Here I will describe my vision of Suppositional Fiction, the genre of this site.

For now, see The Wikipedia definition below.

 

 

Speculative fiction is an umbrella genre encompassing narrative fiction with supernatural or futuristic elements.[1] This includes, but is not limited to, science fiction, fantasy, superhero fiction, science fantasy, horror, utopian and dystopian fiction, supernatural fictionas well as combinations thereof.[2] 

History[edit]

Speculative fiction as a category ranges from ancient works to both paradigm-changing and neotraditional works of the 21st century.[3][4] Speculative fiction can be recognized in works whose authors‘ intentions or the social contexts of the versions of stories they portrayed are now known, since ancient Greek dramatists such as Euripides (ca. 480–406 BCE) whose play Medea seems to have offended Athenian audiences when he fictionally speculated that shamaness Medea killed her own children instead of their being killed by other Corinthiansafter her departure,[5] and whose play Hippolytus, narratively introduced by Aphrodite, Goddess of Love in person, is suspected to have displeased his contemporary audiences because he portrayed Phaedra as too lusty.[6]

In historiography, what is now called speculative fiction has previously been termed “historical invention”,[7] “historical fiction“, and similar names. It is extensively noted in literary criticism of the works of William Shakespeare[8] as when he co-locates AthenianDuke Theseus and Amazonian Queen Hippolyta, English fairy Puck, and Roman god Cupidacross time and space in the Fairyland of its Merovingian Germanic sovereign Oberon in A Midsummer Night’s Dream.[9]

In mythography the concept of speculative fiction has been termed “mythopoesis” or mythopoeia, “fictional speculation”, the creative design and generation of lore, regarding such works as J. R. R. Tolkien‘s The Lord of the Rings.[10] Such supernatural, alternate historyand sexuality themes continue in works produced within the modern speculative fiction genre.[11]

The creation of speculative fiction in its general sense of hypothetical history, explanation, or ahistorical storytelling has also been attributed to authors in ostensibly non-fiction mode since as early as Herodotus of Halicarnassus (fl. 5th century BCE), in his Histories,[12][13][14] and was already both practiced and edited out by early encyclopaedic writers like Sima Qian (ca. 145 or 135 BCE–86 BCE), author of Shiji.[15][16]

These examples highlight the caveat that many works now regarded as intentional or unintentional speculative fiction long predate the coining of the genre term; its concept in its broadest sense captures both a conscious and unconscious aspect of human psychology in making sense of the world, and responding to it by creating imaginative, inventive, and artistic expressions. Such expressions can contribute to practical progress through interpersonal influences, social and cultural movements, scientific research and advances, and philosophy of science.[17][18][19]

In its English-language usage in arts and literature since the mid 20th century, “speculative fiction” as a genre term is often attributed to Robert A. Heinlein. In his first known use of the term, in editorial material at the front of The Saturday Evening Post of February 8, 1947, Heinlein used it specifically as a synonym for “science fiction“; in a later piece, he explicitly stated that his use of the term did not include fantasy. However, though Heinlein may have come up with the term on his own, there are earlier citations: a piece in Lippincott’s Monthly Magazine in 1889 used the term in reference to Edward Bellamy‘s Looking Backward: 2000–1887 and other works; and one in the May 1900 issue of The Bookman said that John Uri Lloyd‘s Etidorhpa, The End of the Earth had “created a great deal of discussion among people interested in speculative fiction”.[20] A variation on this term is “speculative literature”.[21]

The use of “speculative fiction” in the sense of expressing dissatisfaction with traditional or establishment science fiction was popularized in the 1960s and early 1970s by Judith Merril and other writers and editors, in connection with the New Wave movement. It fell into disuse around the mid-1970s.[22]

The Internet Speculative Fiction Database contains a broad list of different subtypes.

In the 2000s, the term came into wider use as a convenient collective term for a set of genres. However, some writers, such as Margaret Atwood, continue to distinguish “speculative fiction” specifically as a “no Martians” type of science fiction, “about things that really could happen.”[23]

Academic journals which publish essays on speculative fiction include Extrapolation, and Foundation.[24]

According to publisher statistics, men outnumber women about two to one among English-language speculative fiction writers aiming for professional publication. However, the percentages vary considerably by genre, with women outnumbering men in the fields of urban fantasy, paranormal romance and young adult fiction.[25]

Distinguishing science fiction from other speculative fiction[edit]

“Speculative fiction” is sometimes abbreviated “spec-fic”, “specfic”,[26] “S-F”, “SF”, or “sf”[27]. However, the last three abbreviations are ambiguous as they have long been used to refer to science fiction (which lies within this general range of literature[28]) and in several other contexts.

