Speculative fiction

Speculative fiction is a broad genre encompassing fiction with certain elements that do not exist in the real world, often in the
context of supernatural, futuristic or other imaginative themes.[1] This includes, but is not limited to, science fiction, fantasy,
superhero fiction, horror, utopian and dystopian fiction, fairytale fantasy, supernatural fiction as well as combinations thereof
(e.g. science fantasy).[2]

Speculative fiction differs from other types of fiction such as slice of life and from non-fiction.

Contents
History
Distinguishing science fiction from other speculative fiction
Speculative fiction genres
See also
References
External links

History
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 Corinthians after 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
Athenian Duke Theseus and Amazonian Queen Hippolyta, English fairy Puck, and Roman god Cupid across 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 history and 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. He first used the term in an editorial in The Saturday Evening Post, February 8, 1947. In the
article, Heinlein used "Speculative Fiction" 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

"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 dissatisfied with what they consider to be a limitation of science fiction: the
need for the story to hold to scientific principles. They argue that "Speculative Fiction" better defines an expanded, open,
imaginative type of fiction than does "genre fiction", and the categories of "Fantasy," "Mystery," "Horror" and "Science
Fiction".[29] Harlan Ellison used the term to avoid being pigeonholed as a writer. Ellison, a fervent proponent of writers
embracing more literary and modernist directions,[30][31] broke out of genre conventions to push the boundaries of "Speculative
Fiction."

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]

Speculative fiction genres

Speculative fiction may include elements of one or more of the following genres:
 Name Description Examples
Includes elements and beings originating from or inspired by
The Lord of the Rings, The
traditional stories, such as mythical creatures (dragons,
Fantasy Chronicles of Narnia, Harry
elves, dwarves and fairies, for example), magic, witchcraft,
Potter, A Song of Ice and Fire
potions, etc.
The Time Machine, I, Robot,
Features technologies and other elements that do not exist in
Dune, Star Trek, 2001: A Space
real life but may be supposed to be created or discovered in
Science Odyssey, Planet of the Apes,
the future through scientific advancement, such as advanced
fiction (sci-fi) The Left Hand of Darkness, Star
robots, interstellar travel, aliens, time travel, mutants and
Wars, Blade Runner, Jurassic
cyborgs. Many sci-fi stories are set in the future.
Park
Focuses on terrifying stories that incite fear. Villains may be
The Exorcist, A Nightmare on
either supernatural, such as monsters, vampires, ghosts and
Horror Elm Street, Books of Blood, The
demons, or mundane people, such as psychopathic and
Hellbound Heart
cruel murderers. Often features violence and death.
Takes place in a highly desirable society, often presented as
Utopian Island, Ecotopia, 17776
advanced, happy, intelligent or even perfect or problem-free.
Takes place in a highly undesirable society, often plagued Brave New World, 1984, Brazil,
Dystopian with strict control, violence, chaos, brainwashing or other The Handmaid's Tale, The
negative elements. Hunger Games
The Man In The High Castle,
Alternate Focusing on historical events as if they happened in a The Last Starship from Earth,
history different way, and their implications in the present. The Tales of Alvin Maker, The
Guns of the South, Fatherland
Takes place before and during a massive, worldwide
On The Beach, Threads, The
Apocalyptic catastrophe, typically a climatic or pandemic natural disaster
Day After Tomorrow, 2012
of extremely large scale or a nuclear holocaust.
Post- Focuses on groups of survivors after similar massive, The Stand, Mad Max,
apocalyptic worldwide disasters. Waterworld, Fallout, Metro 2033
Centers on superheroes (i.e., heroes with extraordinary
DC, Marvel, Kamen Rider,
abilities or powers) and their fight against evil forces such as
Superhero Super Sentai, Metal Heroes,
supervillains. Typically incorporates elements of science
Power Rangers
fiction or fantasy, and may be a subgenre of them.
Similar to horror, it exploits or requires as plot devices or The Castle of Otranto,
Supernatural themes some contradictions of the commonplace natural Weaveworld, Imajica,
world and materialist assumptions about it. Paranormal Activity, Fallen

