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CBSE Class 12 English (Elective) Non Fiction Chapter 6 – On Science Fiction Summary, Explanation along with Difficult Word Meanings from Kaleidoscope Book
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CBSE Class 12 English (Elective) Non Fiction Chapter 6 – On Science Fiction
Isaac Asimov
In his essay “On Science Fiction,” Isaac Asimov discusses what makes the Science fiction genre special. He points out that science fiction focuses on ideas about the future and new technologies. It is not just about cool gadgets; it also looks at how these technologies can affect human life and society. This genre allows us to think about philosophical and ethical questions related to the future. Asimov emphasizes that science fiction can help us imagine future possibilities and consider their effects.
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On Science Fiction Summary
The Prescientific Universe
Issac’s essay ‘On Science Fiction’ discusses the period before science fiction truly began and how some early ideas still appear in stories today. It is like comparing cave paintings to modern art; both are forms of art, but they come from different times and cultures. The author believes that real science fiction only emerged in the last 200 years. This happened because people needed to understand that science and technology shape the future. Before this, changes were so slow that people didn’t notice them in their own lives. It was during the Industrial Revolution that people started to see how science and technology could create change.
Even before science fiction, people loved stories about strange and powerful things. The essay explains that humans have always been intrigued by science and scientists, viewing them as those who can unlock the universe’s secrets and use that knowledge for incredible purposes. As humans learn more about science, they can achieve even more. In the past, however, people didn’t understand natural laws. They believed the universe was controlled by powerful beings, like gods, who were often imagined as super-powered humans or animals and could be unpredictable. People performed rituals to please these gods and gain their favor. If things went wrong, they blamed someone for angering the gods. The leaders of these rituals, like priests and magicians, were seen as having special knowledge and power, similar to modern-day scientists.
Ancient myths and stories often feature characters with amazing abilities, like flying on magical creatures or seeing distant places with crystal balls. These tales remain exciting today, even with planes and televisions. The author points out that both old stories and modern science fiction present ideas humans don’t yet understand and inspire wonder. The main difference is that myths explain things through gods and magic, while science fiction uses science and natural laws.
The author argues that science fiction is more relevant today because we now know that the universe works based on natural laws, not magic. However, they believe one should not dismiss old myths and legends just because they are not scientific. These stories have entertained people for thousands of years. Similarly, people can still enjoy old stories about sword battles and sailing ships, even if our weapons have changed.
The author concludes that fans of exciting science fiction can also appreciate thrilling stories based on mythology. Though these stories exist in different worlds, they often follow similar patterns. While the author prefers a strict definition of science fiction, they accept that older stories are like science fiction set in a “pre-scientific” world. They believe these stories should be judged by whether they are well-written, exciting, and make sense within their own universe.
The Universe of Science Fiction
The author, who has started putting together collections of science fiction stories (called “anthologies”), jokes that some might think he’s past his prime as a writer. However, he sees it as using his long experience to help people who love science fiction. He also admits that he often gets other people to help him with the more boring parts of the job, like paperwork.
He mentions one of his recent anthologies, “The 13 Crimes of Science Fiction,” which he worked on with other editors. For this book, he wrote an introduction that connects science fiction to other types of stories, especially mystery stories. He’s sharing that introduction here.
The author believes that science fiction is a big and important part of literature, not because of what it’s about, but because of how it’s about it. To explain this, he compares science fiction to other genres. First, the Sports stories are always about some kind of competition, usually involving physical activity. Second, Westerns are about the lives of cowboys in the American West in the late 1800s. Third, Jungle stories are about the dangers of living in a thick, tropical forest.
The author argues that you can take the basic ideas from any of these genres and put them in a completely different setting, and the story will still be recognizable, but it will also become science fiction.
For example, A sports story could be about a game played with different equipment in zero gravity on a space station. A Western could be about a “Fishboy” who herds fish instead of cattle, with dolphins instead of horses. A jungle story could be set on a dangerous alien planet with strange plants and animals.
He goes even further, saying that you could take a very serious and deep story about human nature and set it in a world where space travel is normal, and it would become both great literature and science fiction.
The author agrees with the science fiction editor John W. Campbell, who said that science fiction can be about any kind of society you can imagine, whether it’s in the past, future, or completely made up. It can explore anything that could possibly happen in those societies. “Mainstream” fiction, on the other hand, focuses on the present and only uses a little bit of imagination.
However, the author disagrees with Campbell on one point. Campbell thought it was impossible to write a good science fiction mystery. He believed that the freedom that science fiction gives writers would make it too easy to cheat and break the rules of a fair mystery story. The author gives an example of a detective suddenly using a never-before-mentioned gadget to solve the crime.
The author admits that it’s tempting for writers to do this, even in regular mystery stories. For instance, Sherlock Holmes’s amazing ability to identify different types of tobacco ash is a bit unrealistic. Also, mystery writers can always use real scientific discoveries that the reader might not know about, which could seem like cheating. The author points out that many mystery writers don’t have a strong background in science, which can lead to mistakes that ruin the story. He gives examples of authors who confused different chemical substances or got scientific concepts wrong.
He acknowledges that writing a science fiction mystery is more difficult, because you have to understand the science involved and how it could be changed or expanded. However, he argues that it’s definitely possible to write a fair and satisfying science fiction mystery.
The author explains that a science fiction mystery can be set in the future or in a very different kind of society, with things like telepathy or faster-than-light travel. But the basic rules of a good mystery story still apply. The author must clearly explain the rules of this fictional world to the reader. The reader must see and hear everything that the detective does, and be aware of all the clues. There can be false leads and confusion, but the reader should still be able to follow the detective and try to solve the mystery along with them, no matter how strange the setting is.The author concludes by pointing to his own science fiction mystery novels, “The Caves of Steel” and “The Naked Sun,” as proof that it can be done. He wrote these books in the 1950s, and they show that John Campbell was wrong to underestimate the possibilities of science fiction.
