297:. ... We Americans are better than we hope and worse than we think, which is to say, we are the most paradoxical of all of the paradoxical nations in time. Which is what science fiction is all about. For science fiction runs out with tapes to measure Now against Then against Tomorrow Breakfast. It triangulates mankind amongst these geometrical threads, praising him, warning him." "For, above all, science fiction, as far back as Plato trying to figure out a proper society, has always been a fable teacher of morality...There is no large problem in the world this afternoon that is not a science-fictional problem." "Science fiction then is the fiction of revolutions. Revolutions in time, space, medicine, travel, and thought...Above all, science fiction is the fiction of warm-blooded human men and women sometimes elevated and sometimes crushed by their machines." "So science fiction, we now see, is interested in more than sciences, more than machines. That
333:―. 1975. In structural fabulation, "the tradition of speculative fiction is modified by an awareness of the universe as a system of systems, a structure of structures, and the insights of the past century of science are accepted as fictional points of departure. Yet structural fabulation is neither scientific in its methods nor a substitute for actual science. It is a fictional exploration of human situations made perceptible by the implications of recent science. Its favourite themes involve the impact of developments or revelations derived from the human or physical sciences upon the people who must live with those revelations or developments."
185:. 1952. At the start of a series of book review columns, Knight stated the following as one of his assumptions: "That the term 'science fiction' is a misnomer, that trying to get two enthusiasts to agree on a definition of it leads only to bloody knuckles; that better labels have been devised (Heinlein's suggestion, 'speculative fiction', is the best, I think), but that we're stuck with this one; and that it will do us no particular harm if we remember that, like 'The Saturday Evening Post', it means what we point to when we say it." This definition is now usually seen in abbreviated form as "Science fiction is what we point to when we say it."
237:, by means of projection, extrapolation, analogue, hypothesis-and-paper-experimentation, something about the nature of the universe, of man, or 'reality'... I use the term 'speculative fiction' here specifically to describe the mode which makes use of the traditional 'scientific method' (observation, hypothesis, experiment) to examine some postulated approximation of reality, by introducing a given set of changes—imaginary or inventive—into the common background of 'known facts', creating an environment in which the responses and perceptions of the characters will reveal something about the inventions, the characters, or both".
32:", and "fabulation" are included where they are intended as definitions of aspects of science fiction or because they illuminate related definitions—see e.g. Robert Scholes's definitions of "fabulation" and "structural fabulation" below. Some definitions of sub-types of science fiction are included, too; for example see David Ketterer's definition of "philosophically-oriented science fiction". In addition, some definitions are included that define, for example, a science fiction story, rather than science fiction itself, since these also illuminate an underlying definition of science fiction.
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alternate world story or novel. It is our world dislocated by some kind of mental effort on the part of the author, our world transformed into that which it is not or not yet. This world must differ from the given in at least one way, and this one way must be sufficient to give rise to events that could not occur in our society—or in any known society present or past. There must be a coherent idea involved in this dislocation; that is, the dislocation must be a conceptual one, not merely a trivial or bizarre one—
462:. 2006. Science fiction is "a genre (of literature, film, etc.) in which the setting differs from our own world (e.g. by the invention of new technology, through contact with aliens, by having a different history, etc.), and in which the difference is based on extrapolations made from one or more changes or suppositions; hence, such a genre in which the difference is explained (explicitly or implicitly) in scientific or rational, as opposed to supernatural, terms."
52:'s definition as having been most useful in catalysing academic debate, though they consider disagreements to be inevitable as science fiction is not homogeneous. Suvin's cited definition, dating from 1972, is: "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author's empirical environment". The authors of the
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356:. 1977. "Science Fiction is the branch of literature that deals with the effects of change on people in the real world as it can be projected into the past, the future, or to distant places. It often concerns itself with scientific or technological change, and it usually involves matters whose importance is greater than the individual or the community; often civilization or the race itself is in danger."
155:. 1947. "Let's gather up the bits and pieces and define the Simon-pure science fiction story: 1. The conditions must be, in some respect, different from here-and-now, although the difference may lie only in an invention made in the course of the story. 2. The new conditions must be an essential part of the story. 3. The problem itself—the "plot"—must be a
209:. 1959. "Realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method. To make this definition cover all science fiction (instead of 'almost all') it is necessary only to strike out the word 'future'.
177:―. "Scientific methodology involves the proposition that a well-constructed theory will not only explain every known phenomenon, but will also predict new and still undiscovered phenomena. Science-fiction tries to do much the same—and write up, in story form, what the results look like when applied not only to machines, but to human society as well."
497:. 2012. Science fiction "is a selective tradition, continuously reinvented in the present, through which the boundaries of the genre are continuously policed, challenged and disrupted, and the cultural identity of the SF community continuously established, preserved and transformed. It is thus essentially and necessarily a site of contestation."
340:. 1977. "...science fiction could begin to exist as a literary form only when a different future became conceivable by human beings―specifically a future in which new knowledge, new discoveries, new adventures, new mutations, would make life radically different from the familiar patterns of the past and present." "The worlds of
436:. 1988. "Perhaps the crispest definition is that science fiction is a literature of 'what if?' What if we could travel in time? What if we were living on other planets? What if we made contact with alien races? And so on. The starting point is that the writer supposes things are different from how we know them to be."
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future—the 1960s, 1970s and 1980s—are no longer "futuristic." Yet they aren't "false," either, because few science fiction writers pretend to be writing what will happen. Rather, they write what might happen. So those out-of-date futures, like that depicted in the novel 1984, simply shift from the "future" category to:
283:. 1973. "Science fiction is the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mould". Revised 1986. "a definition of mankind...", "...post-Gothic mode".
