Rhapsody: Notes On Strange Fictions - Plot & Excerpts
requiring the act of extrapolation rather than the mere presence of science-based conceits and plot devices), it has been adopted largely as a descriptor for the field at its most inchoate, used as a default term for works defying easy categorisation within the tribalist rhetorics that stand in place of any coherent taxonomy. But in this explorative and experimental fiction-of-science, science-of-fiction, fiction-as-science, it seems apt as a reaction to the ossifying conflict of territorial nonsenses, as a rejection of the whole tired discourse of science fiction versus Science Fiction versus Sci-Fi versus science fiction versus Fantasy versus fantasy. It’s what the doohickey does that matters, not whether it comes under the heading of gadget or gimcrack. In the SF Café: —Is it science fiction, fantasy or horror? you ask. —Yes, answers the speculative fiction writer. For all that this answer is apparently unacceptable to some turf war partisans in the SF Café, it is largely their insistence on closed definitions of these idioms as Genres that makes it inevitable.
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