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On Science Fiction Summary in Hindi
पूर्व वैज्ञानिक ब्रह्मांड
इसाक के निबंध ‘ऑन साइंस’ में विज्ञान कथा वास्तव में शुरू होने से पहले की अवधि पर चर्चा की गई है और कैसे कुछ प्रारंभिक विचार आज भी कहानियों में दिखाई देते हैं।यह गुफा चित्रों की तुलना आधुनिक कला से करने जैसा है; दोनों कला के रूप हैं, लेकिन वे अलग-अलग समय और संस्कृतियों से आते हैं।लेखक का मानना है कि वास्तविक विज्ञान कथा केवल पिछले 200 वर्षों में उभरी है।ऐसा इसलिए हुआ क्योंकि लोगों को यह समझने की जरूरत थी कि विज्ञान और प्रौद्योगिकी भविष्य को आकार देते हैं।इससे पहले, परिवर्तन इतने धीमे थे कि लोगों ने उन्हें अपने जीवन में नोटिस नहीं किया था।यह औद्योगिक क्रांति के दौरान था जब लोगों ने यह देखना शुरू किया कि विज्ञान और प्रौद्योगिकी कैसे बदलाव ला सकते हैं।
विज्ञान कथा से पहले भी, लोगों को अजीब और शक्तिशाली चीजों के बारे में कहानियाँ पसंद थीं।पाठ बताता है कि मनुष्य हमेशा विज्ञान और वैज्ञानिकों से चिंतित रहे हैं, उन्हें उन लोगों के रूप में देखते हैं जो ब्रह्मांड के रहस्यों को खोल सकते हैं और उस ज्ञान का उपयोग अविश्वसनीय उद्देश्यों के लिए कर सकते हैं।जैसे-जैसे हम विज्ञान के बारे में अधिक सीखेंगे, हम और भी अधिक हासिल कर सकते हैं।हालाँकि, अतीत में, लोग प्राकृतिक नियमों को नहीं समझते थे।उनका मानना था कि ब्रह्मांड देवताओं जैसे शक्तिशाली प्राणियों द्वारा नियंत्रित था, जिन्हें अक्सर सुपर-पावर वाले मनुष्यों या जानवरों के रूप में कल्पना की जाती थी और जो अप्रत्याशित हो सकते थे।लोग इन देवताओं को प्रसन्न करने और उनकी कृपा प्राप्त करने के लिए अनुष्ठान करते थे।अगर कुछ गलत हुआ, तो उन्होंने देवताओं को क्रोधित करने के लिए किसी को दोषी ठहराया।इन अनुष्ठानों के नेताओं, जैसे पुजारियों और जादूगरों को आज के वैज्ञानिकों के समान विशेष ज्ञान और शक्ति के रूप में देखा जाता था।
प्राचीन मिथकों और कहानियों में अक्सर अद्भुत क्षमताओं वाले पात्रों को दिखाया जाता है, जैसे जादुई जीवों पर उड़ना या क्रिस्टल गेंदों के साथ दूर के स्थानों को देखना।ये कहानियाँ आज भी रोमांचक बनी हुई हैं, यहाँ तक कि विमानों और टेलीविजन के साथ भी।लेखक इंगित करते हैं कि पुरानी कहानियाँ और आधुनिक विज्ञान कथा दोनों उन विचारों को प्रस्तुत करती हैं जिन्हें हम अभी तक समझ नहीं पाए हैं और आश्चर्य को प्रेरित करते हैं।मुख्य अंतर यह है कि मिथक देवताओं और जादू के माध्यम से चीजों की व्याख्या करते हैं, जबकि विज्ञान कथा विज्ञान और प्राकृतिक नियमों का उपयोग करती है।
लेखक का तर्क है कि विज्ञान कथा आज अधिक प्रासंगिक है क्योंकि अब हम जानते हैं कि ब्रह्मांड प्राकृतिक नियमों पर आधारित है, जादू पर नहीं।हालाँकि, उनका मानना है कि हमें पुराने मिथकों और किंवदंतियों को सिर्फ इसलिए खारिज नहीं करना चाहिए क्योंकि वे वैज्ञानिक नहीं हैं।इन कहानियों ने हजारों वर्षों से लोगों का मनोरंजन किया है।इसी तरह, हम अभी भी तलवार की लड़ाई और नौकायन जहाजों के बारे में पुरानी कहानियों का आनंद ले सकते हैं, भले ही हमारे हथियार बदल गए हों।
लेखक ने निष्कर्ष निकाला है कि रोमांचक विज्ञान कथा के प्रशंसक पौराणिक कथाओं पर आधारित रोमांचक कहानियों की भी सराहना कर सकते हैं।हालाँकि ये कहानियाँ अलग-अलग दुनिया में मौजूद हैं, लेकिन वे अक्सर समान पैटर्न का पालन करती हैं।जबकि लेखक विज्ञान कथा की एक सख्त परिभाषा पसंद करते हैं, वे स्वीकार करते हैं कि पुरानी कहानियाँ “पूर्व-वैज्ञानिक” दुनिया में स्थापित विज्ञान कथा की तरह हैं।उनका मानना है कि इन कहानियों को इस आधार पर आंका जाना चाहिए कि क्या वे अच्छी तरह से लिखी गई हैं, रोमांचक हैं, और अपने स्वयं के ब्रह्मांड के भीतर समझ में आती हैं।
II. विज्ञान कथा का ब्रह्मांड
लेखक, जिन्होंने विज्ञान कथा कहानियों के संग्रह (जिन्हें “संकलन” कहा जाता है) को एक साथ रखना शुरू कर दिया है, मजाक करते हैं कि कुछ लोगों को लगता है कि वह एक लेखक के रूप में अपने प्रमुख समय को पार कर चुके हैं।हालाँकि, वह इसे अपने लंबे अनुभव का उपयोग उन लोगों की मदद करने के रूप में देखते हैं जो विज्ञान कथा से प्यार करते हैं।वह यह भी स्वीकार करता है कि वह अक्सर कागजी कार्रवाई जैसे काम के अधिक उबाऊ हिस्सों में उसकी मदद करने के लिए अन्य लोगों से मिलता है।
उन्होंने अपने हालिया संकलनों में से एक, “द 13 क्राइम्स ऑफ साइंस फिक्शन” का उल्लेख किया, जिस पर उन्होंने अन्य संपादकों के साथ काम किया।इस पुस्तक के लिए, उन्होंने एक परिचय लिखा जो विज्ञान कथा को अन्य प्रकार की कहानियों, विशेष रूप से रहस्य कहानियों से जोड़ता है।वह उस परिचय को यहाँ साझा कर रहे हैं।
लेखक का मानना है कि विज्ञान कथा साहित्य का एक बड़ा और महत्वपूर्ण हिस्सा है, इसलिए नहीं कि यह किस बारे में है, बल्कि इसलिए कि यह इसके बारे में कैसा है।इसे समझाने के लिए, वह विज्ञान कथा की तुलना अन्य शैलियों से करते हैं।सबसे पहले, खेल की कहानियाँ हमेशा किसी न किसी प्रकार की प्रतियोगिता के बारे में होती हैं, जिसमें आमतौर पर शारीरिक गतिविधि शामिल होती है।दूसरा, पश्चिमी 1800 के दशक के अंत में अमेरिकी पश्चिम में काउबॉय के जीवन के बारे में हैं।तीसरा, जंगल की कहानियाँ एक घने, उष्णकटिबंधीय जंगल में रहने के खतरों के बारे में हैं।