See also
Gender in speculative fiction
Genre fiction
List of genres
Megatext

References
1. "speculative fiction" (https://www.dictionary.com/browse/speculative-fiction). Dictionary.com Unabridged. Random
House.
2. Henwood, Belinda (2007). Publishing (https://books.google.com/books?id=FQwBvK1dTHYC&pg=PA86&dq=Spe
culative+fiction). Career FAQs. p. 86.
3. Barry Baldwin, Emeritus Professor of Classics, University of Calgary, Fellow of the Royal Society of Canada,
"Ancient Science Fiction", Shattercolors Literary Review
 4. "逆援助紹介PARADOX!" (https://web.archive.org/web/20100728035612/http://www.paradoxmag.com/).
paradoxmag.com. Archived from the original (http://www.paradoxmag.com/) on 2010-07-28.
5. 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. See, e.g., Barrett 1964; McDermott 2000.
7. "Mark Wagstaff – Historical invention and political purpose | Re-public: re-imagining democracy – english version"
(https://web.archive.org/web/20130116082639/http://www.re-public.gr/en/?p=126). Re-public.gr. 2005-01-17.
Archived from the original (http://www.re-public.gr/en/?p=126) on 2013-01-16. Retrieved 2013-02-10.
8. Martha Tuck Rozett, "Creating a Context for Shakespeare with Historical Fiction", Shakespeare Quarterly Vol. 46,
No. 2 (Summer, 1995), pp. 220-227
9. Dorothea Kehler, A midsummer night's dream: critical essays, 2001
10. 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. 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. Herodotus and Myth Conference, Christ Church, Oxford, 2003
13. John M. Marincola, Introduction and Notes, The Histories by Herodotus, tr. Aubrey De Sélincourt, 2007
14. Jona Lendering. "Herodotus of Halicarnassus" (http://www.livius.org/he-hg/herodotus/herodotus02.html).
Livius.org. Retrieved 2013-02-10.
15. Stephen W. Durrant, The cloudy mirror: tension and conflict in the writings of Sima Qian, 1995
16. Craig A. Lockard, Societies, Networks, and Transitions: A Global History: To 1500, 2007, p 133
17. Heather Urbanski, Plagues, apocalypses and bug-eyed monsters: how speculative fiction shows us our
nightmares, 2007, pp 127
18. Sonu Shamdasani, Cult Fictions: C.G. Jung and the Founding of Analytical Psychology, 1998
19. Relativity, The Special and the General Theory by Albert Einstein (1920), with an introduction by Niger Calder,
2006
20. "Dictionary citations for the term "speculative fiction" " (http://www.jessesword.com/sf/view/438).
Jessesword.com. 2009-04-28. Retrieved 2013-02-10.
21. "The Speculative Literature Foundation" (http://www.speculativeliterature.org/). Speculativeliterature.org.
Retrieved 2013-02-10.
22. "New Wave" (http://virtual.clemson.edu/groups/dial/sfclass/newave.html). Virtual.clemson.edu. Retrieved
2013-02-10.
23. Atwood, Margaret (2011). In Other Worlds: SF and the Human Imagination (https://books.google.com/books?id=
8hOBecTcjtcC&pg=PA6). New York: Nan A. Talese/Doubleday. p. 6. ISBN 9780385533966.
24. "PLACEHOLDER - foundation | The Science Fiction Foundation" (http://www.sf-foundation.org/publications/found
ation/index.html). Sf-foundation.org. 2010-12-31. Retrieved 2013-02-10.
25. Crisp, Julie (10 July 2013). "SEXISM IN GENRE PUBLISHING: A PUBLISHER'S PERSPECTIVE" (https://web.ar
chive.org/web/20150430072612/http://www.torbooks.co.uk/blog/2013/07/10/sexism-in-genre-publishing-a-publish
ers-perspective). Tor Books. Archived from the original (http://www.torbooks.co.uk/blog/2013/07/10/sexism-in-gen
re-publishing-a-publishers-perspective) on 30 April 2015. Retrieved 29 April 2015.
26. "SpecFicWorld" (http://www.specficworld.com/). SpecFicWorld. Retrieved 2013-02-10.
27. "A Speculative Fiction Blog" (http://www.sfsignal.com/). SFSignal. Retrieved 2013-02-10.
28. Rodger Turner, Webmaster. "The Best in Science Fiction and Fantasy" (http://www.sfsite.com/). The SF Site.
Retrieved 2013-02-10.
29. "Citations and definitions for the term "speculative fiction" by speculative fiction reviewers" (http://www.greententa
cles.com/articles/5/26). Greententacles.com. Retrieved 2013-02-10.
30. "Watts, Peter. "Margaret Atwood and the Hierarchy of Contempt", ''On Spec'' 15(2) (Summer 2003)" (http://www.ri
fters.com/real/shorts/PeterWatts_Atwood.pdf) (PDF). pp. 3–5. Retrieved 2013-02-10.
31. Davies, Philip. "Review [untitled; reviewed work(s): Science Fiction: Its Criticism and Teaching by Patrick
Parrinder; Fantastic Lives: Autobiographical Essays by Notable Science Fiction Writers by 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. Izenberg, Orin. Being Numerous: Poetry and the Ground of Social Life. Princeton: Princeton University Press,
2011; p. 210
33. Leitch, Thomas M. What Stories Are: Narrative Theory and Interpretation University Park, Pennsylvania:
Pennsylvania State University Press, 1986; p. 127
34. Domańska, Ewa. Encounters: Philosophy of History After Postmodernism Charlottesville, Virginia: University
Press of Virginia, 1998; p. 10

External links
Internet Speculative Fiction Database (http://www.isfdb.org/cgi-bin/index.cgi)
The SF Page (http://gutenberg.net.au/sfproject.html) at Project Gutenberg of Australia

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