The term has been used by some critics and writers as a way of expressing dissatisfaction with what they consider the limitations of science fiction, or as a more expansive designation for fiction that otherwise falls under readily stereotypical genres such as “fantasy” or “mystery”.[29] For example, in Harlan Ellison‘s writing, the term may signal a wish not to be pigeonholed as a science fiction writer, and a desire to break out of science fiction’s genre conventions in a literary and modernist direction.[30][31]

The term “suppositional fiction” is sometimes used as a sub-category designating fiction in which characters and stories are constrained by an internally consistent world, but not necessarily one defined by any particular genre.[32][33][34]

 

References[edit]

  1. Jump up^ Speculative fiction. Dictionary.com. Dictionary.com, LLC. 2015.
  2. Jump up^ Henwood, Belinda (2007). Publishing. Career FAQs. p. 86.
  3. Jump up^ Barry Baldwin, Emeritus Professor of Classics, University of Calgary, Fellow of the Royal Society of Canada, “Ancient Science Fiction”, Shattercolors Literary Review
  4. Jump up^ “逆援助紹介PARADOX!”. paradoxmag.com. Archived from the original on 2010-07-28.
  5. Jump up^ This theory of Euripides‘ invention has gained wide acceptance. See (e.g.) McDermott 1989, 12; Powell 1990, 35; Sommerstein 2002, 16; Griffiths, 2006 81; Ewans 2007, 55.
  6. Jump up^ See, e.g., Barrett 1964; McDermott 2000.
  7. Jump up^ “Mark Wagstaff – Historical invention and political purpose | Re-public: re-imagining democracy – english version”. Re-public.gr. 2005-01-17. Archived from the original on 2013-01-16. Retrieved 2013-02-10.
  8. Jump up^ Martha Tuck Rozett, “Creating a Context for Shakespeare with Historical Fiction”, Shakespeare Quarterly Vol. 46, No. 2 (Summer, 1995), pp. 220-227
  9. Jump up^ Dorothea Kehler, A midsummer night’s dream: critical essays, 2001
  10. Jump up^ Adcox, John, “Can Fantasy be Myth? Mythopoeia and The Lord of the Rings” in “The Newsletter of the Mythic Imagination Institute, September/October, 2003”
  11. Jump up^ Eric Garber, Lyn Paleo Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror, 2nd Edition, G K Hall: 1990 ISBN 978-0-8161-1832-8
  12. Jump up^ Herodotus and Myth Conference, Christ Church, Oxford, 2003
  13. Jump up^ John M. Marincola, Introduction and Notes, The Histories by Herodotus, tr. Aubrey De Sélincourt, 2007
  14. Jump up^ Jona Lendering. “Herodotus of Halicarnassus”. Livius.org. Retrieved 2013-02-10.
  15. Jump up^ Stephen W. Durrant, The cloudy mirror: tension and conflict in the writings of Sima Qian, 1995
  16. Jump up^ Craig A. Lockard, Societies, Networks, and Transitions: A Global History: To 1500, 2007, p 133
  17. Jump up^ Heather Urbanski, Plagues, apocalypses and bug-eyed monsters: how speculative fiction shows us our nightmares, 2007, pp 127
  18. Jump up^ Sonu Shamdasani, Cult Fictions: C.G. Jung and the Founding of Analytical Psychology, 1998
  19. Jump up^ Relativity, The Special and the General Theory by Albert Einstein (1920), with an introduction by Niger Calder, 2006
  20. Jump up^ “Dictionary citations for the term “speculative fiction””. Jessesword.com. 2009-04-28. Retrieved 2013-02-10.
  21. Jump up^ “The Speculative Literature Foundation”. Speculativeliterature.org. Retrieved 2013-02-10.
  22. Jump up^ “New Wave”. Virtual.clemson.edu. Retrieved 2013-02-10.
  23. Jump up^ Atwood, Margaret (2011). In Other Worlds: SF and the Human Imagination. New York: Nan A. Talese/Doubleday. p. 6. ISBN 9780385533966.
  24. Jump up^ “PLACEHOLDER – foundation | The Science Fiction Foundation”. Sf-foundation.org. 2010-12-31. Retrieved 2013-02-10.
  25. Jump up^ Crisp, Julie (10 July 2013). “SEXISM IN GENRE PUBLISHING: A PUBLISHER’S PERSPECTIVE”. Tor Books. Retrieved 29 April2015.
  26. Jump up^ “SpecFicWorld”. SpecFicWorld. Retrieved 2013-02-10.
  27. Jump up^ “A Speculative Fiction Blog”. SFSignal. Retrieved 2013-02-10.
  28. Jump up^ Rodger Turner, Webmaster. “The Best in Science Fiction and Fantasy”. The SF Site. Retrieved 2013-02-10.
  29. Jump up^ “Citations and definitions for the term “speculative fiction” by speculative fiction reviewers”. Greententacles.com. Retrieved 2013-02-10.
  30. Jump up^ “Watts, Peter. “Margaret Atwood and the Hierarchy of Contempt”, ”On Spec” 15(2) (Summer 2003)” (PDF). pp. 3–5. Retrieved 2013-02-10.
  31. Jump up^ Davies, Philip. “Review [untitled; reviewed work(s): Science Fiction: Its Criticism and Teaching by Patrick Parrinder; Fantastic Lives: Autobiographical Essays by Notable Science Fiction Writersby Martin Greenberg; Robert A. Heinlein: America as Science Fiction by H. Bruce Franklin; Bridges to Science Fiction by George E. Slusser, George R. Guffey, Mark Rose]. Journal of American Studies Vol. 16, No. 1 (Apr., 1982). pp. 157-159.
  32. Jump up^ Izenberg, Orin. Being Numerous: Poetry and the Ground of Social Life. Princeton: Princeton University Press, 2011; p. 210
  33. Jump up^ Leitch, Thomas M. What Stories Are: Narrative Theory and Interpretation University Park, Pennsylvania: Pennsylvania State University Press, 1986; p. 127
  34. Jump up^ Domańska, Ewa. Encounters: Philosophy of History After Postmodernism Charlottesville, Virginia: University Press of Virginia, 1998; p. 10