science fiction and fantasy :: essays research papers

The question is whether it is possible to distinguish between fantasise and authoritative science allegory. I am reminded of the analogy, attributable I believe, to Theodore Sturgeon, of the elf climb vertically the side of a brick wall. In a science fiction story the knees of the elf would be bent, his center of gravity thrown forward, his stocking crownwork hanging down his neck, with his feet quite possibly equipped with some inning of suction cups. In a fantasy, on the other hand, the elf would precisely stride up the wall in a normal go posture, with his stocking cap standing straight out from his brow. W don is the difference between these scenarios? The distinctive answer is that the science fiction story must play by the implicit bumps of the universe in this instance, gravitation. Fantasy, however, need not "tip its hat" to the Law of Universal Gravitation the story can bend the rules in which gives it the fantasy genre.      But what if , for some specified reason, in the local locality of the elf on the wall, the vector of gravitational force just happens to be perpendicular to the side of the wall rather than parallel to it? In this grimace the behavior of the elf in the fantasy would be in improve accord with physical law. One might then say that the fantasy is actually science fiction since we have posited a "scientific" exposition for the behavior of the elf. Both science fiction and mainstream fiction explore the governmental and social implications of piety. The chief difference is one of setting. Science fiction considers what religion may become under vastly altered circumstances. Leigh Brackett The Long tomorrow (1955) suggests the possibility that one religion might better prepare its chase for post-holocaust existence than others do. Kate Wilhelm Let the Fire Fall (1969) takes place in a future United States swept by millennial fanaticism. Frank Herbert sand dune stories examine in some depth the effects of political rule by characters that are regarded as divine (Martin 1981). Certainly this is not a complete list of the ways science fiction writers treat the stem of religion. But it is suggestive of a much deeper and wider interest in the ascendant than many has been willing to recognize. So far, literary criticism has not adequately dealt with this fact. In light of the cultural influences already mentioned, these essays, by and large, take a generally Christian and theological approach to the topic.