about something may cause it to be so. Eric Rabkin has
suggested that this fantasy is in some ways served by fantasy literature
[157].

OPEN SYSTEM. See SYSTEMS MODEL.

ORGANIZED INNOCENCE. See FANTASY OF INNOCENCE.

ORIENTAL TALE. A style of fanciful narrative with Oriental settings

in vogue during much of the eighteenth century. Early in that century,
a number of translations and purported translations of tales from the
86 OTHER

Arabic, Chinese, Turkish, and Persian appeared in England, and this

soon gave rise to original tales with exotic Oriental settings. While many
such tales (such as Samuel Johnson's Rasselas, 1754) were essentially
philosophical-moral fictions, others tended more toward the sensational
and became associated with the Gothic Novel.* The most notable example
of this period was William Beckford's Vathek (1768), but the tradition
of the Oriental tale survived in fantasy with works by later writers such
as Ernest Bramah Smith.

OTHER. Widely used in philosophical and psychological writing to refer

to the world outside of the self, or to hidden aspects of the self. The
"other" or "not-1" has been identified by Rosemary Jackson as the
fundamental semantic structure from which the various motifs of the
fantastic are derived, with the "other" generally associated with themes
of desire and the unconscious. one of the central thrusts of the fantastic,"
she argues, is the attempt to erase the distinction between self and other
[ 106].

OTHERWORLD. Term used by Ann Swinfen (and some other critics)

to refer to what J. R. R. Tolkien calls the Secondary World.* Swinfen 's
usage somewhat more broadly includes the .. otherworlds" of religious
belief and received myth, however [189].

OTHER WORLD SCIENCE FICTION. Identified by Frank Cioffi as

one of the three major Formulas* of stories that appeared in Astounding
during the 1930s (the others being Status Quo* and Subversive* science
fiction). "Other world science fiction" included stories that took place
entirely in an imagined environment and therefore, according to Cioffi,
represented a more sophisticated formula than the other types of stories,
which were set against backgrounds of a recognizable social fabric [52).

OXFORD CHRISTIANS. Charles Moorman's description of the group

of English writers associated with the Inklings* [137].

OXYMORON. The traditional rhetorical device of bringing together

two contradictory terms in a single phrase, described by Rosemary
Jackson as .. the basic trope of fantasy" [106].
p

PAN-DETERMINISM. The notion that any element in a narrative may

be causally related to any other element. Tzvetan Todorov argued that
a characteristic of fantastic literature is the tendency to erase traditional
distinctions between physical and mental, matter and spirit, word and
object, resulting in a fictional universe in which causal relations might
exist among all things and at all levels. Hidden laws might reveal
unforeseen effects from any given cause; in a sense, anything might be
influenced by or influence anything else [193). Similar ideas have been
expressed by other theorists. See also CONDITIONAL JOY; MIMESIS.

PANSIGNIFICATION. A logical corollary of Pan-Determinism,*

according to Thomas I l. Keeling: In a world in which anything might
be causal, everything is charged with meaning and of indeterminate
significance [181).

PARABLE. A story, usually short, that teaches a moral or religious

lesson [93). Often such tales include fantastic elements, and often the
term is rather loosely employed to describe works of science fiction or
fantasy that are Satires* or Cautionary Tales.*

PARADIGM. Used in two distinct senses in discussions of fantasy and-

more often-science fiction; both usages are borrowed from fields other
than literary criticism. First, the attitudes toward science and scientific
progress expressed in works of science fiction may be discussed in terms
of the dominant "paradigms" or world views as described by Thomas
S. Kuhn in his 1962 study of the history of science, The Structure of
Scientific Revolutions. According to Kuhn, science has not progressed
linearly, but rather through a series of "revolutions" in which a dominant
88 PARALITERATURE

paradigm or set of assumptions would gradually give way to a newer

paradigm; this use of the term has been adopted by Eric S. Rabkin
[156], Gary K. Wolfe [208], and others in discussions of science fiction's
relation to the science of its time.
In structuallinguistics, a paradigm refers to the complex of words that
exist as potential substitutes, or in a synchronic relationship to, individual
words in a sentence. (Within the sentence, the words bear a "'syntagmatic"
or diachronic relationship to each other.) Semiotic theory has further
defined these paradigms as "semantic fields" which may be further arrayed
into given structures, such as binary oppositions. Given the unusual use
of language in fantastic literature, with its often nonexistent referents
or frames of reference, attempts at paradigmatic analysis have been
undertaken by a number of critics. Mark Rose defined the principal
paradigm of science fiction as the opposition of human and nonhuman
interacting with a secondary opposition between science and nature
[160]. Wolfe attempted a similar paradigm with his opposition of known
and unknown [208]. Marc Angenot argued that since the fictive worlds
and words of science fiction lacked paradigmatic relationships, a problem
in discussions of the genre inevitably arises as readers are forced to
resort to a "'conjectural mode of reading" in which the absent paradigm
is replaced by paradigms of the empirical world [9].

PARALITERATURE. (more common as the French paralitterature, and

related to the German Trivialliteratur). Those genres of popular writing
excluded from the accepted or "canonical" literature of the dominant
class within a society. Genre literature and popular literature are more
common terms in American popular culture scholarship. A bibliography
of "paraliteratures" is Yvon Allard's Paraliteratures (Montreal, 1979),
and a bibliography by Marc Angenot of studies of paraliterature appears
in Science-Fiction Studies 13 (November 1977): 305-308). See also
POPULAR CULTURE.

PARALLEL WORLDS. Sometimes applied to Alternate History,*

sometimes to fantasy worlds conceived as invisibly coexisting with our
own, and sometimes to the potentially infinite series of possible worlds
implied by the so-called many worlds interpretation of quantum
mechanics; hence, a theme shared equally by fantasy and science fiction.

PARAXIS. In optics, the region on either side of the central axis of a

lens; in physiology, areas near the central axis of the body. Rosemary
Jackson suggested that the fantastic bears a similar relationship to the
.. real," and that the ''space" of the fantastic might be described as a
''paraxis" which "is neither entirely 'real' (object), nor entirely 'unreal'
PHYSICS-FICfiON 89

(image), but is located somewhere indeterminately between the two"

[106].

PASTORAL. From the Latin pastor (shepherd), and traditionally used

to describe a highly conventionalized kind of poetry, drama, and romance
in which human relationships are explored in idealized natural settings
[93]. Kathryn Hume has distinguished between "insider-pastoral," which
is presented from the point of view of an inhabitant of the idealized
landscape, and "outsider-pastoral," in which a hero tests himself in this
landscape before returning to his own world. Hume argues that "fantasy
pastoral is relatively rare," and cites as examples A. A. Milne's Winnie
the Pooh (1926) and Kenneth Grahame's The Wind in the Willows (1908)
[102]. Other critics, however, have argued that the pastoral impulse is
central to much modern fantasy, citing as evidence the often-idealized
rural settings and formal style.

PENNY DREADFUL. Perhaps the first genuine '"mass market"

proletarian fiction in England. Penny dreadfuls (or "bloods" as they
were sometimes suggestively called) flourished from the 1840s to the
1860s. Morbid and sensational thrillers which were sold in serial form
at one to three pence per installment, the form led not only to endlessly
convoluted and repetitive plots on the part of its authors, but also to a
popularization and vulgarization of a number of Gothic* and fantastic
narrative traditions, which in turn may have contributed to the
development of modern sensational Horror* stories and films. Perhaps
the most famous penny dreadful, and one of the few to ever be reprinted,
is Varney the Vampire (1847), by either James Malcolm Rymer or Thomas
Peckett Prest.

PERCEPTUAL DISCONTINUITY. See ESTRANGEMENT.

PHANTASY. Rarely used anymore as an archaic spelling of "fantasy,"

but given a specific psychological meaning by C. G. Jung in his
Psychological Types (1921). "Each day a new reality is created by the
psyche," wrote Jung, and his term for this activity was "phantasy."
Phantasy may be active or passive, with passive phantasy characterized
by dreams and active phantasy characterized by artistic creation.

PHYSICS-FICTION. A term presumably referring to science fiction

which was used by Vladimir Nabokov in his 1969 novel Ada. Some
critics have since borrowed the tenn. In the same novel, Nabokov referred
to "technology fiction."
90 PLANET-BUILDING

PLANET-BUILDING. Technique by which certain writers of Hard

Science Fiction*-perhaps most notably Hal Clement-employ principles
of astronomy, geology, meteorology, biology, and other sciences in
calculating the likely conditions of an imaginary world in a science fiction
narrative. The technique is similar to modeling in the geophysical sciences,
but is perhaps more parallel to research conducted by historical novelists
in that many of the details of the imaginary world may never appear in
the final narrative. An interesting multi-author experiment in planet-
building is Medea: Harlan's World, edited by Harlan Ellison (1985).

PLANET ROMANCE. A species of Proto Science Fiction* which achieved

popularity initially in the seventeenth century and consisted of works
that described societies on other planets, usually to some satiric or
didactic purpose. Cyrano de Bergerac, Johannes Kepler, and Francis
Godwin are among authors who wrote such narratives, which frequently
were set on the moon. Such works probably influenced later satirists
such as Swift, and the recurring popularity of the genre led to other
precursors of science fiction such as C. I. Defontenay's 1854 novel Star
[187].

PLAY. "Nonearnest" but structured activities that lie outside moral and
cultural conventions, according to Johan Huizinga, whose theory of play
has been cited by W. R. Irwin and others as a part of the reason for
the appeal and cultural significance of fantasy [105].

POLITICAL SCIENCE FICTION. Broadly, any science fiction on

political themes, as employed in the 1974 anthology Political Science
Fiction: An Introductory Reader, edited by Martin H. Greenberg and
Patricia Warrick. More narrowly. the term was employed by some
reviewers in the 1960s to refer to an emerging Subgenre* of Bestsellers, *
often only marginally science fiction through their near-future settings,
which often dealt with political intrigue in Washington; the most
prominent example of the period is probably Fletcher Knebel (Seven
Days in May with Charles Bailey, 1962; Night of Camp David, 1965).

POLYSEMY. Multiplicity of meanings generated by a single text,

characteristic of much symbolic fantasy that may support variant
interpretations.

POPULAR CULTURE. Those aspects of cultural expression most

influenced by commerce, formulaic structures, and broad appeal--or
the interdisciplinary study of such aspects of culture. While science
fiction is nearly always subsumed under this rubric (fantasy seems more
problematical), .. popular culture" is no more clearly defined in most
POSITIVISM 91

discussions than is science fiction itself. The term seems to have largely
supplanted "mass culture," which gained popularity among sociologists
in the 1950s and is now disdained by some scholars as implicitly elitist,
its opposite being "high culture" or "serious art." This distinction was
largely based on the artist's supposed intent-"serious art" created for
its intrinsic value, "popular art" for the marketplace. More recent scholars
have tended more toward historical and economic definitions of the
term, referring to high culture as that associated with the privileged
classes and popular culture as that associated with the masses. But even
this definition presents problems, in that virtually all written literature
prior to the nineteenth century becomes high culture simply by virtue
of limited literacy, and such achievements as Gothic cathedrals, often
claimed as high culture, cannot realistically be said to have appealed to
such a limited audience. Still more recently, many scholars have tended
to agree with Russel Nye (The Unembarrassed Muse, 1970), who argued
that popular culture in its modern sense is the product of the rise of an
economically powerful middle class and the increase in literacy during
the last 200 years. These developments made it possible for artists to
survive economically by the sale of their works to a broad-based public
rather than by patronage of a small but wealthy audience. Popular
culture is also for this reason associated with technological developments
ranging from high-speed presses to television.
While fantasy in the broadest sense can be said to have a place in
narrative traditions of both "high" and "low" culture, modern generic
fantasy ~nd science fiction are clearly a product of this latter
development-first through Penny Dreadfuls* or Dime Novels,* later
through Pulp* magazines and film and television. A number of authors
and critics of the genre have complained about the association of science
fiction and fantasy with popular culture, and have often claimed a peculiar
kind of elitism for the genres based on the nature of their readership.
Such arguments sometimes confuse high culture with the Mainstream,*
which is itself arguably as much a concept of popular culture as are
popular genres. Recent scholarship, especially in science fiction study,
has begun more openly to acknowledge the popular culture origins of
the genre, and especially the degree to which for most of its history its
development was economically driven by magazine and book sales, and
at least indirectly by such unarguably popular culture phenomena as
science fiction films and television series. See also FORMULA; GENRE;
PARALITERATURE.

POSITIVISM. Introduced by the nineteenth-century French philosopher

Auguste Comte to describe the belief that philosophical systems should
be based on empirically verifiable and observable phenomena as described
by scientific investigation. Opposed in general to metaphysical and
92 POSTHISTORY

religious thought, positivism attained its greatest influence during the

nineteenth century in Europe, although it continued to have considerable
impact in the United States until well into the twentieth century, and it
has been identified by some critics (notably W. Warren \Vagar) as the
characteristic world view of such early science fiction writers as Jules
Verne and H. G. Wells, and as the dominant view even today of advocates
of Hard Science Fiction* [198]. Certainly, much of the editorializing of
figures from John W. Campbell, Jr., to Isaac Asimov tends to support
this view of a positivistic bias in much science fiction.

POSTIDSTORY. Gene Wolfe's term for far future settings (such as in

his own Book of the New Sun, 1980-1983) in which artifacts from the
present or near future constitute a kind of fragmentary or semi-legendary
history for the characters in that setting [211]. The term is obviously
modeled on "prehistory" in that it refers to a culture in which what we
view as continuous historical process and documentation has been
fragmented or obliterated; the technique is fairly common in works that
have been characterized as Medieval Futurism.*

POST-HOLOCAUST. Commonly applied to a variety of works set in

the aftermath of a major cataclysm, usually a nuclear war, and often
identified as a major Subgenre* of science fiction works that gained
prominence after 1945 and have remained a staple of the field. See
COSMIC DISASTER STORY; ESCHATOLOGICAL ROMANCE.

POST-MODERN. In Mainstream* literary history, the period roughly

since 1965 [93], although the term was used as early as the 1930s in
reference to Latin American literature, and although historian Arnold
Toynbee identified the "postmodern" period of world history as beginning
in 1875. What is widely called post-modern fiction is characterized by
(among other things) a notable resurgence of the fantastic following the
dominance of realism in the immediate postwar years. Authors associated
with this period who have used devices of fantasy or science fiction
include Thomas Pynchon, Kurt Vonnegut, Doris Lessing, John Fowles,
Italo Calvi no, Vladimir Nabokov, and Jorge Luis Borges.

POST-MODERN SCIENCE FICTION. Suggested by Algis Budrys as a

characterization of 1950s science fiction, especially that published in
Galaxy magazine and written by authors who had contributed to the
growth of Modern Science Fiction* through contributions to Astounding
Science Fiction during the period 1938-1950. In Budrys' own words,
"the edges of this category are quite fuzzy and subjective" [43].
PREHISTORIC FICTION 93

POST-SCIENTIFIC. A world view that questions or undermines the

fundamental scientific notions of causality or observability. cited by
Patrick Parrinder as characteristic of the work of Philip K. Dick and
others [149). See also IRRATIONALISM.