लेखक का तर्क है कि आप इनमें से किसी भी शैली से बुनियादी विचारों को ले सकते हैं और उन्हें पूरी तरह से अलग सेटिंग में रख सकते हैं, और कहानी अभी भी पहचानने योग्य होगी, लेकिन यह विज्ञान कथा भी बन जाएगी।
उदाहरण के लिए, एक खेल की कहानी एक अंतरिक्ष स्टेशन पर शून्य गुरुत्वाकर्षण में विभिन्न उपकरणों के साथ खेले जाने वाले खेल के बारे में हो सकती है।एक पश्चिमी एक “फिशबॉय” के बारे में हो सकता है जो मवेशियों के बजाय घोड़ों के बजाय डॉल्फिन के साथ मछली पालता है।एक जंगल की कहानी अजीब पौधों और जानवरों के साथ एक खतरनाक विदेशी ग्रह पर स्थापित की जा सकती है।
वह यह कहते हुए आगे बढ़ते हैं कि आप मानव स्वभाव के बारे में एक बहुत ही गंभीर और गहरी कहानी ले सकते हैं और इसे एक ऐसी दुनिया में स्थापित कर सकते हैं जहां अंतरिक्ष यात्रा सामान्य है, और यह महान साहित्य और विज्ञान कथा दोनों बन जाएगा।
लेखक विज्ञान कथा संपादक जॉन डब्ल्यू. कैम्पबेल से सहमत हैं, जिन्होंने कहा था कि विज्ञान कथा किसी भी प्रकार के समाज के बारे में हो सकती है जिसकी आप कल्पना कर सकते हैं, चाहे वह अतीत में हो, भविष्य में हो, या पूरी तरह से बना हुआ हो।यह उन समाजों में होने वाली किसी भी चीज का पता लगा सकता है।दूसरी ओर, “मेनस्ट्रीम” कथा, वर्तमान पर केंद्रित है और केवल थोड़ी सी कल्पना का उपयोग करती है।
हालांकि, लेखक एक बिंदु पर कैंपबेल से असहमत हैं।कैम्पबेल ने सोचा कि एक अच्छा विज्ञान कथा रहस्य लिखना असंभव था।उनका मानना था कि विज्ञान कथा लेखकों को जो स्वतंत्रता देती है, वह एक निष्पक्ष रहस्य कहानी के नियमों को धोखा देना और तोड़ना बहुत आसान बना देगी।लेखक एक जासूस का उदाहरण देता है जो अपराध को हल करने के लिए अचानक पहले कभी उल्लेख नहीं किए गए गैजेट का उपयोग करता है।
लेखक स्वीकार करता है कि लेखकों के लिए ऐसा करना लुभावना है, यहां तक कि नियमित रहस्य कहानियों में भी।उदाहरण के लिए, शर्लक होम्स की विभिन्न प्रकार की तंबाकू राख की पहचान करने की अद्भुत क्षमता थोड़ी अवास्तविक है।इसके अलावा, रहस्य लेखक हमेशा वास्तविक वैज्ञानिक खोजों का उपयोग कर सकते हैं जिनके बारे में पाठक को पता नहीं होगा, जो धोखा देने जैसा लग सकता है।लेखक इंगित करते हैं कि कई रहस्य लेखकों की विज्ञान में मजबूत पृष्ठभूमि नहीं है, जिससे गलतियाँ हो सकती हैं जो कहानी को बर्बाद कर देती हैं।वे उन लेखकों के उदाहरण देते हैं जिन्होंने विभिन्न रासायनिक पदार्थों को भ्रमित किया या वैज्ञानिक अवधारणाओं को गलत पाया।
वह स्वीकार करते हैं कि एक विज्ञान कथा रहस्य लिखना अधिक कठिन है, क्योंकि आपको इसमें शामिल विज्ञान को समझना होगा और इसे कैसे बदला या विस्तारित किया जा सकता है।हालाँकि, उनका तर्क है कि एक निष्पक्ष और संतोषजनक विज्ञान कथा रहस्य लिखना निश्चित रूप से संभव है।
लेखक बताते हैं कि एक विज्ञान कथा रहस्य को भविष्य में या एक बहुत ही अलग तरह के समाज में टेलीपैथी या प्रकाश से तेज यात्रा जैसी चीजों के साथ स्थापित किया जा सकता है।लेकिन एक अच्छी रहस्यमयी कहानी के बुनियादी नियम अभी भी लागू होते हैं।लेखक को पाठक को इस काल्पनिक दुनिया के नियमों को स्पष्ट रूप से समझाना चाहिए।पाठक को वह सब कुछ देखना और सुनना चाहिए जो जासूस करता है, और सभी सुरागों से अवगत होना चाहिए।गलत सुराग और भ्रम हो सकता है, लेकिन पाठक को अभी भी जासूस का अनुसरण करने में सक्षम होना चाहिए और उनके साथ रहस्य को हल करने का प्रयास करना चाहिए, चाहे सेटिंग कितनी भी अजीब क्यों न हो।लेखक अपने स्वयं के विज्ञान कथा रहस्य उपन्यासों, “द केव्स ऑफ स्टील” और “द नेकेड सन” की ओर इशारा करते हुए निष्कर्ष निकालते हैं, इस बात के प्रमाण के रूप में कि यह किया जा सकता है।उन्होंने इन पुस्तकों को 1950 के दशक में लिखा था, और वे दिखाते हैं कि जॉन कैंपबेल ने विज्ञान कथा की संभावनाओं को कम करके आंका था।
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On Science Fiction Themes
Unique Genre
In On Science Fiction, Isaac Asimov examines what makes science fiction a unique genre. He explains how it differs from other genres by focusing on imaginative ideas and future technologies. The heart of science fiction is to envision future possibilities and consider their effects.
Impact on Human Life and Society
Asimov states that science fiction isn’t just about advanced technology; it also looks at how this technology impacts human life and society. The genre serves as a way to discuss important philosophical and ethical questions about our future. By imagining new worlds, science fiction helps us understand current issues and deepens our insight into the human experience. Overall, On Science Fiction highlights how this genre uses creativity to reflect on today and tomorrow, emphasizing its importance in encouraging thought and curiosity about what lies ahead.
