It represents the premise that whereas it has not been finally decided if science fiction is a genre per se, or rather a mode of writing and reading, there is a corpus of texts that can be recognised as science fiction, and regardless of the paratextual factors those texts possess certain inherent features that might be treated as the point of departure in establishing science fiction poetics. 5)Ĭhapter 1, “Science fiction as popular culture”, situates Bacigalupi’s writings within the boundaries of science fiction and discusses literary devices that are specific for the genre. Its plot structures, symbols, devices, and icons often take on the form of the conventional and predictable, but always with the deeper intent of estranging the familiar (i.e., representing the everyday world as a strange land) and illuminating the “novum” (i.e., radically new within the old and familiar). According to Yanarella ( 2001), who follows John Cawelti’s theory here,
The following book agrees with Yanarella’s ( 2001) assumptions that “much science fiction is formulaic, but need not to be” (p. I have always been fascinated with the creative affordances of science fiction, affordances that allow not only for the emotionally engaging and aesthetically satisfying results, but also for the profound impact on what the readers think about or believe in. This is a stance that I take as the author of Biopunk Worlds of Paolo Bacigalupi. Paolo Bacigalupi’s science fiction can be read as ecologically oriented interventions.
1 Popular culture as the space of resistanceģ Science fiction as intervention – Suvin’s definitionĤ Science fiction techniques of reading and writing – Broderick’s definitionġ Modifications and control in “The Fluted Girl”ģ The techno-bodies in “The People of Sand and Slag”ġ Thirst, hunger, strawberries, and sweet meatĢ Bio-hazardous crops and forgotten fruit in The Windup GirlĤ Overconsumption in “The People of Sand and Slag”
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