POST-STRUCTURALISM. A critical methodology based largely on the

French critic Jacques Derrida's concept of "deconstruction," or the
analysis of component parts of a given text in terms of various possible
contexts, with emphasis shifted from author and text to reader, since
the very uncertainty of language and its inability to represent reality
calls the former into question. Examples of such methodologies in the
study of fantastic literature may be found in the works of Samuel R.
Delany [69) and Christine Brooke-Rose [38).

PREDICTION. In regard to fiction, an inference of possible future events

as opposed to visionary Prophecy.* One might argue that prediction in
this sense is more the function of science than of science fiction, given
the principle of the replicability of experiments and the criterion that
an adequate theory must predict certain observations. However, the
term has been associated with science fiction so persistently in the popular
media that it is unlikely to be banished, despite the vocal protests of
most modem science fiction writers and critics. Although seldom proposed
as a serious critical term or principle, prediction was nevertheless often
cited as one of the functions of science fiction by such early advocates
as Hugo Gernsback, and even recent popular accounts of the genre have
found it difficult to resist recounting such nuggets as, say, the use of the
term "atomic bomb" by H. G. Wells in 1914. See also EXTRAP-
OLATION.

PREFIGURATION. Technique by which a text or idea system, such as

a myth, provides an informed reader with a particular set of expectations
which the author can then manipulate. The term, according to Casey
Fredericks, derives from Biblical scholarship that depicted the Old
Testament as a "prefiguration" of the New Testament [89). Presumably,
prefiguration could refer both to generally familiar materials, such as
the Arthurian legends that provide a pattern of expectation in readers
of Arthurian fantasy. and to particular generic conventions, such as
those of Sword and Sorcery,* that prefigure the reader's experience of
new works in a particular Subgenre. *

PREHISTORIC FICTION. Narratives concerning prehistoric characters

and set in periods earlier than recorded history, according to Marc
Angenot and Nadia Khouri [10). Examples include Jack London's Before
Adam (1906) and William Golding's The Inheritors (1955).
94 PREQUEL

PREQUEL. A work describing earlier events involving characters or

settings from a previous work. C. S. Lewis' The Magician's Nephew
(1955) is a prequel to his earlier "Narnia" books in that it describes the
origins of Narnia.

PRIMARY BELIEF. Belief in the world as experienced, as opposed to

Secondary Belief* as described by J. R. R. Tolkien [194].

PRIMITIVISM. Usually, the romanticization of earlier phases of social

or even biological development. Almost always used in a thematic rather
than a stylistic sense, primitivism in science fiction and fantasy includes
those stories that focus on reverse evolution (such as Robert Louis
Stevenson's "Dr. Jekyll and Mr. Hyde," 1886), on the re-emergence of
pre-Christian or even pre-human powers (as in works by Arthur Machen
or H. P. Lovecraft), on Lost Races,* or on future societies reverting to
medievalism or barbarism (including what John Carnell has termed
Medieval Futurism*). These and a variety of other themes are discussed
by Casey Fredericks under the general topic of "return to the primitive,"
which suggests the appeal of the simpler ways of life represented by
such imaginary events or societies [89]. The deliberate rejection of modern
social and economic structures in favor of more elementally heroic
environments, as in the work of Edgar Rice Burroughs, has been termed
"neoprimitivism" by Thomas D. Clareson [53], and W. Warren Wagar
has discussed primitivism in the context of eschatology under the rubric
Edenism* [198).

PROLEPSIS. In rhetoric, the device by which an opponent's argument

may be anticipated and countered in advance, thus reducing the
argument's effectiveness. (The term may also mean a preliminary
statement to a more detailed argument.) By extension, the term has
been applied to narratives that anticipate future events or treat future
events as past; thus much science fiction has been on occasion described
as "proleptic," and prolepsis identified as a major rhetorical device of
the genre. Finally, the term is sometimes invoked to mean the narrative
device of the "flash-forward," as opposed to the "flashback" (or
analepsis).

PROPHECY. In literary usage, works suggestive of divine inspiration.

Although prophetic or visionary literature is sometimes included in a broad
definition of fantasy, and although certain fantasy works may be properly
described as comparable to the ''prophetic'' works of poetic tradition, E. M.
Forster makes a distinction between the two based primarily on tone. The
prophetic tone, he argues, implies religious belief or the presence of supernatural
forces, while fantasy makes manifest such forces, often at the expense of
PSEUDOSCIENCE 95

unity of vision. Forster's examples of the latter include Dostoevsky and

Melville [87]. (See also Fantastic-Prophetical Axis.*) In science fiction history,
"prophecy" was given a particular meaning by H. G. Wells, who used it to
refer to the device of pointing up problems of contemporary society by projecting
them into the future as fantasy, such as in his own The Time Machine (1895).
Wells' use of the term is akin to the more widespread Extrapolation* (150].

PROTOCOL. A learned code or procedure for reading certain kinds of texts.

The notion that science fiction or fantasy comprises ways of reading rather
than bodies of texts has been discussed by a number of critics, but most
significantly by Samuel R. Delany, who argues that a genre is "not a set of
texts or of rhetorical figures but rather a reading protocol complex" [72].
Essentially, a protocol (originally from a Greek word referring to the first
page of a scroll of papyrus in which the nature and authenticity of the scroll
are verified) consists of those assumptions in reading that the reader brings
to the text, and that are signaled early in the text itself (or possibly in the
context in which the text appears). The protocols of science fiction reading,
then, would result in a literal reading of a statement that might appear
metaphorical or hallucinatory in a "realistic" or Mundane* text.

PROTO SCIENCE FICTION. Used in The Science Fiction Encyclopedia

as a general term for referring to science fiction-like works that preceded the
existence of a recognizable genre of science fiction [ 144], and therefore similar
to Brian Aldiss' Ur-Science Fiction.* Brian Stableford [ 144] argues that proto
science fiction effectively ends with the beginning of a continuous tradition
in 1818, with the publication of Mary Shelley's Frankenstein, and Peter
Nicholls, who apparently coined the term, has elsewhere argued that ''proto
science fiction'' ends sometime in the early nineteenth century with the Industrial
Revolution [143].

PSEUDOMYTH. Artificial myths, cast as fantasy narratives and including

such works as Olaf Stapledon's The Flames (1947) and Walter M. Miller,
Jr.'s A Canticle for Leibowitz (1959), according to Darko Suvin [187].

PSEUDONATURAL. R. D. Mullen's term for fantastic beings lacking

supernatural powers-talking animals, centaurs, griffins, brownies, trolls,
superhumans such as Tarzan or Conan, "in sum, all unnatural things with
merely natural powers however much exaggerated" [ 141 ] .

PSEUDOSCIENCE. Generally used to refer to theories or systems that

employ scientific terminology and sometimes gain wide popular acceptance
even when dismissed as unverifiable or unsubstantiated by the scientific
community at large. Until about 1950, the term was often used by librarians
as an alternative to science fiction [ 118], much to the chagrin of many writers,
96 PSI

but in fact a number of science fiction narratives have been based on

pseudoscientific notions, such as the series of "psionic" stories encouraged
by John W. Campbell, Jr., in Astoundillg in the early 1950s.

PSI. Possibly derived from "psionics," a coinage associated with John W.

Campbell, Jr., in the early 1950s and referring to hidden powers of the human
mind (originally, as revealed through technological devices). "Psi" has gained
wide usage in Fandom* and in some criticism as shorthand for the whole
complex of science fiction stories dealing with telepathy, telekinesis, etc.
Generally, its usage seems to be to signify such themes when treated in a
science fiction context, as opposed to fantasy or supernatural literature.

PSYCHOHISTORY. In common use since the 1960s to refer to the use of

psychotherapeutic or psychoanalytic methodologies in the study of individual
biographies or mass movements such as witchcraft or millenialism. In science
fiction, however, this term has retained a quite different meaning through its
use by Isaac Asimov in his Foundation series (1942-1949). In this work,
psychohistory was described as a statistical science (perhaps based on a crude
form of Marxism) that attempted to formulate laws "to govern and predict
the mass action of human groups.'' The term has not been widely adopted
by other writers, although the concept is not unique to Asimov.

PSYCHOMACHIA. A narrative depicting a conflict of personified vices and

virtues, as in the fourth-century Latin poet Prudentius' long poem of this title.
Since then, the term has come to be widely used to refer to allegorical
portrayals of battles between good and evil, and thus has been adopted by
Ann S win fen [ 189] and others in discussions of fantasy narratives.

PSYCHOMYTH. Term used by Ursula K. Le Guin to describe those of her

stories that lack identifiable historical or science fictional referents, "more or
less surrealistic tales, which share with fantasy the quality of taking place
outside any history, outside of time, in that region of the living mind which-
without invoking any consideration of immortality-seems to be without
spatial or temporal limits at all'' [ 114].

PULP. Originally a kind of cheap, acidic wood-pulp paper, but now more
often used to refer to the magazines published on such paper, which attained
a collective circulation of nearly I 0 million per issue during the 1930s, according
to Russel Nye (The Ullembarrassed Muse, 1970). More broadly, the term
came to characterize the fiction and illustrations published in those magazines,
and finally any fiction or illustrations making use of the conventions of pulp
forms. The invention of the pulp magazine is generally credited to Frank
Munsey, who in 1896 decided to convert his children's magazine Go/dell
Argosy to a popular all-fiction magazine titled Argosy, and switched to cheap
PULP 97

untrimmed wood-pulp paper in order to keep the price low. Pulp magazines
are of particular importance to the history of American fantasy in that, beginning
with Weird Tales in 1923, they provided a focal point, consolidated an audience,
and began to establish conventions and formulas for several Subgenre~* of
fantasy, especially Horror* fiction and Sword and Sorcery.* Science fiction
pulps were equally successful, and many historians of the genre have dated
its beginning as a self-conscious genre from the founding of Amazing Stories
by Hugo Gemsback in 1926. Western, romance, detective, aviation, and war
story pulps also flourished, but magazines devoted to other subgenres (such
as Oriental Tales, begun in 1930) did not fare as well. John W. Campbell,
Jr.'s Unknown, begun in 1939, did much to develop a modem popular genre
of logical and often humorous fantasy parallel to science fiction, and such
pulps as Famous Fantastic Mysteries and The A von Fantasy Reader were
instrumental in creating a younger audience for older Lost Race Fantasies*
and horror fiction. By the mid-1950s, most pulp magazines had been replaced
by Digest* size magazines, although critics and historians have since sometimes
used the term to refer to any sensational formulaic fiction.
Q

QUEST. While some would argue that the quest is a defining feature
of much fantasy literature, this term is sometimes used to distinguish
those narratives in which a traditionally mounted quest is the central
element of plot. See also ANTI-QUEST.
R

RADICAL DISCONTINUITY. The dislocation between the imagined

world of romance or fantasy and the world of experience. Although
Robert Scholes implies that such a discontinuity is "at the root of all
narrative structure," it becomes more apparent in "pure romance" [176).

RATIONALIZED FANTASY. A term used by Roger Schlobin and others

to describe narratives that employ fantasy conventions but rationalize
the fantasy elements through devices of psychology or science fiction
[170).

RATIONAL SUPERNATURAL. Works in which apparently supernatural

events are in the end explained through illusions, tricks, hypnosis, etc.
See also RATIONALIZED FANTASY.

REALISM OF PRESENTATION. "The art of bringing something close

to us, making it palpable and vivid, hy sharply observed or sharply
imagined detail." C. S. Lewis uses this term in opposition to "realism
of content" in nonfantastic fiction [120).

REALISTIC FANTASY. Julius Kagarlitski described as realistic fantasy

those works that, emerging principally i11 the 1860s and 1870s and most
prominently represented by Jules Verne, began with a single fantastic
assumption which was then "verified" by numerous devices of exposition
and action, and which provided the basis for otherwise "realistic"
narrative developments. Eventually, this genre came to be known as
science fiction [54].
102 RECOVERY

RECOVERY. uRegaining of a clear view," according to J. R. R. Tolkien,

who includes in this the return and renewal characteristic of the endings
of fairy stories [194]. See also CONSOLATION; ESCAPE; FANTASY.

RED DETECTIVE. A Subgenre* of postrevolutionary Russian science

fiction thrillers, usually concerning the export of the Soviet revolution
to other parts of the world with the aid of new inventions or weapons
[ 142).

RESISTANCE STORY. A group of science fiction stories that share the

theme of an underground resistance movement working to liberate a
conquered United States; although this very narrow definition was given
by Martin H. Greenberg and Joseph D. Olander [204), the term also
has a broader meaning in non-science fiction genres such as the war
story, where it refers to any tale of organized resistance to an oppressive
regime.

REVERIE. In Gaston Bachelard's sense (The Poetics of Reverie, 1960),

distinct from a dream in that it involves a state of mind that situates us
uin a world and not in a society." Bachelard's use of this term has
occasionally been invoked in discussions of fantastic literature; see, for
example, William F. Touponce's Ray Bradbury and the Poetics of Reverie
[195).

REVERSAL. Classically, peripety or sudden change in fortune for a

protagonist. In discussions of fantastic literature, reversal often denotes
the techniques by which reader expectations or assumptions are
controverted by apparent impossibilities, suggesting a "reversal" of the
accepted Ground Rules* of reality or causality. See also ANTI-
EXPECTED; IMPOSSIBLE.

REVISION. Most obviously, the process of altering or rewriting an

earlier text. Kathryn Hume, however, has suggested that a "literature
of revision .. is opposed to a "literature of vision" in that the former
provides a model for changes of existing reality, whereas the latter
constructs an entirely new reality; science fiction, then, often partakes
of the "literature of revision," whereas (very broadly) fantasy may partake
more often of the literature of vision [ 102].

ROBINSONADE. An imitation or pastiche of Robinson Crusoe (1719).

The enormous popularity of Daniel Defoe's tale of a desert island
castaway gave rise to so many imitations that a scant twelve years after
its publication the German critic Johann Gottfried Schnabel invented
this term to describe the genre; occasionally, uprerobinsonade" has been
ROMANCE 103

used to describe such works published before Defoe's work [95). A

number of robinsonades introduced clearly fantastic elements and thus
belong to the history of fantasy, but a number of critics have also pointed
out the major themes of survival, isolation, ingenuity, and the "white
man's burden" that Robinson Crusoe shares with much science fiction,
and science fiction has indeed produced a number of robinsonades of
its own, such as Rex Gordon's First on Mars (1956).

ROBOTICS. See LAWS OF ROBOTICS.

ROMANCE. Apart from its historical meanings and the various scholarly
debates over the romance as distinguished from the novel, this term has
popularly come to mean any fiction involving an idealized world or
idealized characters (probably after Northrop Frye [92]) or a specific
market genre involving romantic relationships in exotic settings. In the
first sense, most of fantastic literature would be subsumed by the genre,
as well as most popular genres such as the western, the detective story,
the heroic fantasy, or science fiction. See FANTASTIC ROMANCE.
s

SACRAMENT ALISM. The belief that all nature is full of spiritual

meaning, symbolic of an unseen world. C. S. Lewis speculated that if
the material world is "the copy of an invisible world,'' then
"sacramentalism" or Symbolism* involves "the attempt to read that
something else through its sensible imitations" [119]. Later critics such
as Charles Moorman have adopted the term to refer to writers such as
Lewis himself; according to Moorman, sacramentalism involves a mode
of representation in which the vehicle and tenor of the metaphor are
identified, with no essential difference between the symbol and that
which is symbolized [137].