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is related to 'hard facts' and also to the 'hard' or engineering sciences. It does not necessarily entail realistic speculation about a future world, though its bias is undoubtedly realistic. Rather, this is the sort of SF that most appeals to scientists themselves—and is often written by them. The
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According to the front matter, this essay was originally published in two parts, in 1960 and 1964. Blish, writing as
William Atheling, Jr., lists a variety of sources, some fanzines and some professional magazines, from which the book was drawn, but does not specify which particular sources formed
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All stories set in the historical past that contradict known facts of history. Within the field of science fiction, these are called "alternate world" stories. For instance, what if the Cuban
Missile Crisis had led to nuclear war? What if Hitler had died in 1939? In the real world, of course, these
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It cannot be defined as “a story (or novel or play) set in the future,” since there exists such a thing as space adventure, which is set in the future but is not SF: it is just that: adventures, fights and wars in the future in space involving super-advanced technology. Why, then, is it not science
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type of story—a charming romance intermingled with scientific fact and prophetic vision... Not only do these amazing tales make tremendously interesting reading—they are always instructive. They supply knowledge... in a very palatable form... New adventures pictured for us in the scientifiction of
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All stories set in the future, because the future can't be known. This includes all stories speculating about future technologies, which is, for some people, the only thing that science fiction is good for. Ironically, many stories written in the 1940s and 1950s that were set in what was then the
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is always men and women and children themselves, how they behave, how they hope to behave. Science fiction is apprehensive of future modes of behavior as well as future constructions of metal." "Science fiction guesses at sciences before they are sprung out of the brows of thinking men. More, the
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be called SF? We have a fictitious world; that is the first step: it is a society that does not in fact exist, but is predicated on our known society; that is, our known society acts as a jumping-off point for it; the society advances out of our own in some way, perhaps orthogonally, as with the
215:. 1960. "Science fiction is that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesized on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin."
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problem. 4. The human problem must be one which is created by, or indispensably affected by, the new conditions. 5. And lastly, no established fact shall be violated, and, furthermore, when the story requires that a theory contrary to present accepted theory be used, the new theory should be
289:. 1974. Science fiction is "the one field that reached out and embraced every sector of the human imagination, every endeavor, every idea, every technological development, and every dream." "I called us a nation of Ardent Blasphemers. We ran about measuring not only how things
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James Blish. 1968. "At the very worst, every story ought to contain some trace of some science, and at best they ought to depend on it. This means no fantasies, nothing put in solely because they author wrote a best-selling mainstream novel in 1920, no political parables and no
149:. 1947. "A piece of scientific fiction is a narrative of an imaginary invention or discovery in the natural sciences and consequent adventures and experiences... It must be a scientific discovery—something that the author at least rationalizes as possible to science."
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today are not at all impossible of realization tomorrow... Many great science stories destined to be of historical interest are still to be written... Posterity will point to them as having blazed a new trail, not only in literature and fiction, but progress as well."
263:. 1972. Science fiction is "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author's empirical environment."
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typical 'hard' SF writer looks for new and unfamiliar scientific theories and discoveries which could provide the occasion for a story, and, at its more didactic extreme, the story is only a framework for introducing the scientific concept to the reader."
251:'s "Meeting My Brother": "The science in it is used solely for the purpose of offering an otherwise impossible solution to a common human problem; this is the latest definition of science fiction, on either side of the Iron Curtain/time-shift".
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All stories supposedly set on Earth, but before recorded history and contradicting the known archaeological record—stories about visits from ancient aliens, or ancient civilizations that left no trace, or "lost kingdoms" surviving into modern
380:―. 1980. "In 'space opera' (the analogy is with the Western 'horse opera' rather than the 'soap opera') the reverse is true; a melodramatic adventure-fantasy involving stock themes and settings is evolved on the flimsiest scientific basis."
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is the essence of science fiction, the conceptual dislocation within the society so that as a result a new society is generated in the author's mind, transferred to paper, and from paper it occurs as a convulsive shock in the reader's mind,
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authors in the field try to guess at machines which are the fruit of these sciences. Then we try to guess at how mankind will react to these machines, how use them, how grow with them, how be destroyed by them. All, all of it fantastic."
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that is the essential ingredient. Also, there can be science fiction set in the present: the alternate world story or novel. So if we separate SF from the future and also from ultra-advanced technology, what then do we have that
221:. 1960 or 1964. Science fantasy is "a kind of hybrid in which plausibility is specifically invoked for most of the story, but may be cast aside in patches at the author's whim and according to no visible system or principle."
203:. 1955. A science fiction story "is one that presupposes a technology, or an effect of technology, or a disturbance in the natural order, such as humanity, up to the time of writing, has not in actual fact experienced."
510:. "... storytelling, usually imaginative as distinct from realistic fiction, which poses the effects of current or extrapolated scientific discoveries, or a single discovery, on the behavior of individuals society."
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All stories that contradict some known or supposed law of nature. Obviously, fantasy that uses magic falls into this category, but so does much science fiction: time travel stories, for instance, or "invisible man"
430:. 1987. Sf is "an historical literature... In every sf narrative, there is an explicit or implicit fictional history that connects the period depicted to our present moment, or to some moment in our past."
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For example, Patrick
Parrinder comments that "efinitions of science fiction are not so much a series of logical approximations to an elusive ideal, as a small, parasitic subgenre in themselves."
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rendered reasonably plausible and it must include and explain established facts as satisfactorily as the one the author saw fit to junk. It may be far-fetched, it may seem fantastic, but it must
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remain separate from science fiction because they are constructed on a plan derived from religious tradition rather than scientific speculation or imagination based, however loosely, on science."
