Fantasy and science fiction in literature

SciFi

Chadbourn (2008) believes that "the more rational the world gets, the more we demand the irrational in our fiction." Although fantasy has been the mainstay of most of the world's literary traditions -- from the mythologies in sacred texts to the eerie universe of the European folktale -- the 20th century has witnessed an incredible flourishing of both science fiction and fantasy. Chadbourn (2008) calls it an "unprecedented fantasy boom." Granted, books in general are more widely available and distributed now than they were before the industrial revolution. Still, the popularity of science fiction and fantasy do reflect general social trends. For one, science fiction is a product of the post-industrial world, one in which science is viewed as both a blessing and a curse. The roots of gothic and horror literature such as Mary Shelley's Frankenstein weave in the natural mistrust of scientific advancement with fantasy motifs and imagery. Moreover, both science fiction and fantasy allow authors to explore themes that might not be possible in a realistic literary setting. As Chadbourn (2008) puts it, "The genre starts at the point where science ends." Finally, fantasy and science fiction do offer arousing alternatives to the predictable, materialistic mindsets of hard science.

A seminal work of science fiction, Jules Verne's 20,000 Leagues Under the Sea uses the sciences of marine biology and ocean navigation as a jumping-off point. The giant squid, massive shipwrecks, and the ruins of Atlantis portray the seas as a frightening and formidable place. The fantasy threats that Verne creates in 20,000 Leagues Under the Sea are technically unnecessary given that traversing the ocean presents very realistic problems, evidenced by the narratives of historical sailors. What makes 20,000 Leagues Under the Sea and similar novels so captivating is that they border on the real so closely that the line between fact and fantasy becomes blurred. In this sense, the Nautilus and its adventures become hyperbole for an ever-increasingly complex world.

Moreover, Verne understands the potency of the fantasy and science fiction genres for exploring universal themes. Like Homer's Odyssey, Verne uses the seafaring journey as a springboard to discuss broader issues such as the search for self-fulfillment and independence. The impossible elements that Captain Nemo encounters are those that develop his character. Nemo's adventures illuminate his motivations, which are squarely human.

Verne also presents exploration itself as inherently treacherous. This is a theme far more present in modern fantasy than the fantasy of Homer's age because of the role exploration played in the course of human history. Exploration is linked with greed and self-aggrandizement, as Nemo is not necessarily concerned with making the world a better place. Furthermore, novels like 20,000 Leagues Under the Sea show that the knowledge that science brings is not necessarily a sign of social progress. Scientific exploration can reveal dangers that would have been better off remaining in the depths of the sea.

When Verne published 20,000 Leagues Under the Sea, giant and powerful submarines like the Nautilus were objects of fantasy. It would not be for several decades that U-boats would become household words. The Nautilus was itself an object of the impossible, even if Captain Nemo's journey was not given that Verne wrote the novel during the throws of the colonial era. The giant squid in 20,000 Leagues Under the Sea was the stuff of seafaring legends until relatively recently. The massive mollusks still do seem fantastical. Several of the irrational elements of 20,000 Leagues Under the Sea seemed more outrageous in the 19th century they do now. However, the novel continues to encapsulate the fantasy and science fiction genres because of its willingness to expand the boundary of what is real. Interestingly, 20,000 Leagues Under the Sea did not stretch those boundaries much further than hard science has.

On the other hand, novels such as the ones in the Twilight series are more squarely fantastical. Barring any major scientific discoveries, vampires and shape-shifters simply do not exist. Such elements of the absolutely impossible serve various literary functions. For instance, in New Moon Stephanie Meyer uses vampires and shape-shifters to develop the central character, a human being. As in Frankenstein, the impossible becomes the best means to explore human motivations, dreams, desires, and weaknesses.

Moreover, the fantasy elements are not inherently good or evil in New Moon. Whereas in 20,000 Leagues Under the Sea, creatures like the giant squid are one-dimensional, in New Moon, the vampires are complex and multi-faceted characters. The vampires are so close to being human that they enable a frank exploration of the human psyche without being restricted to the mundane issues that people face in their daily lives. Readers relate as much to the vampires as to the human characters.

In New Moon, the vampires have the potential to enlighten and harm Bella in ways that ordinary humans could not do. The vampires offer Bella a chance ot be special and unique -- a means to set Bella apart from the human race. Themes like belonging can be explored with particular depth using fantasy creatures like vampires. Ultimately Bella must choose what world she belongs to, and that personal journey is at the core of New Moon.

As someone who appreciates historical fiction and biographical material more than science fiction and fantasy, the otherworldly elements of fantasy sometimes seem superfluous to me. I do not think that elements of the impossible are needed to relay deep existential issues. I also believe that the real world presents enough problems and challenges that fantasy ones can even seem trivial in comparison. At the same time, I have come to understand the difference of using fantasy as a literary technique vs. capitalizing on what the real world has to offer. Fantasy enables the use of metaphor, and the metaphors used in fantasy and science fiction permit the themes of the novel to become universal. This is probably one of the reasons why fantasy and science fiction can inspire reluctant readers.