SACRED TIME. The primordial or magic time in which the events of

myth take place. Although usually conceived of as apart from historical
time, sacred time often implies an indeterminate past; thus the events
of sacred time can provide a model for behavior in historical time,
according to Mircea Eliade. Actors in sacred time are characteristically
supernatural beings [79].

SAGA. Originally a family history or genealogical tale from oral tradition

(and still occasionally used in almost that sense, as with John Galsworthy's
The Forsyte Saga). The term is often associated with Icelandic narratives
in which supernatural events and mythological figures are incorporated
into the genealogical material. In discussions of fantasy, "saga" usually
refers to narratives that in setting, atmosphere, or structure resemble
materials from Norse traditions, such as Poul Anderson's Hrolf Kraki's
Saga (1973). In science fiction, the term is used considerably more loosely
to refer to almost any large-scale narrative with mythic implications,
such as Julian l\1ay's Saga of Pliocene Exile (1981-1984).
106 SATIRE

SATIRE. A work that seeks to improve human behavior or human

institutions through devices of wit, humor, or exaggeration. Satire has
since classical times employed devices of fantasy, and some writers have
even traced the beginnings of science fiction to this tradition, particularly
to the second-century A True History of Lucian of Samosata. Peter
Nicholls has argued that the most common function of the imaginary
environments of Proto Science Fiction* was satirical [144], and a satirical
edge remained in many of the Scientific Romances* of H. G. Wells-
for example, the implicit (and sometimes explicit) criticism of English
class structure in The Time Machine. Most dystopian and Anti-Utopian*
fiction is essentially satirical, and perhaps because of the predominance
of these works fantastic satire has come to be more closely associated
with the classic "Juvenalian" mode of biting ridicule of human follies
(as opposed to the gentler "Horatian" satire, which occasionally
characterizes Satiric Fantasy* such as that which appeared in Jolin W.
Campbell, Jr.'s Unknown).
Although science fiction satire for much of the Golden Age* was
relatively mild, occasionally featured in the works of such writers as
Henry Kuttner, it came to fruition with the founding of Galaxy magazine
under the editorship of H. L. Gold in 1950. Among the most famous
satires to first appear in that magazine were the stories that later became
Ray Bradbury's Fahrenheit 451 (1953) and Frederik Pohl and C. M.
Kornbluth's The Space Merchants (1952). The 1950s saw many such
works, but with increasingly complex narrative modes introduced into
the genre in the 1960s and 1970s, satire came more and more to be
incorporated into the larger arsenal of literary devices available to authors
in the genre, and while many of the New Wave* authors employed
satire, it was often in the context of broader and sometimes experimental
narrative techniques. Some critics maintain that satire remains the most
important characteristic of science fiction (see Comic Inferno*), or that
all science fiction involving imaginary or future societies is at least
implicitly satirical-in fact, a similar argument might be made for much
fantastic literature in general, with its powerful elements of Desire* and
Estrangement."'

SATIRIC FANTASY. Broadly, any work of fantasy with a satirical intent,

such as the stories of John Collier or novels such as Fletcher Pratt and
L. Sprague de Camp's 1940 The Incomplete Enchanter (with its various
descendants down to the present popularity of such writers as Robert
Asprin) or Charles G. Finney's The Circus of Dr. Lao (1935). Satiric
fantasy has perhaps been less common in popular genre fiction than
these works might suggest, but it was a fairly regular feature of John
W. Campbell, Jr.'s magazine Unknown (1939-1943). T. E. Apter has
used the term in a more specialized sense to denote works in which the
SCIENCE FANTASY 107

fantastic element becomes a device in a larger satirical context, as in

Nikolai Gogol's ''The Nose" [11].

SCIENCE ADVENTURE. According to Algis Budrys, a term probably

coined by Malcom Reiss of Love Romances Publishing Company to
describe Planet Stories magazine (1939-1955) [43]. Although the term
survived for some years as a publishing subcategory in the Pulps,* the
more generally accepted term for this type of fiction is Space Opera,*
even though the latter term was actually coined to refer to fiction of the
1930s.

SCIENCE DOMINANT. See ADVENTURE DOMINANT.

SCIENCE FANTASY. A rather imprecise term sometimes used

interchangeably with science fiction, sometimes to refer to Sword and
Sorcery,* sometimes to Sword and Planet,* and sometimes to
Rationalized Fantasy.* Anthologist Judith Merril, who may have done
more than anyone else to popularize the term through her consistent
use of it in a long series of anthologies in the 1950s, seemed to prefer
it as a generic term that blurred the boundaries between science fiction
and fantasy, and thus permitted the inclusion of both kinds of stories
in these anthologies (one of which, SF: The Year's Greatest Science
Fiction and Fantasy, 1956, even used the clumsy term "science-fantasy-
fiction"). In recent years, this usage has been generally supplanted by
SF,* a term also pioneered by Merril.
More generally, when "science fantasy" is used to refer to science
fiction, the term implies a generic categorization of science fiction as a
branch of fantasy; when used to denote a somewhat separate body of
works, it refers to a genre in which devices of fantasy are employed in
a "science-fictional" context (related to but distanced from the "real
world" by time, space, or dimension). Darko Suvin calls science fantasy
a "misshapen subgenre" including Edgar Allan Poe, Abraham Merritt,
and Ray Bradbury, and cites James Blish's criticism that the Subgenre*
is really a variety of science fiction in which plausibility is only maintained
until the author chooses or needs to discard it for purposes of plot [ 187].
Algis Budrys characterizes the genre by its introduction of fantasy
elements into science fiction milieus (or "milieus where such science
fiction signatures as rocketships and ray guns also occur") and claims it
is usually a blend of fantasy and "science adventure," or Space Opera*
[43]. A general discussion of science fantasy as a separate genre is Brian
Attebery's essay "Science Fantasy" [18].
108 SCIENCE FICTION

SCIENCE FICTION. Often regarded as a subset of fantasy, science fiction

has been defined so frequently that there is little critical consensus as to which
works might be included or excluded. Most definitions include the elements
of scientific content (which may include concepts associated with scientific
theory even when little or no science is present in the narrative), social
extrapolation, and some cognitive or nonmetaphoricallink to the real world.''
The Ground Rules* of science fiction are essentially those of the physical
universe, although they may include rules as yet undiscovered, whereas the
ground rules of fantasy are generally said to be limited only by internal
consistency and not necessarily related to experience.
Like fantasy (but more so), science fiction gained its identity as a commercial
term for category fiction in magazines and books long before literary scholarship
and genre theory began attempting to define it; as a result, most definitions
have proved unsatisfactory to some readers, and one of the most popular
definitions remains Damon Knight's .. what we point to when we say it"
( 1952) [ ll 0]. Although the term .. science fiction" has been found as early
as 1851 (in an essay by the minor English poet William Wilson, referring to
.. fiction in which the revealed truths of Science may be given interwoven
with a pleasing story"), and although similar terms in other languages have
been cited as early usages (such as the Swedish naturvetenskaplig roman,
which according to Sam Lundwall appeared in 1916 [125]). popular usage
probably dates from no earlier than 1929. In an editorial for the first issue of
Science Wonder Stories in that year, Hugo Gernsback used the term to replace
his earlier, rather awkward portmanteau Scientifiction, * which he had used
in 1926 to describe the contents of his first magazine, Amazing Stories.
(Gernsback lost control of the latter magazine in bankruptcy proceedings early
in 1929.)
Generally, the definitions offered over the years have fallen into three
general categories: ( l) early editor and fan definitions, which often stress the
scientific, prophetic, and didactic elements of the genre, and which some later
writers have come to refer to as "Gemsback's folly"; (2) definitions from
practicing writers, which range from grandiose claims of the genre as virtually
the only worthwhile modem literature to more practical definitions emphasizing
publishing and marketing considerations; and (3) academic definitions, which
frequently focus on rhetoric, reader response, and relationships to other genres.
Until the past few years, most definitions in each category contained a substantial
element of public relations as well as critical thought; owing to the commercial
origins of the genre and the perceived low esteem in which it was held, those
undertaking to define it often disguised within their definitions apologia for
the genre, with the result that some definitions seemed to excessively stress
the .. human" element (as an implied counter to frequent perceptions of the
genre as mechanistic), while others (such as Aldiss' and del Rey's below)
even omitted concerns of fiction or narrative altogether, presenting science
SCIENCE FICTION 109

fiction instead as a kind of philosophical attitude or way of thinking. Some

examples of these definitions:
Hugo Gernsback (defining scientifiction in 1926): "A charming romance
intermingled with scientific fact and prophetic vision'' [ 178].
J. 0. Bailey (1947): "A narrative of an imaginary invention or discovery
in the natural sciences and consequent adventures and experiences" [ 19].
Theodore Sturgeon ( 1951 ): "A story built around human beings, with a
human problem and a human solution, which would not have happened at
all without its scientific content.'' (Sturgeon later commented that this widely
quoted "definition" was in fact intended to be a description of a good science
fiction story [97].)
Kendall Fosler Crossen (1951 ): "An imaginative exploration of any fact
or theory within the realm of knowledge" ("Houyhnmhnms & Company,"
introduction to his anthology Adventures in Tomorrow [New York: Greenberg,
1951 ]).
Isaac Asimov (1952): "That branch of literature which is concerned with
the impact of scientific advance upon human beings" [35]. (In 1975, Asimov
essentially repeated this definition, altering it slightly to refer to literature that
''deals with the reaction of human beings to changes in science and technology.''
A further revision in 1978 specified literature that "deals with human responses
to changes in the level of science and technology" [ 14].
John W. Campbell, Jr. (1953): "The literature of speculation as to what
changes may come, and which changes will be improvements, which
destructive, which merely pointless" [35].
Rosalie Moore ( 1953): ' Any fiction based on an exploration of or application
of any existing or imaginable science, or extrapolation from the same" [35].
Reginald Bretnor ( 1953): Works that "reveal the author's awareness of the
importance of the scientific method as a human function and of the human
potentialities inherent in its exercise, and do this not only in plot and
circumstance, but also through the thoughts and motivations of the characters";
or works that reveal such awareness "only in circumstance and plot" or only
through presenting "certain potential products of the scientific method" [35].
(While Bretnor originally intended this to describe three broad classes of
narrative encompassed by science fiction, Robert Heinlein in 1957 endorsed
this definition while erroneously paraphrasing it to mean an "indispensable
three-fold awareness" as a criterion of science fiction [67]; ironically, Heinlein's
paraphrase has been more often reprinted than Bretnor's original definition.)
Basil Davenport (1955): "Fiction based upon some imagined development
of science, or upon the extrapolation of a tendency in society" [66].
Robert Heinlein ( 1957): '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" [67].
110 SCIENCE FICTION

Kingsley Amis ( 1960): .. That class of prose narrative treating of a situation

that could not arise in the world we know, but which is hypothesized on the
basis of some innovation in science or technology, or pseudo-science or
pseudo-technology, whether human or extraterrestrial in origin" [8].
Sam Moskowitz ( 1963): "A branch of fantasy identifiable by the fact that
it eases the 'willing suspension of disbelief' on the part of its readers by
utilizing an atmosphere of scientific credibility for its imaginative speculations
in physical science, space, time, social science, and philosophy" [ 138].
Robin Scott Wilson ( 1970): "A fiction in which science, or some credible
extrapolation of science, is integrally combined with an honest consideration
of the human condition'' [205].
Robert M. Philmus ( 1970): A "rhetorical strategy" that "differs from other
kinds of fantasy by virtue of the more or less scientific basis, real or imaginary,
theoretical or technological, on which the writer predicates a fantastic state
of affairs'' [ 150].
Thomas D. Clareson (1971): "That type of fiction which results from and
reflects, often topically, the impact of scientific theory and speculation upon
the literary imagination-and, therefore, the effect of science upon people"
[ 118].
Lester del Rey ( 1971): ''An attempt to deal rationally with alternate
possibilities in a manner which will be entertaining" [74].
Harlan Ellison ( 1971 ): ''Anything that deals in even the smallest extrapolative
manner with the future of man and his societies, with the future of science
and/or its effects on us, with fantasy as an interpretation of the realities with
which we are forced to deal daily" [118].
Donald A. Wollheim (1971 ): "That branch of fantasy which, while not
true of present-day knowledge, is rendered plausible by the reader's recognition
of the scientific possibilities of it being possible at some future date or at
some uncertain period in the past" [212].
Brian W. Aldiss ( 1973): "The search for a definition of man and his status
in the universe which will stand in our advanced but confused state of knowledge
(science), and is characteristically cast in the Gothic or post-Gothic mould"
[ 1].
Norman Spinrad ( 1973): "Science fiction is anything published as science
fiction" ("Introduction" to his anthology Modern Science Fiction [Garden
City: Anchor, 1974]).
Robert H. Canary (1974): "A fictive history laid outside what we accept
as historical reality but operating by the same essential rules as that reality"
[46].
Alan E. Nourse (1974): "Predominantly a speculative literature in which
the reader is invited to ponder in some detail the effect that a given advance,
change, discovery, or technological breakthrough might have upon society
as we know it and upon human beings as we know them'' [36].
SCIENCE FICTION Ill

Reginald Bretnor (again, in 1974): "Fiction based on rational speculation

regarding the human experience of science and its resultant technologies''
[36].
James Gunn (1975): Fiction in which "a fantastic event or development
is considered rationally" [97].
Robert Scholes (defining structural Fabulation,* 1975): "A fictional
exploration of human situations made perceptible by the implications of recent
science" [ 174].
Eric S. Rabkin ( 1976): A work is science fiction "if its narrative world is
at least somewhat different from our own, and if that difference is apparent
against the background of an organized body of knowledge" [ 156].
Paul A. Carter ( 1977): "Science fiction is an imaginative extrapolation
from the known into the unknown" [48].
Darko Suvin ( 1979): ''A literary genre whose necessary and sufficient
conditions are the presence and interaction of estrangement and cognition,
and whose main formal device is an imaginative framework alternative to the
author's empirical environment" [ 186].
Thomas H. Keeling (1979): "A form of fiction that, unlike confessional
or psychological fiction, focuses on man's relatio~ship with his natural and
man-made environments and that, unlike such works as The Faerie Queene,
assumes that the scientific perspective-even though it is imperfect and is the
frequent cause of our crises-is still our best tool in dealing with those
environments'' [ 181].
Algis Budrys (1980): A "commercial genre" of stories "set in milieus
where physical laws are held inviolate although the stories themselves may
err, or deliberately elide such laws in order to function as stories."
(Alternatively. Budrys offers the definition of "a body of general literature"
which fans identify as science fiction.) [43]
W. Warren Wagar (1982, defining "speculative literature"): "Any work
of fiction, including drama and narrative poetry, that specializes in plausible
speculation about life under changed but rationally conceivable circumstances,
in an alternative past or present, or in the future" [ 198].
David Hartwell ( 1984, defining "what science fiction means to insiders"):
''The sum of all examples and all possible examples. Science fiction is every
SF story written or to be written, the sum total of science fictional reality
past, present, and future--otherwise indefinable" [99].
Northrop Frye, Sheridan Baker, and George Perkins (1985): "Fiction in
which new and futuristic scientific developments propel the plot" [93].
Useful and insightful discussions of the problems with many of these
definitions, and the problems inherent in attempting to define science fiction
in general, may be found in Damon Knight's essay "What Is Science Fiction?"
[Ill] and in Budrys' "Literatures of Milieux" [41]. See also SCIENCE
FANTASY; SF; SPECULATIVE FICfiON.
112 SCIENCE FICTION LEAGUE

SCIENCE FICTION LEAGUE. A fan organization founded in 1934 by

Hugo Gemsback and sponsored by Wonder Stories magazine. The organization
is often credited with having provided a self-conscious identity for Fandom*
and, to a more limited extent, for science fiction itself.