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James Blish, writing as
William Atheling, Jr., cited this definition of Sturgeon's from a talk he had given. Blish's article was published in the Autumn 1952 issue of Red Boggs' fanzine
191:. 1952. "A science fiction story is a story built around human beings, with a human problem, and a human solution, which would not have happened at all without its scientific content."
330:. 1975. Fabulation is "fiction that offers us a world clearly and radically discontinuous from the one we know, yet returns to confront that known world in some cognitive way."
418:. 1982. "Science fiction is that form of literature which deals with the effects of technological change in an imagined future, an alternative present or a reconceived history".
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and defined as "a discrete piece of information recognizable as not-true, but also as not-unlike-true, not-flatly- (and in the current state of knowledge) impossible."
60:, Clute, and Nicholls—explain that, by "cognition", Suvin refers to the seeking of rational understanding, while his concept of estrangement is similar to the idea of
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All stories set in other worlds, because we've never gone there. Whether "future humans" take part in the story or not, if it isn't Earth, it belongs to this genre.
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324:. 1975. "Science fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology."
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308:. 1974. "Philosophically-oriented science fiction, extrapolating on what we know in the context of our vaster ignorance, comes up with a startling
442:. 1990. "'Hard science fiction' stories that feature authentic scientific knowledge and depend upon it for plot development and plot resolution."
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269:. 1973. "The basic premise of all s-f—that Absolutely Anything Can Happen and Should—has never been so handsomely and hilariously realized as in
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197:. 1955. "Science fiction is fiction based upon some imagined development of science, or upon the extrapolation of a tendency in society."
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257:. 1968. "Someone once said that a good science-fiction story should be able to predict not the automobile but the traffic jam. We agree".
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96:(1952), and concluded that the basic building block and distinguishing feature of a science fiction novel is the presence of the
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522:. "Science fiction is hard to define because it is the literature of change and it changes while you are trying to define it."
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be at variance with observed facts, i.e., if you are going to assume that the human race descended from
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48:, contains an extensive discussion of the problem of definition, under the heading "Definitions of SF". The authors regard
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424:. 1985. "Science fiction is a form of fantastic fiction which exploits the imaginative perspectives of modern science".
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893:. Sturgeon subsequently complained to Blish that he had intended the definition to apply only to good science fiction.
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1947. "To be science fiction, not fantasy, an honest effort at prophetic extrapolation from the known must be made."
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events did not happen—so stories that take place in such false pasts are the purview of science fiction and fantasy.
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1485:. Edited and with an introduction by Lawrence Sutin (1st Vintage Books ed.). New York: Vintage Books.
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fiction? It would seem to be, and Doris
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over the years since science fiction became a genre. Definitions of related terms such as "
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The shifting realities of Philip K. Dick : selected literary and philosophical writings
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20:. This is a list of definitions that have been offered by authors, editors, critics and
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From
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233:. 1966. "Speculative fiction: stories whose objective is to explore, to discover, to
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to explain our apparent close relationship to terrestrial anthropoid apes as well."
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Farrell, Edmund J.; Gage, Thomas E.; Pfordresher, John; et al., eds. (1974).
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Metamorphoses of
Science Fiction: On the Poetics and History of a Literary Genre
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listed five types of stories that generally fall into science fiction. 2010.
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In an preview of this book, Malzberg wrote "past" rather than "future":
1147:. Bowling Green, OH: Bowling Green University Popular Press. p. 60.
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happen—but you usually wouldn't want it to. Fantasy is something that
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More issues at hand; critical studies in contemporary science fiction
707:(1993). "Definitions of SF". In Clute, John; Nicholls, Peter (eds.).
605:(1993). "Definitions of SF". In Clute, John; Nicholls, Peter (eds.).
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happen—though you often only wish that it could." (emphasis original)
318:. 1974. "Science fiction is anything published as science fiction."
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388:. 1981. "I will define science fiction, first, by saying what SF is
273:." (Cover blurb for the 1973 Harper and Row edition of the novel by
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He knows that it is not his actual world that he is reading about."
312:, or rationale, that puts humanity in a radically new perspective."
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The
Engines of the Night : Science Fiction in the Eighties
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The
Science Fiction Novel: Imagination and Social Criticism
1740:. Liverpool: Liverpool University Press. pp. 39–40.
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Clarke, Arthur C. (2000). Patrick Nielsen Hayden (ed.).
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Science-Fantasy and Translations: Two More Cans of Worms
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Foundation: the international review of science fiction
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Fictional Space. Essays on Contemporary Science Fiction
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Malzberg, Barry N. (1982). "The Number of the Beast".
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The Complete Book of Science Fiction and Fantasy Lists
516:. "Science fiction is a way of thinking about things."
366:" (novelty, innovation) validated by cognitive logic."
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1787:"The Engines of the Night: The Number of the Beast"
1524:"The Engines of the Night: The Number of the Beast"
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Trillion Year Spree: The History of Science Fiction
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Turning Points:Essays on the Art of Science Fiction
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1684:. Oxford: Oxford University Press. p.
1468:Science Fiction: Its Criticism and Teaching
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581:Science Fiction: Its Criticism and Teaching
538:From the introduction to George O. Smith's
448:. 2000. "Science fiction is something that
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1567:"Toward a Definition of "Science Fiction""
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869:Science Fiction Adventures (1952 magazine)
16:There have been many attempts at defining
1757:. Delhi, India: Isha Books. p. 137.
