| Science fiction defies categorization as it contains a | | | | We're learning that model building is the core strength |
| huge gathering of disparate forms of fiction including | | | | of science. That's all the various forms of |
| horror, futuristic, magic, fantasy and a profusion of | | | | mathematics are, various conceptual kits from which |
| more demonic monsters than the Middle Ages ever | | | | to build models. It's the same strategy that Sherlock |
| imagined in its preoccupation with hellfire and | | | | Holmes uses, where all the evidence must fit within |
| damnation. | | | | one system of sense. Though Sherlock expected |
| Interest in the future is always partly fear-based-the | | | | that only definitive tangible evidence would verify his |
| unknown, the mysterious and 'what's-to-come'. H.G. | | | | theory. |
| Wells was deeply concerned with the threat/promise | | | | Meanwhile scientists have found a way to make |
| of technology. He struggled in his time to create a | | | | theory synonymous with fact. They've become |
| peaceful world community, profoundly disappointed at | | | | heroes in the 21st century. We adore them. In the |
| his death with humanity's inability to transcend the | | | | process they've gotten seduced by the fame of that |
| limitations of its time. So of course he dreamed of | | | | experience, and, to please their growing audience, are |
| time travel, the only alternative solution. | | | | writing part science, part fiction. Only vaguely imply |
| Forty years later Aldous Huxley (Brave New World) | | | | they're being hypothetical, they make grand scientific |
| and George Orwell (1984) wrote scathing | | | | assertions that have the authority of fact. They |
| denunciations-dystopias-of science, technology and | | | | make no clear and simple disclaimers. They seem to |
| their dehumanizing inventions. Orwell predicted mind | | | | have embraced the illusion that their models can |
| control by fear and intimidation, while Huxley imagined | | | | predict reality with a high enough probability of being |
| the biological engineering of uneducated, hedonistically | | | | right, that they can assume so. Pretending to be |
| pleasured drug-drones. | | | | making pure science, they're partly making science |
| At the beginning of the cold war Ray Bradbury, a | | | | fiction, claiming it to be reality by blurring the |
| consummate romanticist, who wrote the beautiful | | | | boundary between models and reality. |
| Dandelion Wine about an idyllic summer of happiness, | | | | Perhaps, unconsciously, that's why, as readers, we've |
| yet was terrified of nuclear holocaust when he | | | | developed such an addiction to reality. We avidly |
| envisioned Earth both destroying itself and the wise | | | | watch real families raising real children, and real |
| far-advanced Martians in The Martian Chronicles. | | | | offenders committing real crime. We can't seem to |
| In the late 20th century Michael Crichton, worrying | | | | get enough of real people doing real things ... as if we |
| about medical and computer viruses writes | | | | had lost touch with reality, and need to be reassured |
| Armageddon stories like Coma, Jurassic Park, and | | | | it's still there. In the meantime fiction has almost |
| Andromeda Strain, but then tried to convince us | | | | become synonymous with falsehood-unless it's just |
| there's nothing to be afraid of about global warming | | | | cartoons. |
| in State of Fear. | | | | If a writer creates fiction, like HG Wells's War of the |
| By the end of the 20th century science fiction had | | | | Worlds, as if it was actually happening, terrifying half |
| become almost synonymous with fantasy-magical | | | | a nation (Orson Wells radio show), what he'll receive |
| Hobbit stories. You can't tell whether Neil Gaiman is | | | | instead of fame is infamy. He becomes the Judas |
| telling a mythical magic tale, once called a children's | | | | Goat. Like the poor woman who wrote a story of |
| story, or writing a story about grown up people. He | | | | her life that we bestseller loved, but later found |
| seems to be doing both in American Gods, which | | | | wasn't true. In a moral flurry of indignation the |
| illustrates what's happened to science fiction. It's | | | | publisher withdrew the book from the marketplace, |
| become there-are-no-limits-in-the-universe fantasy | | | | and we hounded her out of publishing. |
| writing, turning science fiction into cartoons and comic | | | | As always, time changes everything. Does that mean |
| books for grownups. I believe entirely in fantasy. | | | | perhaps that everything is fiction-even facts? |
| That's what fiction is. | | | | Eventually they're false ... replaced with new ones. |
| But now science has entered the realm of fiction, for | | | | Perhaps we're having lots of trouble getting used to |
| instance, by employing hypothetical models of the | | | | the fact that everything's relative, partly true and |
| environment, weather, planet size, etc., inventing two | | | | partly fiction, and it will always be that way. And yet |
| fictional planets, and drawing scientific conclusions | | | | in the meantime, at least for now, we still have to |
| about what kind of life would evolve there. | | | | make a decision. |