SCIENCE FICTION MYSTERY. Generally used to apply to a hybrid

Subgenre* in which the plot elements of mystery or detective fiction are
superimposed on a science fiction setting; the most famous example is probably
Isaac Asimov' s The Naked Sun (1957). However, the term has occasionally
been invoked to refer to tales of "scientific" detectives, such as were published
in Hugo Gernsback's magazine Scientific Detective Monthly (1930) or, more
rarely, to the few mystery novels (the first of which was Anthony Boucher's
Rocket to the Morgue, 1942) dealing with the world of science fiction writers
and fans. A brief bibliography appears in Robert A. Baker and Michael T.
Nietzel. ''The Science Fiction Detective Story: Tomorrow's Private Eyes"
[20].

SCIENCE FICTION RESEARCH ASSOCIATION. Academic organization

founded in October 1970 with the goals of promoting scholarship, teaching,
research, and archiving of science fiction, primarily through annual conferences
held since 1971.

SCIENCE FICTION WESTERN. A story that consciously makes use of

the conventions of both science fiction and western genres. Although science
fiction is often identified as a kind of "frontier" literature, this term usually
refers only to a deliberate cross-fertilization of these two popular genres.
Examples include John Jakes' Six-Gun Planet ( 1970), H. Beam Piper's A
Planet for Texans (1958), and John Boyd's The Andromeda Gun (1974). A
study that discusses the relationship of science fiction to westerns is David
Mogen' s Wilderness Visions ( 1982); one more narrowly focused on science
fiction westerns themselves is Robert Murray Davis, 'The Frontiers of Genre:
Science-Fiction Westerns," Science-Fiction Studies 35 (March 1985): 33-
41.

SCIENCE FICTION WRITERS OF AMERICA. Organization of

professional science fiction writers formed in 1965, largely as an outgrowth
of the Milford Science Fiction Writers' Conference. The association sponsors
the annual Nebula Awards,* although its focus is primarily on professional
and legal issues affecting the writing profession. An earlier organization using
the same initials (SFW A) was founded in 1952 in Los Angeles as the Science-
Fantasy Writers of America.

SCIENTIFIC FANTASY. (translation of common Russian term for science

fiction). See FANTASTIKA.
SCIENTIFICTION 113

SCIENTIFIC METHOD. The traditional investigative logic of the natural

sciences. Although Reginald Bretnor has made awareness of this method of
inductively formulating and testing hypotheses a condition of his definition
of science fiction [35], and although other writers have on occasion stressed
the importance of the method in their advice to young writers, the fact is that
relatively little fiction has focused on it in any important way, and the
relationship of the scientific method to science fiction has not been a major
critical concern within the genre. Nevertheless, it has on occasion provided
a convenient structuring device for "puzzle" stories (and occasionally more
sophisticated works) and has sometimes played a significant role in fiction
that deals with the actual practice of working scientists. When the term is
used, it is almost always in the traditional inductivist sense, with little awareness
of the attacks on inductivism from philosophers such as Karl Popper.

SCIENTIFIC NOVEL. Term used by a writer in the New York Herald in

1835 to describe the "new species of literature" invented by Richard Adams
Locke in his story published that year titled "The Moon Hoax"; cited by
David Hartwell as an early definition of what came to be science fiction [99].

SCIENTIFIC ROMANCE. Used at least as early as 1886 for C. H. Hinton's

series of speculative essays and short stories (Scientific Romances, 1888 and
1896), but now almost universally associated with the early science fiction
novels of H. G. Wells. Wells himself used the term to distinguish these works
from his later, Utopian* fictions. The term is perhaps less paradoxical today
than it might have seemed in Wells' time, for the traditions of romance writing
are more fully integrated with notions of progress than they were in the 1890s,
when the English romance under such authors as Haggard and William Morris
seemed decidedly anti-industrial and even antiscientific: A "scientific
romance," then, appeared a kind of contradiction in terms. Although there
have been few attempts to define this genre apart from general definitions of
science fiction, Carlo Pagetti has suggested that the scientific romance is a
"mixed literary genre combining the romantic tale of the journey into a lost
land, Gothic sensationalism concerning mystery and death, and the expositional
didacticism of philosophical speculation vulgarized for the benefit of the
masses" [ 146]. The term is also used sometimes to refer specifically to science
fiction published in the Munsey chain of magazines in the years surrounding
World War I.

SCIENTIFICTION. Coined by Hugo Gemsback as a portmanteau of his

earlier "scientific fiction" and used by him during the early years of Amazing
Stories. The term was generally abandoned during the 1930s (Gems back
himself using the term "science fiction" for his 1929 Wonder Stories) and
has come to suggest, as Algis Budrys notes, ''science fiction with a primary
emphasis on specific technological devices,'' often characterized by a primitive
114 SCIENTISM

wntmg style and " 'travelogue' plot construction" [43]. Despite its
awkwardness, "scientifiction" survived in letter columns and editorials of
the Pulp* magazines for the next two decades, and was even the title of an
early British Fanzine* in 1937. Occasional attempts have been made to revive
the term for general usage (see, for example, Ted White's editorial in the
May 1975 Amazing), but generally the word is now used in a purely historical
sense.

SCIENTISM. "The uncritical acceptance of what is termed 'science' as

objective knowledge, and a belief in the absolute value of what is called
scientific," according to Gavin Browning, who also characterizes it as ''the
idea that human social problems can be solved by a development of 'science'
and not by a resolution of social forces'' [39]. Kingsley Am is uses the rather
narrow definition of "the belief that any day now someone will discover a
way of measuring human personality and society" and argues (as does
Browning) that the belief is "rather widespread in science fiction" [8]. C. S.
Lewis' definition, "less common among real scientists than among their
readers," is "the belief that the supreme moral end is the perpetuation of our
own species, and that this is to be pursued even if, in the process of being
fitted for survival, our species has to be stripped of all those things for which
we value it" [121]. In the more general sense of the belief that the only
source of reliable knowledge Lies in the inductive methods of science, scientism
has often been evident in the work of Hard Science Fiction* writers, but is
generally less commented on than the Antiscientism* that is also said to be
evident in the genre. See also POSITIVISM.

SCI-Fl. Neologism coined by science fiction fan Forrest 1. Ackerman and

which has become anathema to many science fiction writers and readers.
Perhaps because of its widespread use in the popular media in what often
seems a denigrating or stereotyping manner, "sci-fi" has, in effect, become
science fiction's equivalent of "nigger." More recently, however, some writers
and critics have begun to suggest that the term may in fact have a legitimate
use in describing highly formulaic mass-audience entertainments, and in
particular Hollywood movies. Isaac Asimov, for example, defines sci-fi as
"trashy material sometimes confused, by ignorant people, with s.f." and
cites the film Godzilla Meets Mothra as an example [ 14]. Damon Knight has
suggested the term be used for "the crude, basic kind of s. f. that satisfies
the appetite for pseudo-scientific marvels without appealing to any other
portion of the intellect" (he also suggests the term be pronounced "skiffy")
[Ill]. Somewhat less condemnatory, Elizabeth Anne Hull has suggested that
films such as Star Wars might appropriately be termed sci-fi to distinguish
them from the more complex (but still not clearly defined) fictions labeled
SF.* Neither argument has gained much acceptance outside the science fiction
SEMIOTICS 115

community, however, and "sci-fi" remains in wide use as a popular media

term for science fiction in general.

SECONDARY BELIEF. Belief in and acceptance of the Secondary World*

of the fantasist or' 'sub-creator.'' Tolkien emphasizes that this is a more active
kind of reader participation than that of Coleridge's Willing Suspension of
Disbelief* [ 194].

SECONDARY UNIVERSE. Used by some critics, such as Franz Rottensteiner

[163], as an alternative to Secondary World*; also the name of a series of
early academic conferences on science fiction which began in 1968 and
eventually led to the annual meetings of the Science Fiction Research
Association.*

SECONDARY WORLD. The world created by the storyteller, according to

Tolkien, with its own internal laws supporting Secondary Belief.* In practice,
the term has attained a narrower meaning, and is often used to refer exclusively
to the environments created by authors of High Fantasy* [ 194].

SECULAR ESCHATOLOGY. The treatment of eschatological themes in

nonreligious contexts, as described by W. Warren Wagar. Most Cosmic
Disaster Stories* in science fiction would belong in this tradition, which Wagar
sees as representing a significant break in the development of western
eschatological thought. His example of the first major work of fiction in this
tradition is Mary Shelley's The Last Man (1826) [198].

SECULARIZATION. The appropriation of traditional religious beliefs or

attitudes into more modem romantic or technological systems of thought. The
concept is important to the study of science fiction and fantasy in that these
literatures often employ cosmic or eschatological themes once characteristic
only of religious texts. The term is suggested by W. Warren Wagar [198].
See also ESCHATOLOGICAL ROMANCE; SECULAR ESCHATOLOGY.

SEHNSUCHT. Literally, "longing," but used ("principally by C. S. Lewis,

although the term was familiar to George MacDonald) to refer to a specific
variety of melancholic, romantic Desire* for ''something that has never actually
appeared in our experience" [122].

SEMIOTICS. An interdisciplinary study involving signs and sign functions.

Sometimes formalized as a science and referred to as semiology," the field
was proposed by linguist Ferdinand de Saussure (1857-1913) and has been
most fully developed within the context of linguistics. Through the influence
of such critics as Roland Barthes, semiotics has also become a significant
methodology in the analysis of literary texts, and has notably influenced a
116 SENSE OF WONDER

number of science fiction writers and critics, such as Samuel R. Delany, who
has argued that the signifying process in fantastic literature is a key factor
that sets it apart from Mundane* literature in its use of language [69].

SENSE OF WONDER. According to Darko Suvin, a ''superannuated slogan

of much SF criticism due for a deserved retirement into the same limbo as
extrapolation" [ 187]. Nevertheless, the tenn remains a common, if perhaps
unsatisfactory, attempt to describe the affective appeal of fantastic texts. See
also WONDER.

SENTlMENT AL FANTASY. A rather vague term used by Diana Waggoner

to describe fantastic works characterized by a "sickly, vapid air" [199].

SEQUEL. A work that continues a narrative begun in an earlier work, or

portrays later events using the same characters. Arthur C. Clarke's 2010:
Odyssey Two (1982) is thus a sequel to his 2001: A Space Odyssey (1968).
Many authors prefer to make distinctions between sequels, Series,* and
multivolume works such as trilogies. For example, the last two volumes of
Tolkien's Lord of the Rings (1954-1955) were initially published as sequels
to the first, but now the work is almost invariably referred to not as a novel
with sequels, but as a three-volume novel. Frank Herbert's Dune series, on
the other hand, contains some works that are sequels to others, and some that
only share the general history and setting, while C. S. Lewis' "Narnia" tales
were published in a different sequence from that implied by the internal
chronology, making some of them sequels and some Prequels.*

SERIAL. A continuous narrative published in succeeding issues of a periodical,

often with a number of regularly spaced dramatic climaxes at points dctcnnined
by the length of each installment. While some early serial novels, such as
the Penny Dreadfuls,* seemed designed to go on indefinitely with no immediate
danger of book publication, serial stories in science fiction and fantasy Pulp*
magazines were more often written in a limited number of installments. For
a considerable period in the history of the genre, these magazine serials
provided the major outlet for extended works of science fiction; many of them
were in fact later published as novels. Some critics have therefore argued that
certain characteristics of science fiction novels written between, roughly, 1926
and 1950 are in large part an outgrowth of the serial format. Among these
characteristics are episodic structure, early and sometimes facile character
development, and emphasis on frequent episodes of high action. See also
FIX-UP.

SERIES. As opposed to a Serial,* a group of individual stories connected

by common themes, settings, characters, or events. A few series, such as
1. G. Ballard's Condensed Novels,* have only been connected by common
SHILLING SHOCKER 117

structural or stylistic experiments. Individual stories in a series may range

from short story to novel length, and some series (such as James Branch
Cabell's Biography of the Life of Manuel, 1904-1929) have run to over twenty
volumes. Others have provided the basis for works later published as single
novels. (See Fix-Up.*) The series has been particularly attractive to writers
of fantastic literature, perhaps because of an unwillingness to abandon a fully
realized Secondary World* or science fiction environment. Samuel R. Delany
has half-seriously suggested that the series may be ''the basic form'' of science
fiction, and has gone on to argue that, despite chronological links among
series stories, many series are in fact "successive approximations of some
ideal-but-never-to-be-achieved-or-else-overshot structuring of themes, setting,
characters." Delany regards this as evidence that the series provides authors
with an unusual opportunity to explore simultaneous synchronic and diachronic
structures within the same fictional field [70].

SF (S.F., S-F). Ambiguous abbreviation almost universally favored in the

science fiction community over the more journalistic Sci-Fi, * but even less
clearly defined. SF (or sf) is most often used as shorthand for science fiction,
but has also been used for Science Fantasy,* Speculative Fiction,* or structural
Fabulation.* Widely popularized even outside the science fiction community
by Judith Merril in her series of "year's best" anthologies (1956-1969), all
of which used the SF rubric, the usage has since become so prevalent that
Isaac Asimov has suggested that "speculative fiction" may have been coined
as an attempt to retain the initials SF while abandoning the more restrictive
use of "science" as a modifier [ 14]. Some writers now prefer to use the term
without specifying its particular meaning; if sci-fi is the "nigger" of the field,
SF is its "Ms."

SHAGGY GOD STORY. Michael Moorcock's label for tales that seek to
achieve a Sense of Wonder* by mechanically adapting biblical tales and
providing science fictional "explanations" for them-as, for example, the
"surprise ending" which reveals two characters to be Adam and Eve [144].

SHELF VELOCITY. See VELOCITY OF SALE.

SHILLING SHOCKER. Sometimes confused with the Penny Dreadfuls* of

an earlier era, or the Dime Novels* popular in the United States about the
same time, but generally referred to by collectors as short paperback novels,
usually original, which gained popularity in England between 1880 and 1900,
largely through sales at railway bookstalls. Less dependent upon debased
gothicism than the earlier penny dreadfuls (though perhaps not greatly superior
in style), these short novels (or short story collections) featured a number of
science fiction-related titles and may have both influenced later authors and
prepared later audiences. Among the science fiction titles that have been
118 SHORT NOVEL

identified are Ritson Stewart's The Professor's Last Experiment, W. Grove's

A Mexican Mystery, and Fergus Hume's The Year of Miracle.

SHORT NOVEL. A long story, but not quite long enough to warrant separate
book publication. Rarely used by magazine editors in science fiction and
fantasy (who sometimes preferred "complete novel" or Novella*), the term
became popular among anthologists during the 1950s (compare Groff Conklin's
Six Great Short Novels of Science Fiction, 1954; H. L. Gold's Five Galaxy
Short Novels, 1958), although it was virtually interchangeable with "novelet."
Conklin, in his anthology, argued that the short novel was ideally suited to
the needs of science fiction, which often could not easily provide sufficient
exposition within the short story length but which did not always require
novel-length development for a single idea or concept. Conklin also defined
the short novel length as 15-40,000 words, or approximately the length that
magazine editors sometimes described as a novella.