1651:The Collected Stories of Arthur C. Clarke
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1407:Science Fiction: History, Science, Vision
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130:. 1926. "By 'scientifiction' I mean the
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1701:"Defining Science Fiction and Fantasy"
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1157:Quoted by Algis Budrys in a review of
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866:(1952). "Science Fiction Adventures".
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1612:. London: A & C Black. p. 9.
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542:series, originally published in 1947.
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1549:Science Fiction: The 100 Best Novels
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1007:. New York: Harper and Row. p.
946:. Harmondsworth: Penguin. p. 7.
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1411:. London: Oxford University Press.
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37:The Encyclopedia of Science Fiction
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1785:Malzberg, Barry N. (August 1981).
1522:Malzberg, Barry N. (August 1981).
1470:. London: New Accents. p. 15.
502:Undated (alphabetically by author)
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1101:The Twilight Zone, "The Fugitive"
3343:
3334:
3333:
1918:Apocalyptic and post-apocalyptic
1240:. Garden City, N.Y., Doubleday.
1201:Pohl, Frederik (December 1968).
1182:Budrys, Algis (September 1968).
959:"Definitions of Science Fiction"
1778:
1744:
1727:
1718:
1692:
1671:
1642:
1616:
1598:
1555:
1537:
1507:
1474:
1254:
1222:
1213:
1163:Budrys, Algis (November 1968).
1133:
1107:
1047:
1025:
856:
838:
709:Encyclopedia of Science Fiction
607:Encyclopedia of Science Fiction
545:
532:
3295:Science and technology studies
1754:Academic Dictionary of Fiction
1303:. Scott, Foresman and Company.
902:. Chicago: Advent. p. 14.
826:Budrys, Algis (October 1967).
733:
657:
587:
568:
116:
1:
1724:Humans have visited the Moon.
1433:Road to Science Fiction Vol 1
1145:Sf: The Other Side of Realism
561:
1551:. London: Xanadu. p. 9.
1219:Originally published in 1972
1064:(1970). Blish, James (ed.).
920:Inquiry Into Science Fiction
410:the shock of dysrecognition.
7:
2839:Space stations and habitats
1072:. Chicago: Advent. p.
395:lacks the distinct new idea
89:C. M. Kornbluth's
10:
3397:
1403:; Rabkin, Eric S. (1977).
1121:Learning from Other Worlds
1099:Rod Serling (1962-03-09).
816:; cited from 1964 reprint.
741:Pilgrims of Space and Time
3328:
3285:Museum of Science Fiction
3242:
3230:Christian science fiction
3222:
3194:Self-replicating machines
3155:
3069:
3038:
2942:
2857:
2814:
2805:
2741:
2720:
2684:
2639:
2632:
2583:
2340:
2319:
2312:
2206:
2153:
2146:
2092:
1913:
1906:
1841:
1447:Metamorphoses of SF No 63
717:Little, Brown and Company
615:Little, Brown and Company
1737:Locating Science Fiction
1481:Dick, Philip K. (1995).
1089:the basis of this essay.
880:, Chicago: Advent, 1956.
739:Originally published in
526:
247:. 1968. When reviewing
3163:Artificial intelligence
3061:Simulated consciousness
1751:Pandey, Ashish (2005).
1734:Milner, Andrew (2012).
1610:Writing Science Fiction
654:, New Haven, pp. 63–84.
3371:Science fiction themes
3315:Technology and society
2183:Science Fiction Museum
1794:Science Fiction Review
1678:Prucher, Jeff (2007).
1531:Science Fiction Review
1327:Modern Science Fiction
1207:Galaxy Science Fiction
1203:"The Great Inventions"
1188:Galaxy Science Fiction
1169:Galaxy Science Fiction
1054:Atheling, William Jr.
832:Galaxy Science Fiction
583:. London: New Accents.
122:In chronological order
3381:Science fiction lists
2914:Organ transplantation
2173:Libraries and museums
2094:Cyberpunk derivatives
2048:Utopian and dystopian
1636:Writer's Digest Books
1563:Robinson, Kim Stanley
1375:Structural Fabulation
896:Atheling Jr., William
804:Eshbach, Lloyd Arthur
172:John W. Campbell, Jr.
3265:Fictional technology
3260:Fictional astronauts
3117:Frankenstein complex
1301:Science Fact/Fiction
1062:Atheling, William Jr
719:. pp. 311–314.
650:Suvin, Darko (1979)
637:Shippey, Tom (1991)
617:. pp. 311–314.
428:Kim Stanley Robinson
3305:Speculative fiction
2899:Genetic engineering
1587:on December 1, 2014
1190:. pp. 187–193.
1171:. pp. 160–166.
1141:Clareson, Thomas D.
877:In Search of Wonder
834:. pp. 188–194.