On Science Fiction: Lesson Explanation With Word Meanings
I
The Prescientific Universe
Foreword
Passage – To every history there is a prehistoric period. In the case of science fiction, the prehistory lingers on even today in some of the aspects of the field.
But what of that? Just as Ice Age art can hold up its head with any form of art produced by sophisticated modern man, so can the prehistoric aspects of science fiction prove an accomplished literary form.
Word meanings
prehistoric: the time in human history before the existence of written records or documentation
lingers: be slow to disappear or die.
Ice Age: the geological epoch known as the Ice Age is called the Pleistocene. It lasted from approximately 2.6 million years ago to 11,700 years ago.
sophisticated: having, revealing, or involving a great deal of worldly experience and knowledge of fashion and culture.
accomplished: achieve or complete successfully.
Explanation of the above passage—Every history has a period that precedes itself. In science fiction, certain elements of this prehistoric period continue to persist till the present day. The narrator questions its relevance. Similar to how Ice Age artwork can stand proudly alongside creations by more advanced contemporary humans, the primitive aspects of science fiction can also be recognized in terms of a modern day literary genre.
Passage
I have often made the point that true science fiction is a creature of the last two centuries. Science fiction cannot exist as a picture of the future unless, and until, people get the idea that it is science and technology that produce the future; that it is advances in science and technology (or, at the very least, changes in them) that are bound to make the future different from the present and the past, and that thereby hangs a tale.
Naturally, no one could possibly get that idea until the rate of scientific and technological change became great enough to be noticed by people in the course of their lifetime. That came about with the Industrial Revolution say, by 1800—and it was only thereafter that science fiction could be written.
And yet there must have been something that came before science fiction, something that was not science fiction and yet filled the same emotional needs. There must have been tales of the strange and different, of life not as we know it, and of powers transcending our own.
Word meanings
hangs a tale: used to indicate that there is more to say about something.
Industrial Revolution: the period of significant technological and societal change, starting in the 18th century, that transformed economies from agrarian and handicraft-based to those dominated by industry and machine manufacturing.
transcending: be or go beyond the range or limits of
Explanation of the above passage—The narrator often emphasises that genuine science fiction is a phenomenon that emerged in the past two hundred years. Science fiction cannot portray the future until individuals recognise that it is science and technology that shape it and that advancements in these fields or at the very least, changes within them will inevitably make the future distinct from both present and past, wherein lies a story.
Of course, no one could grasp that idea until the pace of scientific and technological progress became significant enough
to be perceived by individuals during their lives. This realization began around the time of the Industrial Revolution, approximately by 1800 and it was only after that point that science fiction could be crafted.
However, there must have been something that precedes science fiction, something that, while not fitting the science fiction genre, still satisfied similar emotional needs. There must have been stories about the unusual and unfamiliar, about life diverging from people’s perceptions, and about powers that surpass their own.
Passage- Let’s consider—
The respect that people have for science and for scientists (or the fear that people have or a combination of both) rests on the certain belief that science is the key to the understanding of the Universe and that scientists can use science to manipulate that key. Through science, people can make use of the laws of nature to control the environment and enhance human powers. By the steadily increasing understanding of the details of those laws, human powers will be greater in the future than in the past. If we can imagine the different ways in which they will be greater, we can write our stories.
In previous centuries, however, most men had but a dim understanding, if any at all, of such things as laws of nature. They did not know of rules that were unbreakable; of things-as-they-must-be that could serve neither to help us nor to thwart us but that might allow themselves to be ridden to glory, if we but knew how.
Instead, there was the notion that the Universe was the plaything of life and the will; that if there were events that seemed analogous to human deeds but that were far greater in analogous, they were carried through by lifeform’s resembling those we know but greater in size and power.
Word meanings
manipulate:
steadily: in a regular and even manner.
thwart: prevent (someone) from accomplishing something.
ridden to glory: victorious or triumphant manner, leading to a position of honor and praise
analogous: comparable in certain respects, typically in a way which makes clearer the nature of the things compared.
resembling: have a similar appearance to or qualities in common with (someone or something); look or seem like.
Explanation of the above passage—The narrator begins to examine this. The esteem that individuals have for science and scientists or the understanding they might feel or a mixture of both, is founded on the firm belief that science is the key that unlocks the secrets of the Universe, and that scientists can use this knowledge to manipulate it. Through scientific understanding, people can use the principles of nature to shape their surroundings and amplify human capabilities. As their understanding of these principles continues to grow, human abilities will expand in the future compared to the past. If they can envision the various ways in which it will elevate, they can craft their narratives.
In earlier centuries, however, most individuals possessed only a vague understanding, if any, of concepts like natural laws. They were unaware of immutable rules; of realities that exist not to assist them nor obstruct them, but that could potentially be harnessed for greatness, provided they understood their workings.
Instead, there was a belief that the Universe was subject to the notion of life and will; that if there were occurrences that appeared similar to human actions but on a grander scale, they were enacted by lifeforms similar to those they know, yet magnified in size and power.
Passage – The beings who controlled natural phenomena were therefore pictured in human form, but of superhuman strength, size, abilities, and length of life. Sometimes they were pictured as superanimal, or as supercombinations of animals. (The constant reference to the ordinary in the invention of the unusual is only to be expected, for imaginations are sharply limited, even among the best of us, and it is hard to think of anything really new or unusual—as Hollywood ‘Sci-fi’ constantly demonstrates.)
Since the phenomena of the Universe don’t often make sense, the gods are usually pictured as whimsical and unpredictable; frequently little better than childish. Since natural events are often disastrous, the gods must be easily offended. Since natural events are often helpful, the gods are basically kindly, provided they are well-treated and that their anger is not roused.
It is only too reasonable to suppose that people would invent formulas for placating the gods and persuading them to do the right thing. Nor can the validity of these formulas be generally disproven by events. If the formulas don’t work, then undoubtedly someone has done something to offend the gods. Those who had invented or utilised the formulas had no problems in finding guilty parties on whom to blame the failure of the formula in specific instances, so that faith in the formulas themselves never wavered. (We needn’t sneer. By the same principle, we continue to have faith in economists, sociologists, and meteorologists today, even though their statements seem to match reality only erratically at best.)