SHORT SHORT STORY. Usually, a narrative of under 2,000 words. Often

little more than a formalized joke or anecdote, the short short story in science
fiction and fantasy is most often associated with humor and is often based on
simple twists of familiar situations or themes. The most successful practitioner
of the form may well have been Fredric Brown, some of whose stories have
even entered Fandom* as science fiction jokes. A rather specialized form
pioneered by Reginald Bretnor is sometimes known as the "Feghoot," from
a series of stories written under the name ''Grendel Briarton'' for The Magazine
of Fantasy and Science Fiction. The Feghoot is a story of usually only a few
hundred words in which the goal is to construct a science fiction rationale for
an egregious pun.

SHORT STORY. A narrative shorter than a Novella* but longer than a Short
Short Story,* which by some accounts makes it a story of 2-15,000 words
[93]. A short story has also been defined as "a depiction of one decisive
experience in the protagonist's lifetime'' by Algis Budrys, who characterized
the early science fiction short story as heavily dependent on ''structural tricks''
such as surprise endings [43]. In this sense, the science fiction short story
evolved initially from the plot-oriented tradition of 0. Henry or Guy de
Maupassant (whereas the somewhat less common fantasy short story often
tended more toward the tale of "unified effect" pioneered by Edgar Allan
Poe and Nathaniel Hawthorne). The influence of the realistic tradition of
Chekhov and others entered science fiction in part through the influence of
John W. Campbell, Jr., who was said to have demanded "realistic" stories
in a fully realized science fiction environment. The modern tradition in the
short story, identified with Katherine Mansfield, Ernest Hemingway, and
others, did not become a major influence in fantastic literature until
comparatively recently, but experimental or surrealistic forms have developed
SOCIAL SCIENCE FICTION 119

in fantastic literature side by side with their development in Mainstream*

literature, a prime example being the work of Franz Kafka. Today, a mainstream
short story author such as Donald Barthelme may use fantastic events or
beings as readily as a science fiction author such as J. G. Ballard may use
avant-garde narrative techniques.

SLICK MAGAZINE. Often used in opposition to Pulp* magazine in much

the same way Mainstream* is used in opposition to science fiction. Slick
magazines (so-called, presumably, because of the coated paper stock on which
they were printed) were general-interest magazines such as Collier's or The
Saturday Evening Post which printed fiction as well as a mix of popular
articles, interviews, cartoons, and the like. Occasionally, beginning in the
late 1940s, these magazines would publish science fiction or fantasy as well,
and the ability of authors such as Ray Bradbury or Kurt Vonnegut, Jr., to
place stories in them arguably had an influence on the general marketability
of the genre and, indirectly, on stylistic and thematic developments as well.
Within the magazine industry itself, "slicks" were positioned between the
pulps, which appealed to broad but specialized audiences, and the "quality"
magazines which appealed to the literati. Fiction in the slicks was generally
regarded as reinforcing bourgeois values, whereas the "quality" magazines
might challenge these values and the pulps exaggerated them.

SLUSHPILE. Editors' term for unsolicited stories or novels, usually by

unknown writers and unmediated by agents or letters of inquiry.

SOCIAL FICTION. Historically associated with various movements of realism

and social conscience in fiction, but given a particular definition by Isaac
Asimov in his discussion of Social Science Fiction.* Asimov defined social
fiction as a branch of literature that "moralizes about a current society through
the device of dealing with a fictitious society" [35].

SOCIALIST REALISM. The Stalinist tenets for literature first suggested

by Maxim Gorky and others at the 1934 Soviet Writers' Congress and more
fully imposed in the late 1940s. The doctrine affected Soviet science fiction
in some very direct ways. Science fiction subscribing to social realism was
to extrapolate only slightly, if possible confining itself to applications of
technology already under research. "Mysticism" or other effects sometimes
characterized as the ''sense of wonder'' in western science fiction were often
regarded as signs of "degeneracy" along with "formal ism" or
"cosmopolitanism," and could be grounds for condemnation of a writer or
work [22].

SOCIAL SCIENCE FICTION. Ambiguous term (is "social" the modifier

or is ''social science''?) with two distinct usages: ( 1) Isaac Asimov, conceding
that his definition of science fiction as a branch of literature "concerned with
120 SOCIOCULTURAL FANTASY

the impact of scientific advance upon human beings" was perhaps too narrow
for many tastes, argued that the definition only applied to a ''subdivision''
of the field which he called "social science fiction," '"the only branch of
science fiction that is sociologically significant" [35]. (2) A more common
use of the term in the classroom treats ''social science''' as the modifier and
refers to works of science fiction that illustrate or illuminate particular problems
or issues in the social sciences; see, for example, Willis McNelly and Leon
Stover's anthology Above the Human Landscape: A Social Science Fiction
Anthology (Goodyear, 1972).

SOCIOCULTURAL FANTASY. Works in which the principal fantastic

element is a marvelous society or social organization, according to R. D.
Mullen [ 141 ].

SOCIOLOGY DOMINANT. See ADVENTURE DOMINANT.

SOFf SCIENCE FICTION. Probably a back-formation from Hard Science

Fiction,* and used sometimes to refer to science fiction based in the so-called
soft sciences (anthropology, sociology, etc.), and sometimes to refer to science
fiction in which there is little science or little awareness of science at all.
Chad Oliver might be an example of an author who falls under the former
definition, Ray Bradbury an example of the latter.

SOTERIOGRAPHY, SOTERIOLOGY. Soteriology is the branch of

theology that deals with doctrines of divine salvation, soteriography texts
associated with such beliefs. W. Warren Wagar has invoked these terms in
his discussions of Eschatological* fiction [ 198], and Frederick A. Kreuziger
has made the doctrines the basis of a study of science fiction [I 13].

SPACE FICTION. A term widely applied to science fiction by journalists

and commentators from outside the genre, probably beginning in the 1950s
and antedating Sci-Fi, * which to many writers and fans is only slightly less
odious. Mark R. Hillegas, however, used the term as distinct from Cosmic
Voyage* to refer to works set in outer space with little or no concern for the
voyage there or back [54]. More recently, Doris Lessing has preferred this
term for her ongoing series of connected science fiction novels Canopus in
Argos: Archives (1979-1984).

SPACE OPERA. A term borrowed from Fandom, * where it was coined by

Wilson Tucker in 1941 to refer to the 'outworn spaceship yam" of the sort
that had been prevalent in the Pulps* during much .of the 1930s [ 144]. Sometimes
called adventure science fiction or Science Adventure,* space operas are
generally fast-paced intergalactic adventures on a grand scale, most closely
associated with E. E. Smith, Edmond Hamilton, and the early Jack Williamson.
SPECIALTY PRESS 121

Often characterized as a western in space or ''straight fantasy in science

fiction drag" (Nonnan Spinrad [34]), space opera may be either a historical
or a generic term; contemporary films such as Star Wars have been labeled
space operas, as have more complex works such as Cecilia Holland's 1976
novel Floating Worlds.

SPECIALIST MAGAZINE. A magazine that publishes a particular kind of

fiction. While this might seem self-evident today, it meant a significant shift
in the market for short popular fiction in the years following World War I,
as general-interest Pulp* magazines such as those in the Munsey chain began
to give way to magazines devoted especially to science fiction, horror, war
stories, westerns, love stories, and the like. The development of the specialist
magazines pennitted the evolution of particular generic Protocols* which, at
least in the case of science fiction, came increasingly to separate this fiction
from the Mainstream*; eventually, of course, the specialist magazines became
by far the dominant market for popular genre fiction, and as the general-
interest pulps gave way to Slick Magazines,* genre authors found themselves
increasingly isolated in a publishing Ghetto.* By the late 1940s, selling a
story to a general-interest magazine meant, for many science fiction and
fantasy writers, forgoing some of the assumptions about readership that had
been developed during the pulp era.

SPECIALTY PRESS. Publishers who appeal to a specialized market. As

American popular fantastic literature began to amass a body of work revered
by fans but still largely ignored by book publishers, a number of fans undertook
to preserve favorite works and authors by setting up publishing houses of
their own devoted to particular kinds of fiction. The most prominent early
example of this was Arkham House, founded by August Derleth and Donald
Wandrei in 1939 primarily to preserve the work of H. P. Lovecraft, which
otherwise was available only in ephemeral Pulps.* Following World War II,
the specialty press became a significant force in the introduction of science
fiction and fantasy to bookstores and libraries; other examples included Martin
Greenberg and David A. Kyle's Gnome Press, Lloyd Arthur Eshbach's Fantasy
Press, and Erie Korshak's Shasta Publishers. Following the discovery by
general-interest publishers of a broader market for fantastic literature in the
1950s, many of these presses either failed or turned to publishing collectors'
editions (as Phantasia Press currently does). Before the so-called academic
awakening on the part of university presses and scholarly journals, these
presses (such as Owlswick, Fantasy Press, and Advent) provided the only
book-length works on science fiction and fantasy available, and many continue
to publish such works.
122 SPECULATIVE FANTASY

SPECULATIVE FANTASY. Term suggested by Alexei Pan shin to denote

a "fictional form that uses removed worlds, characterized by distance and
difference, as the setting for romantic-and-didactic narrative" [204].

SPECULATIVE FICTION. Alternative to "science fiction" preferred by

a number of contemporary writers and possibly having a somewhat different
meaning. Invited to contribute a piece to Lloyd Arthur Eshbach's 1947
symposium on science fiction writing Of Other Worlds [84], Robert A. Heinlein
chose as his title "On the Writing of Speculative Fiction," and identified
speculative fiction (a phrase he had used earlier, in an address to the 1941
World Science Fiction Convention) as a particular subtype of science fiction
in which "established facts are extrapolated to produce a new situation, a
new framework for human action." Heinlein commented that "we do not
ordinarily mean this sort of story when we say 'science fiction,' " which at
the time was still popularly associated with Space Opera.* Although Heinlein
suggested the term as a general replacement for "science fiction" four years
later at another World Science Fiction Convention, and although H. L. Gold
that same year (195 I) argued in an editorial in Galaxy that "speculation"
rather than prediction ought to be a defining characteristic of science fiction
[48], the term survived throughout the 1950s primarily as a description of a
particular subtype of the genre, similar to what Isaac Asimov preferred to
call Social Science Fiction.* In 1955, for example, Basil Davenport identified
"speculative science fiction," based on social Extrapolation,* as distinct from
both space operas and "scientific science fiction" [66]. As late as 1966,
Judith Merril still defined it as a subtype, this time distinguishing it from
"teaching stories" or "preaching stories" (Merril excluded "space adventure
stories" from science fiction altogether), and defining it as "stories whose
objective is to explore, to discover, to learn, by means of projection,
extrapolation, analogue, hypothesis-and-paper-experimentation, something
about the nature of the universe, of man, of 'reality' " [54].
By the late 1960s, however, a number of younger writers returned to
Heinlein's 1951 suggestion that "speculative fiction,. be adopted as a
replacement term for "science fiction," or at least that science fiction be
regarded as a subtype of speculative fiction rather than the other way round.
Samuel R. Delany was among the first critics and writers to so use the term,
which he characterized as being favored by writers who ''have balked before
the particular parameters Heinlein's s-f has established, primarily in the minds
of editors, secondarily in the minds of other writers, and finally in the minds
of readers" [70]. James Gunn added that these writers sought a term "to
cover the various kinds of fiction that qualify under any reasonable definition
but include no science,'' and one that signaled ''a break with old pulp origins''
[36].
Although the term has gained wide currency within the genre and has even
regularly appeared in book titles (perhaps the first such usage was in Merril's
STOCHASTIC FICTION 123

1968 anthology England Swings SF: Stories of Speculative Fiction), it has

also generated some criticism from scholars and writers both. David Ketterer
argues that the term "has been used somewhat confusedly" and blurs an
important distinction between science fiction and fantasy [ 109]. Isaac Asimov
more passionately objects to the term as an excuse for bad science fiction,
"seized on by a number of people who know very little science and who feel
more comfortable speculating freely and without having to raise a sweat by
learning the rules of the game" [ 14]. These objections, however, are based
on the very constraints that advocates of the term ''speculative fiction'' seek
to overcome-the importance of generic boundaries (far more important to
critics than to writers) and the "rules" of science fiction which purport to
set limits on the way an author may imagine a work.

SPENGLERIAN. See HISTORICAL CYCLISM.

STATUS QUO SCIENCE FICTION. Frank Cioffi's term for that science
fiction published in Astounding during the 1930s that introduces and resolves
an anomaly within a recognizable social fabric, as opposed to subversive
science fiction, in which the anomaly changes society, or Other World Science
Fiction,* which is set entirely in an alternative world [52]. See also
SUBVERSION.

STEAM LITERATURE. Applied in the 1830s and 1840s to cheap mass-

market adventure tales; so called because of the recently developed rotary
steam press on which such papers were printed. Although these "story papers"
reprinted some earlier Gothic* fiction such as Edward Bulwer-Lytton 's Zanoni
( 1842), they are perhaps most significant in that they directly led to the Dime
Novel.*

STEF. Proposed around 1945 by a fan named Jack Speer and since used by
almost no one except Algis Budrys in his 1980 essay "Paradise Charted"
[43]. "Stef" is a neologism deriving from STF, * itself an abbreviation for
Scientifiction, * and was apparently intended to provide a combinatory prefix
as an alternative to such terms as "science fictional"; as Budrys says, the
term is a "broad catchall" connoting fan activities and fannish attitudes.

STF. Abbreviation for Scientifiction, * and generally replaced by SF* when

that term gave way to "science fiction."

STOCHASTIC FICTION. Boris Eizykman's term for the tendency of science

fiction to work against its own mechanistic visions of the future by
characteristically introducing unpredictable elements into the narrative. Science
fiction thus becomes "the literature of alternate realities, using Chance, in
the most effervescent of its drive-related aspects, to create fluid, experimental
124 STREET SCIENCE FICTION

societies" [78]. Examples of science fiction works that Eizykman cites are
Philip K. Dick's Solar Lottery (1955) and Robert Silverberg's The Stochastic
Man (1975).

STREET SCIENCE FICTION. Coined by Barry Malzberg [ 129] to describe

(presumably) marketable popular science fiction primarily of the 1950s and
1960s. (The term "says it all," according to Robert Bloch.) Malzberg later
indicated the term was "as opposed to Street & Smith" science fiction,
referring to the publisher of Astounding Science Fiction during this period.

STRONG TIME. See SACRED TIME.

STRUCTURAL FABULATION. See FABULATION.

STRUCTURALISM. Essentially a methodology whose use in literary

scholarship derives from various techniques of segmenting phenomena into
discrete parts and analyzing the relationships of those parts to each other and
to larger structures. The major fields of structuralist thought that have contributed
to these methods of analysis are linguistics (where the idea was pioneered by
Ferdinand Saussure and later by Noam Chomsky). anthropology (where it is
most closely associated with Claude Levi-Strauss, whose analyses of mythic
narratives have arguably had the greatest direct influence on the study of
fantastic narratives), and psychology (where Jean Piaget and later Jacques
Lacan developed methodologies used by later critics). Structuralist thought
has influenced a number of critics of science fiction and fantasy, including
Darko Suvin. Samuel R. Delany. Mark Rose. Robert Scholes. Eric S. Rabkin.
and Christine Brooke-Rose.

