Science-fiction may be enjoying a meteoric sales boom but it’s still not receiving the acclaim it deserves, writes the British novelist Hannah De Giorgis.
By Hannah De Giorgis
When it comes to the perception of Science Fiction and Fantasy (SF&F) as a genre, there’s a tension between its commercial success and its critical reputation. This time last year, it was reported that combined print and digital book sales in SF&F genres had doubled since 2010.
Today, unit sales of self-published and Amazon-published titles represent almost 50% of all SF&F sales across print, digital and audio. Elsewhere, and especially on the Big Screen, the popularity of SF&F shows no sign of abating: movies including the Maze Runner: The Death Cure, Black Panther, Annihilation, Jurassic World: Fallen Kingdom, and Solo: A Star Wars Story grossed billions of dollars at the Box Office and outsold most other genres.
Given its commercial dominance and crossover potential, one might assume that SF&F would carry the same kudos as other acclaimed genres. And yet, when it comes to the “literary” world, it doesn’t.
Despite its importance in popular culture, SF&F is often overlooked and underappreciated critically. For instance, SF&F is rarely offered as a module in undergraduate literature degrees – and, when it is, the relevant lecturer laments that it is regarded as a “lesser” genre. Meanwhile, in literary circles, science-fiction and literary speculative fiction is routinely dismissed and overlooked for most (if not all) of the more prestigious literary prizes. Perhaps because a potential consequence of being regarded as more “mainstream” can automatically render a book as less “serious”.
However, such a dismissal is – I think – unfair. Not only does SF&F arguably require more imagination than most other genres, it also allows writers to really delve into the potential repercussions of technological advancement in modern society. In some cases, sci-fi novelists will possess a comprehensive understanding of the laws of physical sciences, and in others fantasy novelists might fabricate an entirely new world from scratch.
In the glamorous world of film, the problem is less acute; blockbusters like The Martian and Interstellar have and do attract acclaim. That acclaim, however, only goes so far. Interstellar, for instance, was nominated for Academy Awards in categories such as special effects but not for overall picture. The Martian, on the other hand, which of the two movies is more “realistic”, was nominated for Best Picture.
While it would be disingenuous to suggest that critical acclaim is only reserved for Hollywood, it is fair to state that SF&F receives more recognition in the world of film than in the world of literature – and that’s not simply a consequence of the asymmetry of the two industries. And, when I think about it, this shouldn’t be the case given the important role that SF&F has and continues to play in our lives. Sci-fi, in particular, has long been a reflection on society: it shines a spotlight on mankind’s lust for and dependency on emerging technologies, arguably in a manner that would not be nearly as effective if it were not in the sci-fi form. Indeed, SF&F authors have for decades paved the way for Hollywood by daring to explore the potential repercussions of a world that is increasingly advancing technologically. Moreover, the genre offers an imaginative scope that is, in effect, unlimited – as can be demonstrated by many sci-fi movies or fantasy series that immediately spring to mind.
All I can hope is that, little by little, the literary world might cease to look down on SF&F and come to eventually recognise it for the innovative, limitless, and – at times – genius genre that it is.
Threads in Time by Hannah De Giorgis is available from today on Amazon priced £3.49 in Kindle edition and £7.99 in paperback.
chaotic post-apocalyptic world. He gets captured early on by the War Boys, a pale skinned gang led by Immorton Joe (played by only returning Mad Max cast member, Hugh Keays-Byrne). He is in charge of a kingdom known as the Citadel, as he controls the people and major water supply. Though Furiosa (Charlize Theron) has her own agenda; taking Joe’s five brides away and taking them to the green place. This results Joe giving chase and Max (and the audience) along with the wild ride. That’s pretty much it from there; a roller-coaster ride that barely slows down. The world of Fury Road is wildly creative with the production and costume design. It all feels Max has been transported to Dante’s Inferno, as there’s even an intense escape sequence before the main title shows up. Miller never gives any exposition to who or what is going on on-screen.