Word meanings
Beings who controlled natural phenomena: deities or supernatural entities responsible for natural events like storms, earthquakes, or the flow of rivers, according to various mythological systems.
phenomena: a fact or situation that is observed to exist or happen, especially one whose cause or explanation is in question.
whimsical: unusual and strange in a way that might be funny or annoying
placating: intended to make someone less angry or hostile.
disproven: having been proven false or incorrect.
offend: cause to feel upset, annoyed, or resentful
wavered: become weaker; falter.
sneer: a contemptuous or mocking smile, remark, or tone
economists: an expert in economics.
sociologists: an expert in or student of the development, structure, and functioning of human society
meteorologists: an expert in or student of meteorology; a weather forecaster.
erratically: in a manner that is not even or regular in pattern or movement; unpredictably.
Explanation of the above passage—The deities or supernatural entities responsible for natural events were often depicted in human likeness, yet with extraordinary strength, size, abilities, and longevity. Occasionally, they were illustrated as enhanced animals or as hybrids of various animals. The frequent connection to the mundane in the creation of the extraordinary is to be anticipated, as imaginations are significantly constrained, even among the most creative, and it is challenging to conceive of anything truly novel or atypical, as evidenced by Hollywood’s ‘Sci-fi.’
Because the events of the Universe frequently lack to fit together well, the deities are typically portrayed as temperamental and unpredictable; often little more than immature in nature. Given that natural occurrences can be disastrous, the gods are likely to be easily offended. However, since natural events can also be beneficial, the gods are fundamentally benevolent, provided they are treated well and their displeasure is not provoked.
It stands to reason that people would create rituals to appease the gods and encourage them to act favourably. Moreover, the effectiveness of these rituals cannot be definitively refuted by outcomes. If the rituals fail, it can easily be assumed that someone has displeased the gods. Those who devised or employed the rituals had no trouble identifying those accountable for the failure in particular cases, ensuring that belief in the rituals themselves remained constant. People shouldn’t reject the belief in the rituals. By the same logic, they continue to trust economists, sociologists, and meteorologists today, even when their predictions seem to align with reality only occasionally at best.
Passage – In prescientific times, then, it was the priest, magician, wizard, shaman (again the name doesn’t matter) who filled the function of the scientist today. It was the priest, etc., who was perceived as having the secret of controlling the Universe, and it was advances in the knowledge of magical formulas that could enhance power.
The ancient myths and legends are full of stories of human beings with supernormal powers. There are the legendary heroes, for instance, who learn to control winged horses or flying carpets. Those ancient pieces of magic still fascinate us today, and I imagine a youngster could thrill to such mystical methods of aeronavigation and long for the chance to partake in it, even if he were reading the tales while on a jet plane.
Think of the crystal ball, into which one can see things that are happening many miles away, and magic shells that can allow us to hear the whisperings of humans many miles away. How much more wonderful than the television sets and the telephones of today!
Word meanings
shaman: a person regarded as having access to, and influence in, the world of good and evil spirits, especially among some peoples of northern Asia and North America.
supernormal: exceeding or beyond the normal; exceptional.
aeronavigation: the process of guiding an aircraft from one point to another while maintaining its position and direction
partake: join in (an activity).
Explanation of the above passage—In pre-scientific times, the role of today’s scientist was fulfilled by the priest, magician, wizard, or shaman, whichever title is used is irrelevant. It was these figures who were believed to possess the knowledge needed to control the Universe, and advancements in their understanding of magical techniques were thought to enhance their power.
Ancient myths and tales are filled with accounts of individuals with extraordinary abilities. For example, some mythical heroes master the art of commanding flying horses or magical carpets. These old tales of enchantment continue to captivate them, and the narrator can imagine a young reader getting excited about such mystical forms of airborne travel, even while reading those stories in a jet plane.
Think about the crystal ball, which allows one to glimpse events occurring far away, and the enchanted shells that enable them to hear distant voices. The narrator wonders how much more magical they seem compared to today’s televisions and telephones.
Passage – Consider the doors that open with ‘Open sesame’ rather than by the click of a remote-control device. Consider the seven-league boots that can transport you across the countryside almost as quickly as an automobile can.
Or, for that matter, think of the monsters of legend, the powerful travesties of life invented by combining animal characteristics: the man-horse Centaur, the man-goat Satyr, the woman-lion Sphinx, the woman-hawk Harpy, the eagle-lion Gryphon, the snake-woman Gorgon, and so on. In science fiction we have extraterrestrials that are often built up on the same principle.
The goals of these ancient stories are the same as those of modern science fiction—the depiction of life as we don’t know it.
The emotional needs that are fulfilled are the same— the satisfaction of the longing for wonder.
The difference is that the ancient myths and legends fulfil those needs and meet those goals against the background of a Universe that is controlled by gods and demons who can, in turn, be controlled by magical formulas either in the form of enchantments to coerce, or prayers to cajole. Science fiction, on the other hand, fulfils those needs against the background of a Universe that is controlled by impersonal and unswervable laws of nature, which can, in turn, be controlled by an understanding of their nature.
In a narrow sense, only science fiction is valid for today since, as far as we can tell, the Universe does follow the dictates of the laws of nature and is not at the mercy of gods and demons.
Word meanings
Open sesame: the magical command used by Ali Baba to open the door of the robbers’ den in the story Ali Baba and the Forty Thieves.
travesties: a false, absurd, or distorted representation of something.
Centaur: a false, absurd, or distorted representation of something.
Satyr: one of a class of lustful, drunken woodland gods. In Greek art they were represented as a man with a horse’s ears and tail, but in Roman representations as a man with a goat’s ears, tail, legs, and horns.
Sphinx: a winged monster having a woman’s head and a lion’s body. It propounded a riddle about the three ages of man, killing those who failed to solve it, until Oedipus was successful, whereupon the Sphinx committed suicide.
Harpy: a rapacious monster described as having a woman’s head and body and a bird’s wings and claws or depicted as a bird of prey with a woman’s face.
Gryphon: a mythical creature with the head and wings of an eagle and the body of a lion, typically depicted with pointed ears and with the eagle’s legs taking the place of the forelegs.
Gorgon: each of three sisters, Stheno, Euryale, and Medusa, with snakes for hair, who had the power to turn anyone who looked at them to stone. Medusa was killed by Perseus.
extraterrestrials: a hypothetical or fictional being from outer space.
enchantments: a feeling of great pleasure; delight.
coerce: persuade (an unwilling person) to do something by using force or threats
cajole: persuade (someone) to do something by sustained coaxing or flattery.
impersonal: not influenced by, showing, or involving personal feelings.
unswervable: not changing or becoming weaker; unswerving.
dictates: state or order authoritatively.
mercy: compassion or forgiveness shown towards someone whom it is within one’s power to punish or harm.