STURGEON'S LAW. The principle that 90 percent of everything, including

science fiction, is "trash" (or "crud" in the initial formulation). Theodore
Sturgeon's often-quoted dictum, first delivered at a science fiction fan
convention, reveals the common concern among science fiction writers that
the genre is characteristically judged by its worst examples, and that fans
sometimes overlook the fact that qualitative judgments need to be made within
the field.

STYLE DOMINANT. See ADVENTURE DOMINANT.

SUB-CREATION. According to Tolkien, mythology and much fantasy is

characterized by a fully realized Secondary World* which is the "sub-creation"
of the author, or "sub-creator" [ 194].
SUBTRACTIVE WORLD 125

SUBGENRE. A genre within a genre, or a group of works observing

conventions more narrow than those imposed by the larger genre. Thus, Sword
and Sorcery* would be a subgenre of fantasy. In some formulations, science
fiction might be regarded as a sub genre of fantasy, or both science fiction
and fantasy as subgenres of the larger Fantastic Romance.*

SUBJUNCTIVITY ... The tension on the thread of meaning that runs

between sound-image and sound-image," according to Samuel R. Delany,
who describes several "levels" of subjunctivity in fiction: "could have
happened" (naturalistic fiction); "could not have happened" (fantasy);
"have not happened" (science fiction and other "subcategories") [70]. See
also NEGATIVE SUBJUNCTIVITY.

SUBLIME. Literally, "up to the threshold," and widely used to describe

works of art or nature producing an effect of awe or reverence. Although in
use in critical and aesthetic theory at least since the third-century philosopher
Longinus, the notion of the "sublime" became of particular importance to
the history of fantasy upon the publication of Edmund Burke'sA Philosophical
Enquiry into the Origin of Our Idea of the Sublime and Beautiful in 1757.
Burke's argument that the sublime arose not out of beauty, but rather from
an odd combination of feelings of terror and discomfort in the face of vastness,
helped elevate the importance of the subjective ego in later discussions of art
and provided a context both for the Gothic* novel and the Romantic movement.
Kant qnd Schopenhauer refined the term, the latter associating it with will;
and some later fantasy writers, notably David Lindsay, developed this notion
to argue in favor of a deeper, more stark reality that might be approached
through the fantastic. See also SACRAMENTALISM~ WONDER.

SUBMYTH. According to Ursula K. Le Guin, "those images, figures, and

motifs which have no religious or moral resonance and no intellectual or
aesthetic value, but which are vigorously alive and powerful, so that they
cannot be dismissed as mere stereotypes.'' Some of the examples Le Guin
cites are the superman, the mad scientist, crazed computers, and the "blond
heroes of Sword and Sorcery*" [ l 15] .

SUBTRACTIVE WORLD. A category of fantasy narratives characterized

by Kathryn Hume as achieving their fantastic effect by omitting "large portions
of human experience" or removing "expected material," such as logical
causality. The subtractive world is thus made fantastic by virtue of what is
left out, as opposed to Additive Worlds,* which introduce new and unexpected
elements into the narrative world, or Contrastive Worlds,* which operate by
contrast with the reader's experience [I 02].
126 SUBVERSION, SUBVERSIVE

SUBVERSION, SUBVERSIVE. Suggested by some critics as one of the

principal social functions of fantastic literature. Rosemary Jackson and others
have employed this term to describe the general relationship between the
Desires* addressed by fantasy and the historical or cultural matrix of the work
in question; fantasy becomes a "literature of subversion" insofar as it negates
culturally dominant notions of reality and expresses unease or dissatisfaction
with such notions [106]. A number of science fiction critics, however, have
argued that fantasy and its related modes of the Gothic* have tended to be
more conservative, and science fiction to be more "subversive." The chief
arguments for this are that science fiction is characteristically postulated upon
changes occurring in the "real" world (as opposed to the wholly alternative
worlds of much fantasy}, and that science fiction is not restricted to a consistent
single moral vision. Sam Lundwall noted that as a young reader of science
fiction, he found it to be offering "a subversive thing, the prospect of change";
Lundwall went on to speculate that this challenge to "the Establishment"
may in part account for the marginal status often assigned to science fiction
in terms of the Mainstream* [ 125]. Mark Rose elaborates the former point
by observing that the impossibilities of fantasy reinforce one's sense of the
real world through negation, whereas science fiction insists upon "the
contingency of the present order of things" and is thus subversive where
fantasy is conservative [160]. A similar point is made by Thomas H. Keeling
in contrasting science fiction with the Gothic, which Keeling sees as riddled
with anxieties concerning the past, the subconscious, and the prospect of
change. Science fiction, on the other hand, "can be viewed as potentially
'subversive' insofar as it is not restricted to a moral vision of the world, and
certainly not to a conventional Christian interpretation of reality'' [181]. Such
arguments almost inevitably depend upon theoretical considerations of genre
more than upon examinations of particular works, and while advocates of the
subversive nature of fantasy might have a hard time demonstrating that a
work such as J. R. R. Tolkien's The Hobbit (1937) is subversive, so would
the science fiction advocates find it difficult to demonstrate that the moral
vision of an Isaac Asimov or a Robert Heinlein is especially revolutionary.
As a particular subtype, ''subversive science fiction" is the label given by
Frank Cioffi to those works in Astounding during the 1930s that went beyond
the mere introduction and resolution of an anomaly or crisis in a recognizable
social setting to depict anomalies that altered the nature of the society; he
contrasts this with Status Quo Science Fiction* and Other World Science
Fiction* [52].

SUPERGENRE. A broadly defined group of works ordinarily thought of as

separate genres, but with some similar defining elements. Science fiction,
fantasy, and horror, for example, may (according toR. D. Mullen) properly
belong to the 'supergenre'' of Fantastic Romance* [I 41]. The term is employed
in a similar sense by Eric S. Rabkin [156]. See also SUBGENRE.
SWORD AND PLANET 127

SUPERNATURAL FICTION. Broadly, any fiction portraying events or

figures that apparently violate natural laws. In practice, the term is usually
confined to those works that make use of such conventional supernatural
beliefs as ghosts, witches, demons. sorcery, etc. Many critics now prefer to
exclude Secondary World* fantasy from this category, and associate it primarily
with Low Fantasy.*

SUPERNATURAL SCIENCE. A term used by Dorothy Scarborough in her

I 9 I 7 study The Supernatural in Modern English Fiction to describe authors
such as Verne, Haggard, and Wells; as an early alternative to "science fiction"
and as evidence of early attempts to subsume the genre into the tradition of
supernatural writing, the term is of historical significance, but was not widely
used.

SUPERSCIENCE. Although "super science" (or "super-science") was used

in the title of two different magazines published in the 1940s and 1950s, the
term itself is now used primarily to refer to 1930s fiction that predated the
Campbell Era* but was not traditional Space Opera.* According to Algis
Budrys, "superscience" was a genre magazine label in use from 1930 to
1938 to denote stories "based on manipulations of frankly fictional physical
phenomena" [43]. Although often as melodramatic and oveiWritten as space
operas, superscience stories focused upon increasingly extravagant ideas based
loosely in popular physical science. See also THOUGHT-VARIANT.

SURREALISM. A movement in art and literature that gained its most

prominent influence in Europe in the 1920s under the leadership of Andre
Breton and 'that emphasized the role of the unconscious as a means of achieving
artistic truth. The term has since come to be applied to a wide variety of
works of fiction and art, including many fantasies that date from before and
after the period of the movement's greatest notoriety. Among fantastic works
of fiction deliberately associated with the movement is Robert M. Coates'
The Eater of Darkness (1926). Although there have been a few attempts to
appropriate the term in relation to science fiction and fantasy (Isaac Asimov
suggested "'surrealistic fiction" as a blanket term to cover both genres [14]),
relatively little serious exploration has been attempted of the relationships
between surrealism and modem fantastic literature, although David Ketterer
has noted that the optimistic outlook of the surrealists together with their use
of apocalyptic imagery and attempts to find expression for the objectified
imagination provide substantial parallels with science fiction [I 09].

SWORD AND PLANET. Applied by Roger C. Schlobin and others to works

that exhibit the conventions of Sword and Sorcery* fiction in a science fiction
context; for example, by setting the events on a distant planet or using science
128 SWORD AND SORCERY

fiction conventions to "explain" such events 1170]. See also SCIENCE

FANTASY.

SWORD AND SORCERY. Coined by Fritz Leiber in 1961 in response to

a request from novelist Michael Moorcock for a label for the Subgenre* in
which Moorcock worked, and since a standard term for a variety of violent
fantasy usually set in a primitive world and involving a superhuman (but not
supernatural) hero at odds with various wizards, witches, demons, spectres,
and warriors. Leiber himself was an early contributor to this subgenre, which
is most often associated with the "Conan" tales of Robert E. Howard (whose
own first story, "Spear and Fang," might well have provided another name
for the subgenre). Recently, a number of authors have expressed preference
for the more formal term Heroic Fantasy,* which L. Sprague de Camp has
defined as stories laid in an imaginary world, superficially somewhat like
ours, but a world where magic works and machinery has not been invented"
(introduction to his anthology The Spell of Seven, New York: Pyramid, 1965).

SYMBOLIC FANTASY. Term used by Gary K. Wolfe to denote a genre

of fantasies characterized by a particular variety of Symbolism,* a transition
to an otherworldly setting, a conventional pattern of character groupings, a
quest motif, and a conscious dramatization of philosophical ideas. Examples
include George MacDonald, David Lindsay, and C. S. Lewis [210].

SYMBOLISM. A deliberate or formalized use of symbols or symbol patterns

in a literary work, or a movement associated with such usages. Apart from
its broad literary meaning and its association with literary movements of the
late nineteenth and early twentieth centuries, symbolism has taken on a rather
specific meaning for a number of fantasy writers, who often use the term to
distinguish their works from Allegory.* In particular, the use of this term by
authors such as George MacDonald, David Lindsay, and C. S. Lewis is almost
certainly influenced by Thomas Carlyle's observation in Sartor Resartus (1836)
that the symbol involves some embodiment and revelation of the Infinite;
the Infinite is made to blend itself with the Finite, to stand visible, and as it
were, attainable there." MacDonald seemed to have a similar idea in mind
when he objected to reviews that treated his works as allegories, and Lindsay.
in his 1932 novel Devi/'s Tor, defined a symbol as ''a mystic sign of the
Creator": "Whatever individual person or thing I paint [says Lindsay's artist]
must stand, not for itself, but for the entire scheme." Lewis, in his 1936
study The Allegory of Love. argued that while the allegorist leaves the given
to talk of "that which is confessedly less real," the symbolist leaves the
given to find that which is more real ... for the symbolist, it is we who are
the allegory" [ 119].
SYZYGY 129

SYSTEMS MODEL. A schema for the study of science fiction suggested

by Patricia Warrick, who defines a system as an organized collection of
related elements, characterized by a boundary and functional unity." Warrick
argues that systems theory can be a useful critical approach to science fiction,
particularly that which concerns cybernetics. She discusses works under the
headings of "closed systems," inherited from classical mechanics and
thermodynamics and revealed in dystopian fictions; 'open systems,'' derived
from biology and evolution and characteristic of science fiction stories of
symbiosis and transformation (with examples by Arthur C. Clarke, Samuel
R. Delany, and others); and "isolated systems," theoretical constructs for
exploring hypothetical phenomena such as are characteristic of most early
robot stories [20 I].

SYZYGY. Originally a poetic tenn referring to combining two metric feet

as one or providing for the mellifluous How from one word to the next in a
poetic text. Theodore Sturgeon used the term in his fiction, however, to refer
to idealized relationships involving both spiritual and physical union.
T

TALE OF THE FUTURE. Subgenre* of science fiction in which the

depiction of a future world is central to the narrative. As Patrick Parrinder
notes, this is often assumed to be .. co-extensive with science fiction as
a whole" [149). A bibliography is I. F. Clarke's The Tale of the Future
[55). See also ANTICIPATION; CAUTIONARY TALE; EXTRAPO-
LATION; FUTURE HISTORY.

TECHNOCRACY. Loosely employed to describe almost any imaginary

society 'dominated by technicians and bureaucrats, whether it be dystopian
(such as Kurt Vonnegut, Jr.'s Player Piano, 1952) or idealized (as in
Hugo Gemsback's romances). Coined in 1919 by engineer William Henry
Smyth as part of a serious proposal for such a government, the term
later became associated with the ideas of Thorstein Veblen and applied
to the concepts of Claude Henri de Saint-Simon. By the mid-1930s the
movement gained popular interest under the name "Technocracy, Inc.,"
and apparently attracted some science fiction authors and fans, notably
Nat Schachner (whose Technocracy-like .. Revolt of the Scientists" series
of stories appeared in Wonder Stories in 1933) and the young Ray
Bradbury (who promoted the movement in his Fanzine* Futuria Fantasia
in 1939-1940). With the rise of Nazism and criticisms of the movement
as quasi-fascist, Technocracy's influence virtually disappeared during the
war years, despite occasional discussions of technocratic ideas in the
letter columns of magazines such as Astounding and the probable influence
of Technocracy on part of science fiction Fandom * through the efforts
of a fan named John B. Michel in the late 1930s and early 1940s. Today,
the term is seldom used in its strictly historical sense in discussions of
the genre.
132 TECHNOLOGICAL DETERMINISM

TECHNOLOGICAL DETERMINISM. "The belief that man's future

will be transformed by technological innovations whose impact it is
impossible to predict," according to Patrick Parrinder, who cites this
along with "evolutionism" as one of modern science fiction's "two basic
rational methods of projecting the future" [181).

TECHNOLOGICAL UTOPIA. Kingsley Amis' description of a tradition

begun by Jules Verne with The Begum's Fortune (1879) and continued
in science fiction in narratives of societies-Utopian* or dystopian-
whose economy and government is driven by advanced technology (8].

TECHNOPIDLE. One who believes in the real or potential social benefits

of technological progress, as opposed to a "technophobe" who fears
technology. In common usage, John W. Campbell, Jr., would be an
example of the former, Ray Bradbury of the latter. The term can become
problematic in discussions of an author's body of work, however, since
it can lead to oversimplifications and ad hominem arguments; thus, most
authors resist either label. For example, Walter M. Miller, Jr., has been
classified as "anti-technology" on the basis of his novel A Canticle for
Leibowitz (1959), but David Samuelson has argued on the basis of his
earlier work that he might more appropriately be regarded as a
technophile suspicious of possible misuses of technology. Bradbury is a
similar example; his "technophobe" image is to some extent belied by
his enthusiastic nonfiction celebrations of the space program and other
technological achievements.

TECHNOPHOBIA. Fear of technology. See also TECHNOPHILE.

1ERMINAL FICTIONS. W. Warren Wagar's term for narratives

concerned with last things-the end of the world, the destruction of
civilizations, etc. [198). See also ESCHATOLOGICAL ROMANCE.

