I reproduce below the full text of “The Mundane Manifesto,” signed by Geoff Ryman and others from the 2004 Clarion West workshop (the complete list of workshop participants at the end of this post). The Manifesto argued for a science fiction that was squarely centered on humans and the future of planet Earth, including its
“Science fiction then should be an effective literature of social criticism—but I have said that it is not. I will climb onto Limb Number Two in an attempt to explain why it is not. I believe that in science fiction the symbolism lies too deep for action to result, that the science fiction story does
In April 1926, Hugo Gernsback used the term “scientifiction” to refer to the content of his new magazine. In his profile piece on Gernsback in the September 1960 issue of Amazing Science Fiction Stories, Sam Moskowitz concludes his encomium thus: “‘His editorial in the first, April, 1926, AMAZING contained the statement, “Edgar Allan Poe may
Two classics of silent era SF, Fritz Lang and Thea von Harbou’s Metropolis, and Alexei Tolstoy’s Aelita (1922) adapted for the screen by Yakov Protazanov in 1924, represent the impact of political movements on scientific development and visions of human futures. Metropolis has been endlessly interpreted and reinterpreted as representing, at various times, Bolshevik or
“Science fiction, like medieval painting, addresses itself to the mind, not the eye. We are not presented with a representation of what we know to be true through direct experience; rather we are given what we know to be true through other means—or in the case of science fiction, what we know to be at
Note: All characters in this novel are fictitious except possibly the Martians. – Edgar Pangborn, A Mirror for Observers (1954)
“I believe we lose immortality because we have not conquered our opposition to death; we keep insisting on the primary, rudimentary idea: that the whole body should be kept alive. We should seek to preserve only the part that has to do with consciousness.” – Adolfo Bioy Casares, The Invention of Morel (trans. Ruth L.