Explanation of the above passage—The narrator tells the reader to ponder about the doors that swing open with the phrase ‘Open sesame,’ instead of responding to a remote-control click. Reflect on the seven-league boots that can carry one across the land almost as swiftly as a car can.
Consider, for instance, the legendary creatures, the formidable fusions of life that combine traits from different animals: the Centaur, part man and part horse; the Satyr, part man and part goat; the Sphinx, part woman and part lion; the Harpy, part woman and part hawk; the Gryphon, part eagle and part lion; the Gorgon, part snake and part woman; and so forth. In the realm of science fiction, people encounter extraterrestrials (a hypothetical or fictional being from outer space) constructed on a similar principle.
The objectives of these ancient tales mirror those found in contemporary science fiction, the illustration of life in forms people cannot yet comprehend.
The emotional desires served are alike which is the fulfilment of their yearning for awe.
The distinction lies in that ancient myths and legends satisfy these desires and achieve these goals within a Universe overseen by divine beings and spirits, who can themselves be influenced by magical chants that pressurize them or prayers that persuade them. Conversely, science fiction addresses these needs against a backdrop of a Universe governed by fixed, impartial laws of nature, which can be influenced through an understanding of those laws.
In a specific regard, only science fiction holds validity for the present since, as far as people can determine, the Universe adheres to the principles of nature and isn’t subject to the whims of divine or demonic forces.
Passage- Nevertheless, there are times when we shouldn’t be two narrow or haughty in our definitions. It would be wrong to throw out a style of literature that has tickled the human fancy for thousands of years for the trivial reason that it is not in accord with reality. Reality isn’t all there is, after all.
Shall we no longer thrill to the climactic duel of Achilles and Hector because people no longer fight with spears and shields? Shall we no longer feel the excitement of the naval battles of the War of 1812 and of the Napoleonic Wars because our warships are no longer made of wood and are no longer equipped with sails?
Never!
Why, then, shouldn’t people who enjoy an exciting science fiction adventure story not enjoy a rousing mythological fiction adventure story? The two are set in different kinds of Universes but follow analogous paths.
So though I am sufficiently stick-in-the-muddish to be narrow in my definition of science fiction and would not be willing to consider sword-and-sorcery examples of science fiction, I am willing to consider it the equivalent of science fiction set in another kind of Universe—a prescientific Universe.
I don’t even ask that they be wrenched out of context and somehow be made to fit the universe of reality by being given a scientific or pseudoscientific gloss. I ask only that they be self-consistent in their prescientific Universe— and that they be well-written and exciting stories.
Word meanings
haughty: arrogantly superior and disdainful.
tickled: lightly touch or prod (a person or a part of the body) in a way that causes mild discomfort or itching and often laughter.
accord: give or grant someone (power, status, or recognition).
duel: a contest with deadly weapons arranged between two people in order to settle a point of honour.
naval battles of the War of 1812: they demonstrated that the young American navy could compete with the Royal Navy, a force that had been dominant on the seas for decades.
Napoleonic Wars: a series of major European conflicts from 1803 to 1815, primarily between France, led by Napoleon Bonaparte, and various coalitions of European powers.
analogous: comparable in certain respects, typically in a way which makes clearer the nature of the things compared.
stick-in-the-muddish: a person who is dull and unadventurous and who resists change.
wrenched out: to forcibly pull or twist something away from its position, typically with a sudden or violent movement
pseudoscientific: falsely or mistakenly claimed or regarded as being based on scientific method
gloss: shine or lustre on a smooth surface.
Explanation of the above passage—Nonetheless, there are instances when people ought to avoid being too rigid or arrogant in their definitions. It would be wrong to dismiss a literary style that has captivated humanity for millennia simply because it does not align with current realities. After all, reality is not the entirety of existence.
The narrator questions whether the people should cease to appreciate the final confrontation between Achilles and Hector because contemporary battles do not utilize spears and shields or should they lose their enthusiasm for the naval encounters of the War of 1812 and the Napoleonic Wars simply because their ships are no longer constructed of wood and do not feature sails.
The narrator disagrees.
The narrator, then, questions why shouldn’t people who enjoy an exciting science fiction adventure story not enjoy a rousing mythological fiction adventure story. The two are set in different kinds of Universes but follow similar paths.
So though the narrator is sufficiently old-fashioned to be narrow in his definition of science fiction and would not be willing to consider heroic fantasy examples of science fiction, he was willing to consider it the equivalent of science fiction set in another kind of Universe, a prescientific Universe.
The narrator doesn’t even ask that they should be taken away from context and somehow be made to fit the universe of reality by being given a scientific or falsely claimed to be scientific gloss. He asks only that they be self-consistent in their prescientific Universe and that they be well-written and exciting stories.
II
The Universe of Science Fiction
Foreword
Passage- Of late I have taken to the preparation of science fiction anthologies, which is perhaps a sign of literary senescence, though I like to think of it, rather, as putting my mature wisdom and expertise at the service of the science fiction reading public. After all, I am by no means ceasing, or even slowing, my own proper output. Besides, I must admit I generally make use of coeditors, and sweet-talk them into taking care of the more turgid aspects of the job—correspondence, bookkeeping, and so on.
One of these recent anthologies was The 13 Crimes of Science Fiction (Doubleday, 1979) in which my coeditors were Martin Harry Greenberg and Charles G. Waugh. For the anthology, I wrote an introduction relating science fiction to other specialised fields of writing, especially mysteries, and here it is.
Word meanings
senescence: the condition or process of deterioration with age.
turgid: swollen and distended or congested
bookkeeping: the activity or occupation of keeping records of the financial affairs of a business
anthology: a published collection of poems or other pieces of writing.
Explanation of the above passage—Recently, the narrator has begun compiling science fiction anthologies, which might indicate a decline in literary vigour, though he prefers to see it as utilizing his seasoned knowledge and skills for the benefit of science fiction enthusiasts. He was certainly not halting, or even diminishing, his own creative output. Furthermore, he must confess that he often enlist co-editors and charm them into managing the more tiresome tasks such as correspondence, bookkeeping, and so forth.
Passage – Science fiction is a literary universe of no mean size because science fiction is what it is, not through its content but through its background. Let me explain the difference that makes.