93:The Space Merchants
30:speculative fiction
3132:Message from space
3097:Ancient astronauts
2985:Parallel universes
2960:Extrasolar planets
2867:Biological warfare
1989:Parallel universes
1871:Scientific romance
1606:Evans, Christopher
1464:Parrinder, Patrick
1236:Billion Year Spree
1184:"Galaxy Bookshelf"
1165:"Galaxy Bookshelf"
1115:Parrinder, Patrick
965:on 18 October 2006
828:"Galaxy Bookshelf"
577:Parrinder, Patrick
249:Vladislav Krapivin
207:Robert A. Heinlein
153:Robert A. Heinlein
3358:
3357:
3250:Alternate history
3238:
3237:
3199:Simulated reality
2929:Sex and sexuality
2882:Extraterrestrials
2801:
2800:
2628:
2627:
2624:
2623:
2365:Campbell Memorial
2142:
2141:
2011:Planetary romance
1624:Greenberg, Martin
1418:978-0-19-502174-5
1083:978-0-911682-10-6
944:The Seeds of Time
900:The Issue At Hand
850:Venus Equilateral
762:Jakubowski, Maxim
697:Stableford, Brian
595:Stableford, Brian
540:Venus Equilateral
434:Christopher Evans
416:Barry N. Malzberg
370:Patrick Parrinder
189:Theodore Sturgeon
80:Coming Up for Air
3388:
3347:
3337:
3336:
3175:Astroengineering
3107:Evil corporation
2834:Matrioshka brain
2812:
2811:
2751:List of TV shows
2637:
2636:
2317:
2316:
2151:
2150:
2021:Sword and planet
1911:
1910:
1828:
1821:
1814:
1805:
1804:
1798:
1797:
1791:
1782:
1776:
1775:
1773:
1771:
1748:
1742:
1741:
1731:
1725:
1722:
1716:
1715:
1713:
1711:
1696:
1690:
1689:
1675:
1669:
1668:
1646:
1640:
1639:
1632:Cosmic Critiques
1620:
1614:
1613:
1602:
1596:
1595:
1593:
1592:
1583:. Archived from
1559:
1553:
1552:
1541:
1535:
1534:
1528:
1519:
1511:
1505:
1504:
1478:
1472:
1471:
1460:
1451:
1450:
1443:
1437:
1436:
1429:
1423:
1422:
1410:
1397:
1391:
1390:
1378:
1365:
1356:
1349:
1343:
1342:
1331:. Anchor Press.
1330:
1316:
1310:
1305:Introduction by
1304:
1296:
1290:
1289:
1258:
1252:
1251:
1239:
1226:
1220:
1217:
1211:
1210:
1198:
1192:
1191:
1179:
1173:
1172:
1155:
1149:
1148:
1137:
1131:
1130:
1124:
1111:
1105:
1104:
1096:
1090:
1087:
1071:
1058:
1051:
1045:
1044:
1037:New Maps of Hell
1029:
1023:
1022:
1006:
993:
986:Davenport, Basil
981:
975:
974:
972:
970:
961:. Archived from
955:
949:
947:
936:
930:
929:
923:
914:Davenport, Basil
910:
904:
903:
887:
881:
873:
860:
854:
853:
846:Smith, George O.
842:
836:
835:
823:
817:
815:
808:Of Worlds Beyond
799:
790:
789:
768:, eds. (1983) .
766:Edwards, Malcolm
757:
744:
737:
731:
730:
692:
669:
661:
655:
648:
642:
635:
629:
628:
591:
585:
584:
572:
556:
549:
543:
536:
466:Orson Scott Card
446:Arthur C. Clarke
275:Michael Moorcock
58:Brian Stableford
3396:
3395:
3391:
3390:
3389:
3387:
3386:
3385:
3361:
3360:
3359:
3354:
3353:
3324:
3300:Sense of wonder
3234:
3218:
3151:
3147:Xenoarchaeology
3122:Galactic empire
3077:Africanfuturism
3065:
3034:
2938:
2853:
2797:
2737:
2716:
2680:
2620:
2579:
2342:
2336:
2308:
2202:
2138:
2088:
2065:Techno-thriller
2033:Climate fiction
2001:Science fantasy
1955:Anime and manga
1902:
1861:Anthropological
1837:
1835:Science fiction
1832:
1802:
1801:
1789:
1783:
1779:
1769:
1767:
1765:
1749:
1745:
1732:
1728:
1723:
1719:
1709:
1707:
1705:Writer's Digest
1697:
1693:
1681:Brave New Words
1676:
1672:
1665:
1647:
1643:
1630:, eds. (1990).
1621:
1617:
1603:
1599:
1590:
1588:
1560:
1556:
1542:
1538:
1526:
1512:
1508:
1493:
1479:
1475:
1461:
1454:
1445:
1444:
1440:
1431:
1430:
1426:
1419:
1401:Scholes, Robert
1398:
1394:
1387:
1369:Scholes, Robert
1366:
1359:
1353:Natural History
1350:
1346:
1339:
1321:Spinrad, Norman
1317:
1313:
1297:
1293:
1286:
1266:Wingrove, David
1259:
1255:
1248:
1227:
1223:
1218:
1214:
1209:. pp. 4–6.