TERROR. An emotional response to much Horror* and suspense fiction,

sometimes used to describe a particular Subgenre* of such fiction. Ann
Radcliffe ("On the Supernatural in Poetry," 1802) insisted upon a clear
distinction between the emotions of terror and horror, arguing that
terror, coming from without and associated with the Sublime,* "expands
the soul," while horror arises from within and is associated with some
sense of primal dread. Nevertheless, the "tale of terror" became virtually
synonymous with the Gothic Novel* for much of literary history, in such
works as Edith Birkhead's The Tale of Terror: A Study of the Gothic
Romance (1921). Some authors have revived the term in recent years
as distinct from "horror" to describe suspense or mystery stories, with
THOUGHT EXPERIMENT 133

or without supernatural elements, characterized by violence, pathological

behavior, and victimization.

THEOLOGICAL ROMANCE. A novel that dramatizes theological

arguments. C. S. Lewis once characterized his friend and colleague
Charles Williams as a "romantic theologian "-"one who considers the
theological implications of those experiences that are called romantic"-
and the term "theological romance" thus emerged to describe the
religiously oriented fantasies of Williams in particular and of Lewis,
MacDonald, and others in general. The term was perhaps first used in
this formal sense by W. R. Irwin [105].

THEORETICAL PLURALITY. The idea that scientific Paradigms* other

than those currently accepted might provide the basis for science fiction.
Samuel R. Delany identified this as the most notable characteristic of
the critique of science--or popular conceptions of science-as developed
by science fiction writers of the later 1930s, particularly those associated
with John W. Campbell, Jr. In effect, "theoretical plurality" refers to
challenging accepted scientific theory through fictional revisionism,
particularly in regard to notions regarded as impossible (such as magic)
or to practical limits imposed on phenomena by scientific theory. Hence,
the common SF convention of faster-than-light travel is a pluralistic
challenge to the aspect of relativity theory that declares such travel
impossible [71 ].

THETIC. According to Jean-Paul Sartre, that mode of thought that

might be formulated in propositions concerning the real or rational,
whereas "nonthetic" refers to that which is unreal and not subject to
such propositions. The French critic Irene Bessiere used this distinction
to identify the language of fantastic narratives as attempting to approach
the nonthetic, but essentially propositional because of the limits upon
language [106].

THOUGHT EXPERIMENT. (German, Gedankenexperiment). Term

coined by physicist Werner Heisenberg to describe imaginary experiments
under hypothetical ideal conditions in order to infer logically probable
results. Of great importance in physics for most of the twentieth century,
thought experiments have heen invoked, in a somewhat looser definition
(including social and technological change, for example}, as a rationale
for the intellectual significance of science fiction. "The science fiction
writer," wrote Thomas M. Scortia, "is in the truest sense a professional
fabricator of gedankenexperimenten" [36].
134 THOUGHT-VARIANT

THOUGHT-VARIANT. A type of highly speculative science fiction

adventure featured in Astounding SIOries (later Astounding Science
Fiction) during the 1930s_ F. Orlin Tremaine assumed editorship of the
magazine in October 1933, and in the November issue introduced a
policy of including in each issue a "thought-variant" story concerning
new concepts or controversial notions "without regard for the restrictions
formerly placed upon this type of fiction." The first example was a time-
travel story by Nat Schachner called "Ancestral Voices." As an early
attempt to break free of the formulaic conventions and limitations of
the genre and provide a market for a new kind of story, the idea had
something in common with the later New Wave or Harlan Ellison's 1967
anthology Dangerous Visions; in practice, however, the policy generated
relatively few significant stories. The most famous may be Murray
Leinster's "Sidewise in Time" in the June 1934 issue, which was an early
treatment of the Alternate World* theme.

TRIVALENCE. Samuel R. Delany's term for the characteristic nature

of science fiction discourse. Science fiction, he argues, actually consists
of three separate discourses: the "inward" discourse of characters, plot,
and theme; the "outward" discourse of the imagined or created world;
and the discourse of the "real world," which interacts with both. Since
none of these discourses are ever quite congruent, "at best, the s-f writer
harmonizes them" [69].

TRIVIALLITERATUR. See PARALITERATURE.

TWO CULTURES. C. P. Snow's formulation (in The Two Cultures and

the Scientific Revolution, 1959) of an ongoing debate concerning the
growing divergence between scientific and humanistic aspects of culture
in the West. Earlier participants in the debate had included Thomas
Henry Huxley, Matthew Arnold, H. G. Wells and Henry James, and
Alfred North Whitehead. F. R. Leavis' response to Snow kept the debate
alive well into the 1960s, when science fiction writers and scholars picked
it up. usually arguing that those who most decried the schism were
ignoring the literature that showed greatest promise of remedying it-
namely, science fiction itself. See also ANTISCIENTISM; LUDDISM;
SCIENTISM.
u

ULTRAISM. A literary movement founded in Madrid in 1919 and

introduced to Argentina in 1921 by Jorge Luis Borges. Borges' version
of Ultrtiismo involved a rejection of modernism, simplicity of style and
narrative, and emphasis on metaphor and the combining of images; such
ideas arguably exerted considerable influence on Borges' later fantastic
work and thus indirectly on the development of the strong tradition of
the fantastic in South American literature.

UNCANNY. Originally a Scottish word meaning mischievous or

untrustworthy, eventually coming to mean weird or partaking of the
supernatural. Modern critics, however, usually employ the term in more
special meanings derived from Freud and Todorov. Freud, in his 1919
paper "The Uncanny," was actually discussing the German term
unheimlich (literally, "unhomely") which he defined as a category of
terrifying experience characterized by the re-emergence of something
long-suppressed, such as the revival of infantile complexes or the apparent
confirmation of primitive beliefs [91]. Todorov (influenced by Freud but
not quite adopting his meaning of the term) characterized the uncanny
simply as "the supernatural explained" (as in the novels of Ann Radcliffe)
and contrasted it with the Marvelous,* or the supernatural accepted
[ 193].

UNREAL. Not part of empirical reality. A number of critics, among

them Christine Brooke-Rose, have argued that the traditional
commonsense distinction between such reality and metaphysics {the
"unreal") breaks down in the face of modern psychology, linguistics,
and physics. As a result, the aunreal" becomes a matter of rhetorical
strategy as much as philosophy, and fantastic literature emerges as a
136 UR-SCIENCE FICfiON

means of developing and testing such devices of language and rhetoric

[38].

UR-SCIENCE FICTION. Brian Aldiss term for early works, such as

Lucian's A True History (ca. second century A.D.) or Swift's Gulliver's
Travels ( 1729), which are sometimes cited as part of the history of science
fiction [1]. See also PROTO SCIENCE FICTION.

UTOPIA. The genre that takes its name from Thomas More's 1516 work
meaning "no place" in Greek (with a probable pun on ''good place")
and which according to some critics includes the Subgenres* of dystopia
and Anti-Utopia.* Utopian fiction has evolved along substantially
separate lines from modern generic fantasy and is more often associated
with science fiction. Some critics have seen utopian elements in works
as diverse as James Branch Cabell's Poictesme series (1904-1929) and
J. R. R. Tolkien's Lord of the Rings (1954-1955), however, and it is
apparent that utopian writers may make more or less use of fantasy
techniques depending upon how their imaginary society is conceived.
William Morris' News from Nowhere (1891), for example, makes use
of much of the medievalism that characterized his fantasy romances,
while George Orwell's Animal Farm (1945) places a dystopian narrative
in the context of a Beast-Fable.* Science fiction is much more closely
allied historically with utopian fiction, and often one is described as a
subset of the other. "Utopia" has been defined as any transcending of
human boundaries (Ernest Bloch) or as transcending reality and social
orders (as opposed to "ideology," in the work of Karl Mannheim), but
it is most often defined as a fictional narrative whose central theme is
an imaginary state or community, sometimes with the corollary that
such a state should be idealized or that it should contain an implied
critique of an existing society or societies. Darko Suvin has argued that
the imaginary community of a utopia must be "organized according to
a more perfect principle than in the author's community" and that a
utopia is "based on estrangement arising out of an alternative historical
hypothesis" r187].
v

VELOCITY OF SALE. The number of copies of a book sold during a

given period (some book retailers use the more surrealistic term "shelf
velocity"), often based on extraordinarily detailed computer records
maintained on a weekly or even daily basis. Such concepts are used by
some publishers and booksellers as a way of determining print orders,
reprints, remaindering, and other factors affecting a book's commercial
availability. This practice probably has considerable impact on the
teaching of fantastic literature and possibly even on the nature of science
fiction and fantasy itself, since the velocity of sale of a particular title
is apt to determine whether that title is available for classroom teaching,
and since publishers are influenced to seek books with a short but "high-
velocity" shelf life as opposed to Mid-List* titles which might enjoy a
slower but persistent sales pattern.

VERNIAN. Fiction that, in the tradition of Jules Verne, focuses on

technological extrapolation within the context of "accepting the status
quo of the system in power,'' according to Donald A. Wollheim. Wollheim
has divided the principal traditions of science fiction into what he calls
"Vernian" and "Wellsian," the latter concerned with the impact of
scientific change upon social institutions and relations [212].

VISIONARY LITERATURE. A rather loosely used term that may refer

to heightened, transforming perceptions (as with the Romantic poets);
to literature conceived and presented as prophecy or revelation (as with
Blake or Dante); to medieval dream visions (as with Piers Ploughman);
or-perhaps most commonly in regard to modern fantasy-to works
whose fantastic beings, settings, or events seem of great symbolic
significance but cannot readily be described as allegories, pastiches, or
138 VOLKSMARCHEN

homages to traditional forms such as the epic. The term also sometimes
refers to modern works that partake of any of the above definitions or
seem to encode substantial unconscious content. The late novels of Philip
K. Dick are examples of works deriving from the science fiction tradition
which also partake of more traditional meanings of this term.

VOLKSMARCHEN. A traditional, or folk, Marchen, * as distinguished

from the literary Fairy Tale* or Kunstmarchen. *

VOR-SCHEIN. See ANTICIPATORY ILLUSION.

VOYAGES EXTRAORDINAIRES. "Extraordinary journeys," the term

that the publisher Hetzel used to describe a long series of novels by
Jules Verne which began with Five Weeks in a Balloon (1863). Subtitled
"Known and l.Jnknown Worlds," the series dominated the remainder
of Verne's career and included most of his best-known science fiction;
although usually confined to Verne, the term also represents a historical
connection between modern science fiction and the Imaginary Voyage*
tradition popular in earlier fiction. In fact, the term had been used well
before Verne, and first gained prominence in 1735, with the publication
of Charles de F. Mouhy's Lamekis, which was subtitled les voyages
extraordinaires d'un Egyptien dans Ia terre interieure. Later commentators
used the term as a particular subtype of the imaginary voyage and,
interestingly, a type that was not necessarily fantastic but concerned
travel to real but little-known lands [95]. Under this scheme, Verne's
works would be classified as "fantastic voyages." (See Geoffroy Atkinson,
The Extraordinary Voyage in French Literature, 1920, 1922.)
w

WEIRD TALE. Very loosely used term, most often referring to Uncanny*
or Occult Fiction,* but in recent decades (thanks to the influence of the
Pulp* magazine Weird Tales) often used specifically to denote Horror*
stories.

WELLSIAN. See VERNIAN.

WHIMSY. Originally, lightheadedness or vertigo, but widely used to

mean any writing of an eccentric or lightly humorous nature. The term
has o~ occasion been used to describe playful fantasies~ examples might
include such authors as Hope Mirrlees or, more recently, James P.
Blaylock.

WILLING SUSPENSION OF DISBELIEF. The most often quoted phrase

from Samuel Taylor Coleridge's Biographia Litera ria ( 1817). The phrase
originated in Coleridge's description of his intention in his earlier Lyrical
Ballads (1798) to deal with supernatural or romantic figures, but "to
procure for these shadows of imagination that willing suspension of
disbelief for the moment, which constitutes poetic faith." The term has
often been cited as a necessary rhetorical strategy for fantastic narratives,
but some fantasy writers themselves, notably J. R. R. Tolkien, have
objected to this usage, arguing that it implies a more passive condition
on the part of the reader than that of the Secondary Belief* of true
fantasy [194).

WONDER. Frequently invoked in definitions of fantasy but seldom

defined, as in C. N. Manlove's phrase "a fiction evoking wonder" [132).
The term is equally common in discussions of science fiction, with its
140 WONDER TALE

"Sense of Wonder,"* but it is quite possible the meaning there is

somewhat different, relating to philosophical notions of the undiscovered
universe and romantic notions of the Sublime* in the face of vastness.
In fantasy, the term need not imply awe and terror in the face of the
natural world, but rather suggests the Desire* and longing arising out
of the promise of other worlds or states of being. In this sense, the term
is perhaps related to Sehnsucht. * Casey Fredericks has characterized
the "wonder effect" as "presenting both a radical and a recognizable
change on the known world" (89]. As for the science-fictional "sense
of wonder," Samuel R. Delany has suggested that the phrase gained
currency through the criticism of Damon Knight, and may have been
borrowed from W. H. Auden's 1939 poem "In Memory of Sigmund
Freud'' (which spoke of the "sense of wonder" offered by the night)
[72]. It is equally possible, however, that the phrase had gained some
currency before the Auden poem, perhaps through the use of "wonder"
in the titles of Pulp* magazines as early as 1929.

WONDER TALE. Sometimes used as a translation of Marchen, *

sometimes to refer indiscriminately to Fairy Tales,* and sometimes to
refer only to fairy and folk tales with marvelous or supernatural
occurrences.

WORLD-MAKING. Lin Carter's term for the creation of imaginary

worlds as the background for fantasy narratives; see Secondary World*
(47]. For a science fiction equivalent, see Planet-Building.*
y

YELLOWBACK. Popular fiction, bound in paper-covered boards and

popular during the late nineteenth and early twentieth centuries in
England. Somewhat more expensive than Shilling Shockers* and often
reprints, yellowbacks occasionally featured works of fantastic literature,
such as Edwin Arnold's Phra the Phoenician (1890).

YOUNG ADULT. See JUVENILE.

z

ZERO WORLD. The "real world"; more specifically, the world of

"empirically verifiable properties around the author,'' according to Darko
Suvin. This "naturalistic" world is used to describe the central reference
point from which various genres of fantastic and realistic literature may
be located [187]. See also CONSENSUS REALITY.
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156. Rabkin, Eric S. The Fantastic in Literature. Princeton, N.J.: Princeton Uni-
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WORKS CONSULTED 153

160. Rose, Mark. Alien Encounters: Anatomy of Science Fiction. Cambridge, Mass.:
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Index of Primary Authors

This index contains citations of fiction authors used as examples in the text. It
does not include critics or critical writings, since these are listed in the bibli-
ography and cited individually in each entry.

