I wrote my thesis on science fiction and fantasy 15 years ago in an attempt to answer some of the questions that occurred to me as a reader of both the genre and the attempts to define it:
No unambiguous explanation, but a lot of very mutually conflicting ones. (Or nonsensical ones: ‘the stuff published in SF magazines’!)
Why do the, ideologically speaking, very different subgenres appeal to approximately the same audience?
For instance, why do glorification and condemnation of science appeal to the same group of readers?
And why are so many people in this audience nevertheless so sectarian?
We are talking about imaginative literature, i.e. fiction, so why this degree of pedantry when it comes to the question of the elements of science it contains?
Why does the genre produce the phenomenon fandom, which does not have its equal in other literary genres?
Definitions of Science Fiction
1. Science fiction "is the stuff published in science fiction magazines." (Theodore Sturgeon)
2. "But by the end of last century it had become difficult to squeeze even a momentary belief out of magic any longer. It occurred to me that instead of the usual interview with the devil or a magician, an ingenious use of scientific patter might with advantage be substituted ... I simply brought the fetish stuff up to date, and made it as near actual theory as possible." (H. G. Wells)
3. "Science fiction is that branch of fantasy identifiable by the fact that it eases the 'willing suspension of disbelief' on the part of its readers by utilizing an atmosphere of scientific credibility for its imaginative speculations in physical science, space, time, social science, and philosophy." (Sam Moskowitz)
4. "It is intrinsically or by definition impossible for SF to acknowledge any metaphysical agency, in the literal sense of an agency going beyond physis (nature). Whenever it does so" (!!) "it is not SF, but a metaphysical or (to translate the Greek into Latin) a supernatural fantasy-tale." (...) "Thus science is the encompassing horizon of SF, its 'initiating and dynamizing motivation'" (Darko Suvin)
5. "Time travel is accepted as a perfectly valid basis for a story, as is the idea of travelling faster than the speed of light through some mysterious "hyperspace". Those ideas are not possible according to what is known - in fact, they seem clearly impossible. But they were justified very carefully in early stories in the field. Now they are merely conventional devices, accepted as means to facilitate the development of a story." (Lester del Rey)
6. "You can do anything you want in science fiction. You can talk about any subject that ... if you tried to put it in a contemporary book, it would be censored, you couldn't do it, people wouldn't read it. They wouldn't take it seriously. In science fiction they will!" (Anne McCaffrey)
7. "Science fiction ... presents its worlds as possible even when plainly they are not. Yielding to the temptation to be epigrammatic, one might describe science fiction as a form of the fantastic that denies that it is fantastic." (Mark Rose)
1. Cay Dollerup's thesis "Science Fiction" (1967), p.166, 2. Brian Aldiss "Trillion Year Spree" (1973, 1986), p.31, 3. From "The Encyclopedia of Science Fiction", 4. "Metamorphosis of Science Fiction" (1979), p.66, 5. "The World of Science Fiction 1926-1976" (1979), p.7, 6. "Women Writers" (DR skole-TV), 7. "Genre" in "Alien Encounters: Anatomy of Science Fiction" (1981)
"What characterizes science fiction and fantasy compared with other works of fiction is primarily that truth is by no means allowed to be an obstacle to art. In spite of their incompatibility with the world of reality the ideas demand to take on the shape of literature. Unlike ordinary 'mainstream' literature, they deliberately give up assuming a form that is recognizable from and harmonizes with the knowledge of the real universe. The acceptance of this procedure is what constitutes the circle of science fiction/fantasy readers or writers. The interests that lead to the unrealistic ideas and their breakaway from the prosaic form may very well be different and even contradictory since their only common denominator is the negative relationship to the prosaic convention. Due to this spiritual community and due to their interest in influencing their respective favourite fantasies, the consumers and producers of the genre meet in fan circles with their own conventions and fanzines. Unlike fantasy, science fiction is not satisfied with being fantastic. In order to justify its own existence it tries to make itself quasi prosaic by the back door, so to speak: The unreal settings are made plausible to a prosaic world/consciousness through pseudo-science, and the fans of this intricate branch of the fantastic develop into the most uncompromising critics of fantasy which they accuse of escapism, whereas their own escapism is justified with hypocritical references to the (imaginary) usefulness of science fiction: its contributions to the encouragement of adaptability, flexibility, or sometimes even subversiveness - when that's in vogue..." (Dann Simonsen) abstract of thesis Science fiction - en fantastisk genre (The University of Copenhagen, 1993)