1199:
1195:
1180:
1176:
1156:
1152:
1138:
1134:
1112:
1108:
1098:
1097:
1093:
1084:
1052:
1048:
1030:
1026:
1019:
982:
978:
968:
966:
957:
956:
952:
937:
933:
911:
907:
888:
884:
861:
857:
843:
839:
824:
820:
800:
793:
786:
758:
747:
738:
734:
727:
705:Nicholls, Peter
694:Quoted in in:
693:
672:
666:Amazing Stories
662:
658:
649:
645:
636:
632:
625:
603:Nicholls, Peter
592:
588:
573:
569:
564:
559:
550:
546:
537:
533:
529:
504:
267:Thomas M. Disch
195:Basil Davenport
140:Edgar Allan Poe
124:
119:
76:George Orwell's
26:science fantasy
18:science fiction
12:
11:
5:
3394:
3384:
3383:
3378:
3373:
3356:
3355:
3352:
3351:
3341:
3330:
3329:
3326:
3325:
3323:
3322:
3317:
3312:
3307:
3302:
3297:
3292:
3290:Rubber science
3287:
3282:
3277:
3272:
3270:Future history
3267:
3262:
3257:
3252:
3246:
3244:
3240:
3239:
3236:
3235:
3233:
3232:
3226:
3224:
3220:
3219:
3217:
3216:
3211:
3206:
3201:
3196:
3191:
3182:
3177:
3172:
3171:
3170:
3159:
3157:
3153:
3152:
3150:
3149:
3144:
3139:
3134:
3129:
3124:
3119:
3114:
3109:
3104:
3099:
3094:
3092:Alien language
3089:
3087:Alien invasion
3084:
3079:
3073:
3071:
3067:
3066:
3064:
3063:
3058:
3053:
3051:Mind uploading
3048:
3042:
3040:
3036:
3035:
3033:
3032:
3027:
3022:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2977:
2972:
2967:
2962:
2957:
2952:
2946:
2944:
2940:
2939:
2937:
2936:
2931:
2926:
2921:
2916:
2911:
2909:Nanotechnology
2906:
2901:
2896:
2891:
2890:
2889:
2879:
2874:
2869:
2863:
2861:
2855:
2854:
2852:
2851:
2846:
2844:Stellar engine
2841:
2836:
2831:
2826:
2820:
2818:
2809:
2803:
2802:
2799:
2798:
2796:
2795:
2790:
2789:
2788:
2783:
2773:
2768:
2763:
2758:
2753:
2747:
2745:
2739:
2738:
2736:
2735:
2730:
2724:
2722:
2718:
2717:
2715:
2714:
2709:
2704:
2699:
2694:
2688:
2686:
2682:
2681:
2679:
2678:
2677:
2676:
2671:
2661:
2656:
2651:
2645:
2643:
2634:
2630:
2629:
2626:
2625:
2622:
2621:
2619:
2618:
2613:
2608:
2603:
2598:
2593:
2587:
2585:
2581:
2580:
2578:
2577:
2572:
2567:
2562:
2557:
2552:
2547:
2542:
2537:
2532:
2527:
2522:
2517:
2512:
2507:
2502:
2497:
2492:
2487:
2482:
2477:
2472:
2467:
2462:
2457:
2452:
2447:
2442:
2437:
2432:
2427:
2422:
2417:
2412:
2407:
2402:
2397:
2392:
2387:
2382:
2377:
2372:
2367:
2362:
2357:
2352:
2346:
2344:
2341:Literary, art,
2338:
2337:
2335:
2334:
2329:
2323:
2321:
2314:
2310:
2309:
2307:
2306:
2301:
2296:
2291:
2286:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
2236:
2231:
2226:
2221:
2216:
2210:
2208:
2204:
2203:
2201:
2200:
2195:
2190:
2185:
2180:
2175:
2170:
2165:
2160:
2154:
2148:
2144:
2143:
2140:
2139:
2137:
2136:
2131:
2126:
2121:
2116:
2111:
2110:
2109:
2098:
2096:
2090:
2089:
2087:
2086:
2081:
2080:
2079:
2069:
2068:
2067:
2062:
2052:
2051:
2050:
2045:
2040:
2035:
2025:
2024:
2023:
2018:
2013:
2008:
1998:
1997:
1996:
1986:
1985:
1984:
1979:
1974:
1964:
1959:
1958:
1957:
1947:
1942:
1937:
1932:
1931:
1930:
1920:
1914:
1908:
1904:
1903:
1901:
1900:
1895:
1890:
1885:
1880:
1879:
1878:
1873:
1868:
1863:
1853:
1847:
1845:
1839:
1838:
1831:
1830:
1823:
1816:
1808:
1800:
1799:
1777:
1763:
1743:
1726:
1717:
1691:
1670:
1663:
1657:. p. ix.
1641:
1634:. Cincinnati:
1615:
1597:
1554:
1545:Pringle, David
1536:
1506:
1491:
1473:
1452:
1438:
1424:
1417:
1392:
1385:
1357:
1344:
1337:
1323:, ed. (1974).
1311:
1291:
1284:
1253:
1246:
1221:
1212:
1193:
1174:
1150:
1132:
1106:
1091:
1082:
1046:
1033:Amis, Kingsley
1024:
1017:
999:, ed. (1977).
988:, ed. (1959).
976:
950:
931:
905:
882:
855:
837:
818:
806:, ed. (1947).
