Science fiction (SF) has historically been perceived as a genre of the fabulous, a form of writing far outside the canon of ‘literature’, one that lacks boundaries, connections with reality or formal precedent. To some, that perception may be a vital attraction or a critical downfall. What is the purpose of a genre which deals with the extremes of our imagination? Indeed, is there a purpose? Does SF exist as a socially acceptable method of expressing those wild ideas for which there are few other public forums?

Admittedly, many SF narratives are romantic fantasy: that is, they present caricatures from the human imagination, and are derivative and quick to resort to a deus ex machina. Yet the SF genre cannot so easily be reduced to an assembly of remnants from other styles of writing mingled with exciting gadgets and exotic backgrounds, nor can its appeal and longevity be dismissed as the lure of scientific romance. Beneath a sometimes superficial appeal, SF is responsible for opening a variety of legitimate and strategic cultural discourses. It is in these cultural disquisitions that we discover the fundamental power and rationale of a genre that ultimately contributes to the knowledge and awareness humanity has of itself.

But an attempt to analyse all the disparate elements of such a massive genre is problematic. It is too broad and ambitious in its enthusiasms to examine as a whole.