Adams, Richard, Watership Down, Barthelme, Donald, 119

13 Beagle, Peter, 6, 72
Aldiss, Brian, 3, 82; Barefoot in the Beckett, Samuel, 3
Head, 31; Hothouse, 30 Beckford, William, 38; Vathek,
Alexander, Lloyd, 61 86
Anderson, Pout, 61; Brain Wave, Benford, Gregory, Artifact,
27; Hrolf Kraki's Saga, 105 64
Apuleius, The Golden Ass, 72 Bennett, Arnold, 37
Arnold, Edwin, Phra the Phoeni- Blake, William, 137
cian, 141 Blatty, William Peter, The Exorcist,
Asimov, Isaac, 22, 42, 83, 126; 85
Foundation series, 43, 53, 74, 96; Blaylock, James P., 139
The Gods Themselves, 41; The Bleiler, Everett F., and T. E.
Hugo Winners (ed.), 8; /, Robot, Dikty, Best Science Fiction Sto-
21; "Liar!" 65; The Naked Sun, ries 1949 (ed.), 8
112 Blish, James, 44, 52; Cities in
Asprin, Robert, 106 Flight, 43
Auden, W. H., "In Memory of Sig- Boccaccio, Giovanni, 83
mund Freud," 140 Bodel, Jean, 71
Borges, Jorge Luis, xxi, 66, 92,
135
Ballard, J. G., 3, 57, 72, 82, 116, Boucher, Anthony, Rocket to the
119; The Atrocity Exhibition, 20; Morgue, 112
The Crystal World, 22 Boyd, John, The Andromeda Gun,
Balzac, Honore de, xiv, 66; The 112
Quest of the Absolute, 49 Brackett, Leigh, 40; The Long To-
Barth, John, xxi, 35 morrow, 66
158 INDEX OF PRIMARY AUTHORS

Bradbury, Ray, xxviii, 9, 102, 107, Coleridge, Sara, Phantasmion,

119, 131, 132; Fahrenheit 451, 74
106; The Illustrated Man, 15; The Collier, John, 106
Martian Chronicles, 15, 29, 83 Conklin, Groff, The Best of Science
Bretnor, Reginald, 118; The Future Fiction (ed.), 7; Six Great Short
at War (ed.), 44 Novels of Science Fiction (ed.),
Breton, Andre, 127 118
Bronte, Charlotte and Emily, 49 Conrad, Joseph, Heart of Darkness,
Brown, Fredric, 118 83
Brunner, John, 44 Corelli, Marie, 85
Bryant, Edward, 65 Crowley, Aleister, 85
Budrys, Algis, 18 Cummings, Ray, The Girl in the
Bulwer-Lytton, Edward, 85; A Golden Atom, 73
Strange Story, 10, 72; Zanoni, 49, Cyrano de Bergerac, Savinien, 90
123
Burroughs, Edgar Rice, 58, 80,
Dante Alighieri, Divine Comedy,
94
46, 137
de Camp, L. Sprague, 106
Cabell, James Branch, xxiii; Biog-
Defoe, Daniel, Robinson Crusoe,
raphy of the Life of Manuel, 41,
102-103
117' 136 Defontenay, C. 1., Star, 90
Calvino, Italo, 92
de Ia Bretonne, Restif, La Decou-
Campbell, John W., Jr., 132; The
verte australe, 21
Astounding Science Fiction An-
de Ia Mare, Walter, 38
thology (ed.), 8; "Night," 30;
Delany, Samuel R., 72, 82, 129;
"Who Goes There?" 53
Triton, 52
Carey, Peter, 69
De Lint, Charles, Moonheart,
Carnell, E. J., 8
10
Carr, Terry, 8
del Rey, Lester, 61
Carroll, Lewis, xviii; Alice in Won-
Dick, Philip K., 18, 25, 28, 93, 138;
derland, 21, 28
The Man in the High Castle, 6;
Cervantes, Miguel de, Don Qui-
Solar Lottery, 124
xote, 75
Dickson, Gordon R., Combat SF
Chamas, Suzy McKee, 41
(ed.), 44
Chekhov, Anton, 118
Disch, Thomas M., 3, 82
Chesney, George T., The Battle of
Dostoevsky, Fyodor, 95
Dorking, 44, 58
du Maurier, Daphne, 49
Childers, Erskine, The Riddle of
Dunsany, Lord, 6, 36, 66
the Sands, 58
Christopher, John, No Blade of
Grass, 22 Eddison, E. R., xx, xxiii, 6, 36,
Cicero, The Dream of Sdpio, 79 79
Clarke, Arthur C., 14, 61, 129; Eisenstein, Phyllis, Shadow of
2001, 20. 116; 2010: Odyssey Earth, 6
Two, 116 Elgin, Suzette Haden, 41
Clement, Hal, 19, 51, 90 Ellison, Harlan, 3, 47; Dangerous
Coates, Robert M., The Eater of Visions (ed.), 81-82, 134; Medea:
Darkness, 127 Harlan's World, 90
INDEX OF PRIMARY AUTHORS 159

Farley, Ralph Milne, 58 Space and Time (ed.), 8; and J.

Faulkner, William, xiv Francis McComas, Adventures in
Finney, Charles G., The Circus of Time and Space (ed.), 7, 74
Dr. Lao, 106 Heinlein, Robert A., xiv, 43, 126;
Flammarion. Camille. The End of Rocket Ship Galileo. 61; "Uni-
the World, 30 verse," 19, 20, 23; "Waldo," 5
Flint, Homer Eon, 58 Hemingway, Ernest, 118
Foster, Alan Dean, Alien, 4 Henry, 0., 118
Fowles, John, 92 Herbert, Frank, Dune series,
116
Galsworthy, John, The Forsyte Hesiod, Works and Days, 48
Saga, 105 Hinton, C. H., Scientific Romances,
George, Peter, Red Alert, 83 113
Gibson, William, Neuromancer, Hoban, Russell, Riddley Walker,
24 29
Gilman, Charlotte Perkins, Her- Hodgson, William Hope, The Night
land, 41 Land, 30
Godwin, Francis, 90 Hoffmann, E. T. A., 28
Gogol, Nikolai, "The Nose," Holdstock, Robert, 76
107 Holland, Cecilia, Floating Worlds,
Gold, H. L.; Five Galaxy Short 121
Novels (ed.), 118 Homer, The Odyssey, 9
Golding, William: The Inheritors, Howard, Robert E., 48, 128
93; Lord of the Flies, 5 Hubbard, L. Ron, 43
Gordon, Rex, First on Mars, Hume, Fergus, The Year of Mira-
103 cle, 118
Grahame, Kenneth, The Wind in
the Willows, 13, 89 Ionesco, Eugene, 3
Grass, Gunter, 50
Greenberg, Martin Harry, 81; and Jakes, John, Six-Gun Planet,
Patricia Warrick, Political Science 112
Fiction: An Introductory Reader James, Henry: The Ambassadors,
(ed.), 90 21; "The Turn of the Screw,"
Grimm, Jakob and Wilhelm, 36, 53 47-48
Grove, W., A Mexican Mystery, Jarry, Alfred, 3
118 Johnson, Samuel, Rasselas,
Gunn, James, The Road to Science 86
Fiction (ed.), 8 Joyce, James: "The Dead," 48;
Finnegans Wake, 15
Haggard, H. Rider, 113,127
Hamilton, Edmond, 120 Kafka, Franz, 3, 38, 59, 119
Harrison, Harry, The Light Fantas- Kepler, Francis, 90
tic: Science Fiction Classics from Keyes, Daniel, Flowers for Alger-
the Mainstream (ed.), 70 non.4
Harte, Bret, 20 King, Stephen, 14
Hawthorne, Nathaniel, 118; "The Kingsley, Charles, xviii, xxiii, 36;
Birth Mark," 49 The Water Babies, 7
Healy, Raymond J.: New Tales of Kline, Otis Adelbert, 58
160 INDEX OF PRIMARY AUTHORS

Knebel. Fletcher: Night of Camp Above the Human Landscape: A

David, 90; and Charles Bailey, Social Science Fiction Anthology
Seven Days in May, 90 (ed.), 120
Knight, Damon, 8, 43, 44 Macrobius, 79
Kornbluth, C. M., 19, 33, 44 Mansfield, Katherine, 118
Kotzwinkle, William, E. T., 83 Marquez, Gabriel Garcia, One
Kubrick, Stanley, 2001, 20 Hundred Years of Solitude, 69
Kurtz, Katherine, 42 Martin, George R. R., 65
Kuttner, Henry, 106 Matheson, Richard: 1 Am Legend,
50; The Shrinking Man, 9
Lang, Andrew, 36 Maupassant, Guy de, 118
Le Guin, Ursula K., xiv, 19, 43 May, Julian, Saga of Pliocene Ex-
Leiber, Fritz, 128 ile, 105
Leinster, Murray, 83; "First Con- Melville, Herman, 38, 95
tact,'" 41; "Sidewise in Time," 6, Mercier, Louis Sebastien, L'An
134 deus mille quatre cent quarante,
Lessing, Doris, 92; Canopus in Ar- 21
gos: Archives, 120; The Memoirs Merril, Judith, 8, 15; England
of a Survivor, 31 Swings SF: Stories of Speculative
Levin, Ira, Rosemary's Baby, Fiction (ed.), 81, 122-23; SF: The
85 Year's Greatest Science Fiction
Lewis, C. S., xiii, xvi, xvii, xxiii, 9, and Fantasy (ed.), 107, 117
36, 57, 58, 105, 128, 133; The Merritt, Abraham, 107
Magician's Nephew, 22, 94; Miller, Walter M., Jr., A Canticle
"Narnia" stories, 116; That l/ide- for Leibowitz, 95, 132
ous Strength, 9; Till We Have Milne, A. A., 36; Winnie-the-Pooh,
Faces, 4 89
Lindsay, David, xx, 125, 128; Dev- Mines, Samuel, Best from Startling
il's Tor, 5, 128; A Voyage to Arc- Stories (ed.), 8
turus, 21, 28, 32 Mirrlees, Hope, 139
Locke, Richard Adams, "The Moorcock, Michael, 128
Moon Hoax,'' 113 Morris, William, xviii, xx, xxiii, 6,
London, Jack: Before Adam, 93; 36, 80, 82, 113; News from No-
"The Scarlet Plague,'' 15 where, 29, 136; The Wood Be-
Lovecraft, H. P., 48, 94, 121; yond the World, 74
"Cthulhu mythos," 76--77 Mouhy, Charles de F., Lamekis,
Lowndes, Robert, 44 138
Lucian, 72; A True History,
106
Nabokov, Vladimir, xxi, 92; Ada,
89
McComas, J. Francis, 7, 74
Niven, Larry, 43, 51
McCullers, Carson, 50
Norton, Andre, 40
MacDonald, George, xvi, xvii,
Novalis (Friedrich von Harden-
xviii, xxiii, 82, 128, 133; Lilith,
burg), 70
36; Phantastes, 36, 74
Machen, Arthur, 94
Mcintyre, Vonda, 65 Olander, Joseph, 81
McNelly, Willis, and Leon Stover, Oliver, Chad, 61, 120
INDEX OF PRIMARY AUTHORS 161

Orwell, George: Animal Farm, 5, Frankenstein, xvii, xxxii, 25, 95;

9, 136; 1984, 17-18 The Last Man, 115
Ouspensky, P. D., 85 Silverberg, Robert, 8, 82; The Sto-
chastic Man, 124
Peake, Mervyn, xxiii, 36, 50 Smith, Clark Ashton, 48
Pinter, Harold, 3 Smith, Cordwainer (P. M. A. Line-
Piper, H. Beam, A Planet for Tex- barger), 43, 66; "Instrumentality
ans, 112 of Mankind," 31
Poe, Edgar Allan, xvii, 28, 71, 107, Smith, E. E., xxvi, 120
118; "The Facts in the Case of Smith, Ernest Bramah, 86
M. Valdemar," 49; Tales of the Spenser, Edmund, The Faerie
Grotesque and Arabesque, 50 Queene, 5, 35, 111
Pohl, Frederik, xxviii, 44; Star se- Stapledon, Olaf, 32, 43; The
ries (ed.), 8; and C. M. Korn- Flames, 95; Last and First Men,
bluth, The Space Merchants, 19, 81
33, 106 Sterling, Bruce, Schismatrix, 24
Pratt, Fletcher: "The Blue Star," Sterne, Laurence, 38
28; and L. Sprague de Camp, Stevenson, Robert Louis, 28; "Dr.
The Incomplete Enchanter, Jekyll and Mr. Hyde," 94
106 Stewart, Ritson, The Professor's
Prest, Thomas Peckett, Varney the Last Experiment, 118
Vampire, 89 Stong, Phil, 7
Prudentius, Psychomachia, 96 Stover, Leon, 120
Pynchon, Thomas, xxi, 92 Sturgeon, Theodore, 19, 83, 129
Swann, Thomas Burnett, 18, 76
Radcliffe, Ann, 135 Swift, Jonathan, Gulliver's Travels,
Richter, Jean Paul, 28 5, 136
Roberts, Keith, Pavane, 6
Robinson, Frank, The Power, 9
Tieck, Ludwig, 42, 70
Roussel, Raymond, 3
Tiptree, James, Jr. (Alice Shel-
Russ, Joanna, The Female Man,
don), 41
41
Tolkien, J. R. R., xiii, xvii, xxiii,
Russell, Eric Frank, 43
22, 36, 57; The Hobbit, 126;
Rymer, James Malcolm, Varney the
Lord of the Rings, xxi, 5, 9, 28,
Vampire, 89
74, 116, 136; The Silmarillion,
23, 76
Sartre, Jean-Paul, Les Jeux Sont
Twain, Mark, A Connecticut Yan-
Faits, 33
kee in King Arthur's Court, 6
Schachner, Nat: "Ancestral
Voices," 134; "Revolt of the Sci-
entists" series, 131 Van Vogt, A. E., xiv, 41, 52
Scott, Ridley, 4 Varley, John, 65
Scott, Sir Walter, xvii, xviii Verne, Jules, 71, 92, 101, 127, 137;
Senarens, Luis, "Franke Reade" The Begum's Fortune, 132; Five
stories, 26 Weeks in a Balloon, 138; "Voy-
Shaara, Michael, 18 ages Extraordinaires," 138
Sheckley, Robert, xxviii, 18 Voltaire: Candide, 21; Micromegas,
Shelley, Mary Wollstonecraft: 21; Zadig, 21
162 INDEX OF PRIMARY AUTHORS

von Harbou, Thea: A Girl in the Come," 8; The Time Machine,

Moon, 83; Metropolis, 83 27, 95, 106; The War of the
Vonnegut, Kurt, Jr., 3, 35, 92, 119; Worlds, 58
Player Piano, 131 Williams, Charles, 57, 133
Williamson, Jack, 120
Walpole, Horace, The Castle of Wodehouse, P. G., The Swoop!
Otranto, 48 Or How Clarence Saved England,
Warrick, Patricia, 90; Martin Harry 58
Greenberg, and Joseph Olander, Wolfe, Gene, The Book of the New
Science Fiction: Contemporary Sun,92
Mythology: The SFWA-SFRA Wollheim, Donald A., 44; The
Anthology (ed.), 81 Pocket Book of Science Fiction
Welles, Orson, 15 (ed.), 7, 14; The Portable Novels
Wellman, Manly Wade, 42 of Science (ed.), 15, 84
Wells, H. G., 54, 58, 82, 92, 93, Wylie, Philip: The End of the
113, 127; "A Story of Days to Dream, 30; Tomo"ow!, 15
About the Author

GARY K. WOLFE is Dean of the Evelyn T. Stone College of Contin-

uing Education at Roosevelt University. He is the author of The
Known and the Unknown: The Iconography of Science Fiction and is
a frequent contributor to periodicals, critical anthologies, and refer-
ence works on science fiction and related subjects.