A ‘sports story’ must have, as part of its content, some competitive activity, generally of an athletic nature. A ‘Western story’ must have, as part of its content, the nomadic life of the cowboy of the American West in the latter half of the nineteenth century. The ‘jungle story’ must have, as part of its content, the dangers implicit in a forested tropical wilderness.
Take the content of any of these and place it against a background that involves a society significantly different from our own and you have not changed the nature of the story—you have merely added to it.
A story may involve, not the clash of baseball and bat, or of hockeystick and puck, but of gas gun and sphere in an atmosphere enclosed on a space station under zero gravity. It is still a sports story by the strictest definition you care to make, but it is science fiction also.
Word meanings
nomadic: living the life of a nomad; wandering.
implicit: suggested though not directly expressed.
wilderness: an uncultivated, uninhabited, and inhospitable region.
clash: a violent confrontation.
Explanation of the above passage—One of his latest anthologies was The 13 Crimes of Science Fiction (Doubleday, 1979), co edited with Martin Harry Greenberg and Charles G. Waugh. For this collection, the narrator has penned an introduction that connects science fiction with other specialized genres, particularly mysteries, which he has shared here.
Science fiction constitutes a significant literary universe, not because of its content but due to the situations or backdrop surrounding it. The narrator began to clarify the distinction that creates this understanding.
A ‘sports narrative’ must inherently include a competitive event, typically one associated with physical athletics. A ‘Western narrative’ must contain elements that depict the life of cowboys in America’s western regions during the latter half of the 1800s. The ‘jungle narrative’ must encapsulate the inherent dangers found within a densely forested tropical environment.
If one takes the content of any of these genres and sets it against a backdrop of a society notably different from their own, they haven’t altered the essence of the story, they have simply expanded upon it.
A tale might centre not on the interaction between baseball and bat or between hockey stick and disc, but rather between gas gun and sphere within a zero-gravity environment on a space station. It still qualifies as a sports story within the strictest definitions, but it is also science fiction.
Passage – In place of the nomadic life of a cowboy and his horse herding cattle, you might have the nomadic life of a fishboy and his dolphin, herding his schools of mackerel and cod. It could still have the soul of a Western story and be science fiction also.
In place of the Matto Grosso, you can have the jungle on a distant planet, different in key factors of the environment, with exotic dangers in atmosphere, in vegetation, in planetary characteristics never encountered on Earth. It would still be a jungle story and be science fiction also.
For that matter, you needn’t confine yourself to category fiction. Take the deepest novel you can imagine, one that most amply plumbs the secret recesses of the soul and holds up a picture that illuminates nature and the human condition, and place it in a society in which interplanetary travel is common, and give it a plot which involves such travel and it is not only great literature—it is science fiction also.
Word meanings
nomadic: living the life of a nomad; wandering.
herding: (with reference to a group of people or animals) move in a group.
mackerel: a predatory marine fish with a greenish-blue back, important as a food fish.
cod: a large marine fish with a small barbel on the chin.
amply: enough or more than enough; plentifully.
plumbs: measure (the depth of a body of water).
illuminates: make (something) visible or bright by shining light on it; light up.
interplanetary: situated or relating to travel between planets.
Explanation of the above passage—Instead of the wanderings of a cowboy on horseback managing cattle, one could depict the journey of a Fishboy with his dolphin, guiding schools of predatory marine fish and cod. It could retain the essence of a Western story while also embracing the science fiction genre.
Instead of the rainforest of Matto Grosso in Brazil, one could set the story in a jungle on a distant planet, characterised by distinct environmental factors, with unique dangers in its atmosphere, vegetation, and planetary traits that have never been seen on Earth. It would still be a jungle narrative, while also falling within the realm of science fiction.
To expand on that, one isn’t limited to a specific genre. Imagine the deepest novel, one that thoroughly explores the hidden corners of the human soul and sheds light on nature and the human experience, and set it in a society where interplanetary travel is commonplace, incorporating a plot centred around that travel, it would not only be remarkable literature but also qualify as science fiction.
Passage – John W. Campbell, the late great science fiction editor, used to say that science fiction took as its domain, all conceivable societies, past and future, probable or improbable, realistic or fantastic, and dealt with all events and complications that were possible in all those societies. As for ‘mainstream fiction’ which deals with the here and now and introduces only the small novelty of make believe events and characters, that forms only an inconsiderable fraction of the whole.
And I agree with him.
In only one respect did John retreat from this grand vision of the limitless boundaries of science fiction. In a moment of failure of nerve, he maintained that it was impossible to write a science fiction mystery. The opportunities in science fiction were so broad, he said, that the strict rules that made the classical mystery story fair to the reader could not be upheld.
I imagine that what he expected was the sudden change of rules without warning in the midst of the story. Something like this, I suppose—
‘Ah, Watson, what that scoundrel did not count on was that with this pocket-frannistan which I have in my pocket-frannistan Container I can see through the lead lining and tell what is inside the casket.’
‘Amazing, Holmes, but how does it work?’
‘By the use of Q-rays, a little discovery of my own which I have never revealed to the world.’
Naturally, there is the temptation to do this. Even in the classical mystery story that is not science fiction there is the temptation to give the detective extraordinary abilities in order to advance the plot. Sherlock Holmes’s ability to distinguish, at sight, the ashes of hundreds of different kinds of tobacco, while not perhaps in the same class as the invention of a Q-ray at a moment’s notice, is certainly a step in the direction of the unfair.
Then, too, there is nothing to prevent even the strictest of strict mystery writers from using actual science, even using the latest available findings of science, which the reader may not have heard of. That is still considered fair.
Word meanings
mainstream fiction: fiction that is widely popular and accessible to a broad audience
inconsiderable: of small size, amount, or extent
scoundrel: a dishonest or unscrupulous person; a rogue.
pocket-frannistan: This is a made-up scientific device, perhaps a type of advanced imaging technology, that Holmes uses. It’s meant to be a futuristic tool.
pocket-frannistan Container: This implies the device is portable and likely housed in a case for protection
Q-rays: This is a hypothetical form of radiation or energy that Holmes claims to have discovered. The name “Q-rays” suggests a mysterious and advanced nature.
lead lining: Caskets are often lined with lead for protection, making it difficult to see what’s inside. Holmes’ device, with its Q-rays, allows him to penetrate this barrier.