801:Originally in
791:
784:
745:
732:
725:
670:
656:
643:
630:
623:
586:
566:
565:
563:
560:
558:
557:
544:
530:
528:
525:
524:
523:
517:
511:
503:
500:
499:
498:
491:
490:
486:
482:
479:
475:
470:
469:
463:
457:
443:
437:
431:
425:
419:
413:
386:Philip K. Dick
383:
382:
381:
367:
357:
351:
350:
349:
334:
328:Robert Scholes
325:
319:
316:Norman Spinrad
313:
306:David Ketterer
303:
284:
278:
264:
258:
252:
242:
238:
228:
222:
216:
210:
204:
201:Edmund Crispin
198:
192:
186:
180:
179:
178:
169:
150:
144:
128:Hugo Gernsback
123:
120:
118:
115:
66:Bertolt Brecht
46:Peter Nicholls
9:
6:
4:
3:
2:
3393:
3382:
3379:
3377:
3374:
3372:
3369:
3368:
3366:
3350:
3346:
3342:
3340:
3332:
3331:
3327:
3321:
3318:
3316:
3313:
3311:
3308:
3306:
3303:
3301:
3298:
3296:
3293:
3291:
3288:
3286:
3283:
3281:
3280:Magic realism
3278:
3276:
3273:
3271:
3268:
3266:
3263:
3261:
3258:
3256:
3253:
3251:
3248:
3247:
3245:
3241:
3231:
3228:
3227:
3225:
3221:
3215:
3212:
3210:
3207:
3205:
3202:
3200:
3197:
3195:
3192:
3190:
3186:
3183:
3181:
3178:
3176:
3173:
3169:
3166:
3165:
3164:
3161:
3160:
3158:
3156:Technological
3154:
3148:
3145:
3143:
3140:
3138:
3137:Transhumanism
3135:
3133:
3130:
3128:
3125:
3123:
3120:
3118:
3115:
3113:
3112:First contact
3110:
3108:
3105:
3103:
3100:
3098:
3095:
3093:
3090:
3088:
3085:
3083:
3080:
3078:
3075:
3074:
3072:
3068:
3062:
3059:
3057:
3054:
3052:
3049:
3047:
3044:
3043:
3041:
3039:Psychological
3037:
3031:
3028:
3026:
3023:
3020:
3016:
3013:
3011:
3010:Teleportation
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2990:Portable hole
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2971:
2968:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2948:
2947:
2945:
2941:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2910:
2907:
2905:
2902:
2900:
2897:
2895:
2892:
2888:
2885:
2884:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2864:
2862:
2860:
2856:
2850:
2847:
2845:
2842:
2840:
2837:
2835:
2832:
2830:
2827:
2825:
2822:
2821:
2819:
2817:
2816:Architectural
2813:
2810:
2808:
2804:
2794:
2791:
2787:
2784:
2782:
2779:
2778:
2777:
2774:
2772:
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2748:
2746:
2744:
2740:
2734:
2731:
2729:
2726:
2725:
2723:
2719:
2713:
2712:Short stories
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2689:
2687:
2683:
2675:
2672:
2670:
2667:
2666:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2646:
2644:
2642:
2638:
2635:
2631:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2588:
2586:
2582:
2576:
2573:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2553:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
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1628:Asimov, Isaac
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1262:Aldiss, Brian
1257:
1249:
1247:9780385088879
1243:
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1237:
1231:
1230:Aldiss, Brian
1225:
1216:
1208:
1205:. Editorial.
1204:
1197:
1189:
1185:
1178:
1170:
1166:
1160:
1159:Best SF: 1967
1154:
1146:
1142:
1136:
1128:
1123:
1122:
1116:
1110:
1102:
1095:
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1043:. p. 14.
1042:
1038:
1034:
1028:
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1018:9780060124328
1014:
1010:
1005:
1004:
998:
997:Knight, Damon
994:; cited from
991:
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940:Wyndham, John
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864:Knight, Damon
859:
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833:
829:
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814:. p. 91.
813:
812:Fantasy Press
809:
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785:0-586-05678-5
781:
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553:Extrapolation
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514:Frederik Pohl
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271:An Alien Heat
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255:Frederik Pohl
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241:what-is-its".
239:
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231:Judith Merril
229:
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213:Kingsley Amis
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85:Frederik Pohl
82:
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69:
67:
64:developed by
63:
59:
55:
51:
47:
43:
39:
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33:
31:
27:
23:
19:
3310:Supernatural
3082:Afrofuturism
2995:Space travel
2904:Invisibility
2872:Energy being
2849:Terraforming
2829:Dyson sphere
2824:Colonization
2756:Australasian
2649:Film history
2430:Grand Master
1855:
1796:(40): 19–22.
1793:
1780:
1768:. Retrieved
1753:
1746:
1735:
1729:
1720:
1710:December 21,
1708:. Retrieved
1704:
1694:
1680:
1673:
1653:. New York:
1650:
1644:
1638:. p. 6.
1631:
1618:
1609:
1600:
1589:. Retrieved
1585:the original
1570:
1557:
1548:
1539:
1533:(40): 19–22.
1530:
1518:. Doubleday.
1515:
1509:
1482:
1476:
1467:
1446:
1441:
1432:
1427:
1406:
1395:
1374:
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1347:
1326:
1314:
1307:Ray Bradbury
1300:
1294:
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1120:
1109:
1100:
1094:
1067:
1055:
1049:
1039:. New York:
1036:
1027:
1002:
989:
979:
967:. Retrieved
963:the original
953:
943:
934:
919:
908:
899:
890:
885:
875:
867:
858:
849:
840:
831:
821:
810:. New York:
807:
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735:
708:
664:
659:
651:
646:
638:
633:
606:
589:
580:
570:
552:
547:
539:
534:
460:Jeff Prucher
453:
449:
440:Isaac Asimov
409:
404:
399:
394:
389:
322:Isaac Asimov
309:
298:
294:
290:
287:Ray Bradbury
281:Brian Aldiss
270:
245:Algis Budrys
234:
183:Damon Knight
165:
161:
156:
147:J. O. Bailey
112:
97:
91:
83:(1939) with
78:
70:
54:Encyclopedia
53:
40:, edited by
35:
34:
15:
3376:Definitions
3168:AI takeover
3015:Time travel
2975:Inertialess
2965:Force field
2955:Black holes
2924:Prosthetics
2786:Live-action
2555:Translation
2550:Tour-Apollo
2425:Golden Duck
2327:Jules Verne
2193:Women in SF
2158:Conventions
2043:Libertarian
2006:Dying Earth
1977:Space opera
1945:Inner space
1856:Definitions
701:Clute, John
599:Clute, John
520:Tom Shippey
372:. 1980. "
360:Darko Suvin
338:Eric Rabkin
295:ought to be
261:Darko Suvin
225:Rod Serling
219:James Blish
136:H. G. Wells
132:Jules Verne
117:Definitions
108:Ernst Bloch
104:Darko Suvin
72:Tom Shippey
50:Darko Suvin
3365:Categories
3204:Spacecraft
3180:Holography
3046:Group mind
3025:Warp drive
2980:Multiverse
2970:Hyperspace
2859:Biological
2743:Television
2707:Publishers
2685:Literature
2584:Multimedia
2500:Prometheus
2435:Grand Prix
2350:Astounding
2214:Australian
2119:Dieselpunk
2084:Underwater
1883:Golden Age
1591:2014-12-01
1492:0679747877
1274:. London:
1041:Ballantine
969:3 December
774:. London:
759:Quoted in
711:. London:
609:. London:
562:References
354:James Gunn
62:alienation
42:John Clute
3223:Religious
2934:Symbiosis
2919:Parasites
2877:Evolution
2697:Magazines
2674:Tokusatsu
2455:Kitschies
2385:Deutscher
2343:and audio
2320:Cinematic
2274:Norwegian
2264:Hungarian
2224:Brazilian
2134:Steampunk
2129:Solarpunk
2102:Cyberpunk
2072:Tokusatsu
2055:Tech noir
2038:Christian
2016:Superhero
1907:Subgenres
1770:3 October
1655:Orb Books
1581:0306-4964
992:. Advent.
