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- From: curtis@cs.berkeley.edu (Curtis Yarvin)
- Subject: Re: Balance of Technology and Story
- Message-ID: <1992Aug30.213043.17802@pasteur.Berkeley.EDU>
- Originator: curtis@boa.cs.Berkeley.EDU
- Sender: nntp@pasteur.Berkeley.EDU (NNTP Poster)
- Nntp-Posting-Host: boa.cs.berkeley.edu
- Organization: CS Dept. Snakepit - Do Not Feed.
- References: <14699@mindlink.bc.ca>
- Date: Sun, 30 Aug 1992 21:30:43 GMT
- Lines: 28
-
- In article <14699@mindlink.bc.ca> Alan_Barclay@mindlink.bc.ca (Alan Barclay) writes:
- >
- >My definition of Speculative Fiction ( a group which includes Science
- >Fiction, Fantasy, and Horror ) is "Fiction where one or more of the key
- >problems only exists because of a speculative element."
-
- I like this definition, but can't resist offering one of my own:
-
- "SF is any fiction which treats an unreal setting in a
- realistic style." (By realistic, I don't mean Realistic.)
-
- This is serviceably broad, and divides genre sf from the
- surrealistic pastiches that postmodern mainstreamers feel free
- to dabble in; like Calvino's _Cosmicomics_. It doesn't do a
- very good job of separating sf from magical realism, but good
- sf isn't very separate from magical realism anyhow.
-
- One trouble with Alan's definition is that it excludes space
- opera - from EE Smith to Banks - as well as some other
- subgenres which we'd intuitively like to class as SF.
-
- For example, is Le Guin's _The Dispossessed_ really SF under
- this definition? How does it depend on a speculative
- element? Substitute sailing ships for spaceships,
- telegraphs for ansibles, Australia for Anarres, and voila!
- a real live historical. If not a very good one.
-
- c
-