Explanation of the above passage—The late John W. Campbell, a prominent science fiction editor, often stated that science fiction encompasses all imaginable societies, whether they are historical or futuristic, likely or unlikely, realistic or fantastical, and addresses all potential events and intricacies that could occur within these societies. In contrast, ‘mainstream fiction’ focuses on the present and introduces only minor imaginative elements in its characters and events, making it a small portion of the broader spectrum.
The narrator agrees with his perspective.
However, John did shy away from this expansive vision of the limitless possibilities within science fiction in one way. In a moment of uncertainty, he asserted that creating a science fiction mystery was unattainable. He believed that the vast opportunities within science fiction made it impossible to adhere to the strict guidelines that guarantee fairness in traditional mystery stories.
The narrator thinks what Campbell anticipated was a sudden shift in rules without prior notice during the narrative. Something like this, he assumes through the conversation between Holmes and Watson.
Holmes exclaimed to Watson that the rogue failed to consider that with this pocket-Franciscan contained in holmes pocket-Franciscan Container, he can see through the lead lining and identify what is within the casket. Watson appreciated his incredibility and asked how it functions. To which, Holmes replied that it operates through the application of Q-rays, a little invention of his that he has never disclosed to anyone.
The passage suggests that Holmes has a device called the “pocket-frannistan” that uses a form of radiation called “Q-rays” to see through the lead lining of a casket and reveal its contents. He cleverly outmaneuvered a “scoundrel” by using this invention to determine what was hidden inside.
Naturally, there is a temptation to do this. Even in a classical mystery story that isn’t science fiction, there’s the temptation to grant the detective remarkable abilities to further the narrative. Sherlock Holmes’s skill at distinguishing, at a glance, the ashes of countless types of tobacco, while perhaps not on par with inventing a Q-ray spontaneously, certainly leans toward the unfair as it potentially makes it difficult for ordinary individuals to compete or compete equally in situations where his abilities are relevant. Additionally, there’s nothing to stop even the most rigorous mystery writers from employing real science, even utilizing the latest scientific discoveries that the reader may not yet be aware of.
Passage – There are dangers to that, however, since many mystery writers know no science and cannot prevent themselves from making bloopers. John Dickson Carr, in one book, revealed that he didn’t know the difference between the element, antimony, and the compound, antimony potassium tartrate. That was only irritating, but in another book, he demonstrated that he couldn’t tell the difference between carbon monoxide and carbon dioxide and reduced the plot to a shambles. One of Dorothy Sayers’ more grisly short stories involved the effect of thyroid hormones and, though she had the right idea, she made the effects impossibly rapid and extreme.
Writing a scientific mystery, then, has its extraordinary pitfalls and difficulties; how much more so the writing of a science fiction mystery. In science fiction, you not only must know your science, but you must also have a rational notion as to how to modify or extrapolate that science.
That, however, only means that writing a science fiction mystery is difficult; it does not mean that it is conceptually impossible as John Campbell thought.
After all, it is as perfectly possible to cling to the rules of the game in science fiction mysteries as in ordinary ones.
The science fiction mystery may be set in the future and in the midst of a society far different from ours; one in which human beings have developed telepathy, for instance, or in which light-speed mass transport is possible, or in which all human knowledge is computerized for instant retrieval—but the rules still hold.
The writer must carefully explain to the reader all their boundary conditions of the imaginary society. It must be perfectly clear what can be done and what can’t be done and with those boundaries fixed, the reader must then see and hear everything the investigator sees and hears, and he must be aware of every clue the investigator comes across.
There may be misdirection and red herrings to obscure and confuse, but it must remain possible for the reader to introduce the investigator, however outré the society.
Can it be done? You bet! Modestly, I refer you to my own science fiction mysteries, The Caves of Steel and The Naked Sun which I wrote, back in the 1950s, in order to show John that he was being too modest about science fiction.
Word meanings
bloopers: an embarrassing error.
antimony: the chemical element of atomic number 51, a brittle silvery-white metalloid.
antimony potassium tartrate: a crystalline salt used as a mordant in textiles and leather processing, as well as a pesticide.
pitfalls: a hidden or unsuspected danger or difficulty.
extrapolate: to predict by projecting past experience or known data.
telepathy: the supposed communication of thoughts or ideas by means other than the known senses.
retrieval: the process of getting something back from somewhere.
herrings: a fairly small silvery fish which is most abundant in coastal waters and is of widespread commercial importance.
obscure: not discovered or known about; uncertain.
outré: unusual and typically rather shocking.
modest: unassuming in the estimation of one’s abilities or achievements.
Explanation of the above passage—However, there are risks associated with this, as many mystery writers lack a solid understanding of science and can’t help but make mistakes. In one of his books, John Dickson Carr showed that he didn’t know the distinction between the element antimony and the compound antimony potassium tartrate. That was just annoying, but in another work, he showed that he couldn’t differentiate between carbon monoxide and carbon dioxide, which undermined the plot completely. One of Dorothy Sayers’ more gruesome short stories dealt with the influence of thyroid hormones, and although she had the correct concept, she made the effects implausibly swift and extreme.
Crafting a scientific mystery comes with unique challenges; even more so when creating a science fiction mystery. In the realm of science fiction, it’s essential to understand the science involved, as well as to have a clear idea of how to alter or extend that science.
Nonetheless, while writing a science fiction mystery can be challenging, it is not, as John Campbell suggested, fundamentally impossible.
After all, it is entirely feasible to adhere to the principles of the genre in science fiction mysteries, just as one would in traditional mysteries.
The science fiction mystery may unfold in the future, set within a society vastly different from their own; one where humans may possess telepathy, where traveling at light speed is achievable, or where all human knowledge is instantly accessible through computers but the core principles remain unchanged.
The author must thoroughly clarify to the reader all the limitations of the fictional society. It should be entirely evident what actions are permitted and what are not, and once those limits are established, the reader must experience everything the investigator observes and hears, and be informed of every clue the investigator uncovers.
There may be misdirections and false leads that create confusion, but it must still be possible for the reader to engage with the investigator, no matter how unconventional the society is.
The narrator wondered whether it was achievable. He agreed and humbly, he pointed to his own science fiction mysteries, The Caves of Steel and The Naked Sun, which he penned in the 1950s, to illustrate to John that he was overly humble regarding science fiction.
Conclusion
The essay “On Science Fiction,” Isaac Asimov discusses what makes the Science fiction genre special. Students can take help from this post to understand the lesson and also learn the difficult word meanings to get a better grasp over the essay ‘On Science Fiction’. This lesson includes the summary of ‘On Science Fiction which will help students of class 12 to get a quick recap of the essay.