872:(1): 122.
508:John Boyd
374:'Hard' SF
102:, a term
74:compared
3339:Category
3209:Tachyons
3056:Psionics
3030:Wormhole
3000:Stargate
2943:Physical
2776:Japanese
2771:European
2766:Canadian
2664:Japanese
2616:Spectrum
2596:Chandler
2530:Sunburst
2525:Sturgeon
2515:Sidewise
2505:Rhysling
2475:Nautilus
2445:Heinlein
2400:Endeavor
2355:Aurealis
2304:Yugoslav
2284:Romanian
2269:Japanese
2254:Estonian
2244:Croatian
2229:Canadian
2198:Worldcon
2168:Fanzines
2124:Nanopunk
2107:Japanese
1972:Military
1940:Grimdark
1935:Feminist
1898:Timeline
1893:New Wave
1608:(1988).
1565:(1987).
1547:(1985).
1501:35274535
1466:(1980).
1371:(1975).
1276:Gollancz
1268:(1986).
1232:(1973).
1143:(1971).
1117:(2000).
1035:(1960).
942:(1963).
916:(1955).
898:(1967).
848:(1975).
579:(1980).
489:stories.
454:couldn't
56:article—
3255:Fantasy
3243:Related
3214:Weapons
3189:Cyborgs
2950:Ansible
2761:British
2733:Theatre
2545:Tiptree
2520:Skylark
2465:LaĂźwitz
2450:Ignotus
2440:Harland
2415:Gaughan
2405:FantLab
2370:Chesley
2299:Spanish
2294:Serbian
2289:Russian
2239:Chinese
2234:Chilean
2219:Bengali
2188:Studies
2147:Culture
2114:Biopunk
1962:Mundane
1928:Sitcoms
1888:History
1851:Authors
1843:Outline
891:Skyhook
776:Granada
3349:Portal
3275:Horror
3185:Robots
3142:Uplift
3070:Social
3019:Viewer
2894:Gender
2807:Themes
2702:Novels
2692:Comics
2659:Indian
2601:Dragon
2591:Aurora
2575:Zajdel
2560:Urania
2495:Parsec
2490:Norton
2480:Nebula
2460:Lambda
2420:Geffen
2410:Galaxy
2395:Ditmar
2375:Clarke
2332:Saturn
2313:Awards
2279:Polish
2259:French
2207:Region
2163:Fandom
2060:Spy-Fi
2028:Social
1994:Isekai
1923:Comedy
1761:
1661:
1579:
1575:(40).
1499:
1489:
1415:
1383:
1355:, 1975
1335:
1282:
1244:
1080:
1015:
782:
743:(1947)
723:
621:
485:times.
346:Milton
336:― and
310:donnée
3320:Weird
3102:Black
3005:Stars
2781:Anime
2728:Opera
2721:Stage
2669:Anime
2654:Films
2633:Media
2611:Seiun
2565:Vogel
2510:SFERA
2485:Nommo
2470:Locus
2380:Crook
2249:Czech
2178:ISFDB
2077:Kaiju
1950:Mecha
1790:(PDF)
1527:(PDF)
713:Orbit
611:Orbit
527:Notes
450:could
364:novum
342:Dante
235:learn
157:human
99:novum
3187:and
3127:LGBT
2887:List
2793:U.S.
2641:Film
2606:Hugo
2390:Dick
2360:BSFA
1876:Soft
1866:Hard
1772:2011
1759:ISBN
1712:2023
1659:ISBN
1577:ISSN
1497:OCLC
1487:ISBN
1413:ISBN
1381:ISBN
1333:ISBN
1280:ISBN
1242:ISBN
1078:ISBN
1013:ISBN
971:2006
780:ISBN
721:ISBN
619:ISBN
405:this
390:not.
344:and
299:more
291:were
138:and
87:and
44:and
28:", "
22:fans
2540:TBD
1686:171
1127:300
1074:100
1059:in
400:can
166:got
162:not
3367::
1792:.
1703:.
1626:;
1569:.
1529:.
1495:.
1455:^
1379:.
1360:^
1278:.
1264:;
1186:.
1167:.
1161:.
1076:.
1011:.
926:15
830:.
794:^
778:.
764:;
748:^
703:;
699:;
673:^
601:;
597:;
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134:,
3021:)
3017:(
1827:e
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1774:.
1714:.
1688:.
1667:.
1594:.
1503:.
1449:.
1435:.
1421:.
1389:.
1341:.
1309:.
1288:.
1250:.
1129:.
1103:.
1086:.
1021:.
1009:9
973:.
928:.
788:.
729:.
715:/
627:.
613:/
555:.
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