, The Coming Race, and Defining Science Fiction. Literary critics, novelists, and fans disagree on the definition of science fiction.

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1 Cordelia Bell Professor S. Alexander Origins of Science Fiction 22 July 2015 Frankenstein, The Coming Race, and Defining Science Fiction Literary critics, novelists, and fans disagree on the definition of science fiction. In Science Fiction, written by Brian Baker, a variety of definitions are examined. The Oxford English Dictionary defines SF as, Fanciful fiction based on postulated scientific discoveries or environmental changes, frequently dealing with space travel, life on other planets, etc (7). While, literary critic Darko Suvin asserts SF is estranged cognition (15), meaning that SF must be self aware, but separate from reality. He argues that SF critiques society in a fantastical world, which differs from fantasy s lack of awareness and ignorance of reality. Suvin develops this definition by suggesting that a novum or new idea must be introduced, which is often associated with new and fantastical technologies. The OED offers a broad definition of SF, while Darko Suvin s definition poses further restrictions. Suvin s idea of cognition is unique because it differentiates SF from Fantasy. Broader definitions, like the OED s have difficulty making this distinction, which makes it essential to utilize a variety of definitions. The distinction between these two definitions is exceedingly apparent when considering Frankenstein and The Coming Race. Under Darko Suvin and the OED s definitions of SF, Frankenstein is a Proto Science fiction novel because it lacks the creation of a new world, yet maintains the use of postulated science, while The Coming Race is an SF novel because of the use of world building to examine gender roles.

2 Frankenstein is a proto science fiction novel, meaning that it is the forefather of 21st century science fiction. The theme of uncontrolled science is common in SF novels and is depicted in Frankenstein, I might infuse a spark of being into the lifeless thing (58). Uncontrollable science is defined by the OED postulated scientific discovery, meaning that it is impossible science. The creation of Frankenstein's monster meets these criteria. It is impossible to bring a conglomeration of human and animal body parts to life, but under the guise of science Victor Frankenstein accomplishes this task, I saw the dull yellow eye of the creature open (58). Suvin describes a similar process by arguing that SF contains a, novum [that] is a newness which creates another possible world (16). In Frankenstein, this novum is the postulated scientific discovery defined by the OED. The monster is a new idea and his existence serves as the conflict in the story. While, these definitions are comparable they are not identical. Suvin suggests that novum...creates another possible world, yet the OED fails to address this concept. The broad nature of the OED s definition includes the creation of the monster as an element of SF, but fails to depict the relationship between the creation of a monster and the creation of a new work. The monster exists within the fictional, but not fantastical interpretation of Victorian Europe. The actions of the monster do not create a new world; rather they change the pre existing world. Shelley creates a new kind of character, but not a new environment. The monster's creation is the fantastical element of the story. The monster is the fantastical juxtaposed by the realistic. The monster wants to be human. He endeavors to exist within human society, if any being should feel emotions of benevolence towards me, I should return them and hundred and hundredfold (148). He acknowledges the fact that he is the aberration. The conflict is that he

3 doesn t belong in Victorian society. He acknowledges this fact by stating that: My companion must be of the same species, and have the same defects (146). By desiring a companion of the same creation, the monster suggests that there is no one in the world like him. The singularity of the monster represents a lack of world building. The monster s abnormality is accentuated by the realistic nature and setting of the story. This intentional downplaying of the fantastical creates a sense of realism that is at odds with Suvin s definition of SF. The monster does not exist in a fantastical world; his struggle is that he exists in a realistic one. While, the monster is clearly a postulated scientific discovery and a novum, Shelley does not create another possible world, meaning that Frankenstein is SF under the OED s definition, but not under the Suvin concept of world building. Suvin s definition of SF continues to diverge from the OED s with the concept of cognitive estrangement. Suvin defines cognitive as, modes [that] are engaged in critique of culture and ideology (15) and estrangement as a separation from reality. While, Frankenstein has elements of estrangement it is not a world separate from reality. This realism is the crux of the story, because the monster is shunned from society because of his differences. His own creator and father cannot accept him and dehumanizes him, the miserable monster that I had created. (59) Suvin suggest that: SF s representation of other or possible worlds are really representation of our own (16). The mistreatment of the monster is a critique on the superficiality of the importance of beauty. The monster wants to be love, but because of his looks is shunned, instead of injury I would bestow every benefit upon him with tears of gratitude and acceptance (148). This represents an awareness of societal expectations of beauty, independent from the novum of the story. Frankenstein conflicts with Suvin s definition of estranged

4 cognition, because the majority of the story is not estranged, but firmly rooted in reality. This creates a type of proto science fiction, in which some, but not all aspects of SF are present. The Coming Race is an SF novel, because it has all the characteristics of SF as defined by Suvin and the OED. Bulwer Lytton introduces new and unrealistic science. He suggests that advanced humans could live under the surface of the earth, while true science dictates otherwise. These advanced beings, discover and utilize an almost magical substance called Vril, this fluid is capable of being raised and disciplined into the mightiest agency over all forms of matter, animate or inanimate (24). Vril and the Vril ya are the new ideas at the crux of the plot. The Vril is explained scientifically, but has no actual grounds in science. These ideas serve as the novum and postulated science of the story. The second prong of Suvin s definition is estranged cognition. The Coming Race is clearly fantastical. The narrator admits that these ideas contradict known science: The account of these writers does not harmonise with the opinions most in vogue among geological authorities (23). Bulwer Lytton s world is independent of the constraints of reality; however, it maintains its cognition. Through the emasculation of female Vril ya, according to the original laws of nature, females were intended to be larger than males (30), Bulwer Lytton examines the value of gender roles. To make this evaluation the novel must be cognizant that the portrayal of the female Vril ya is atypical, which represents a level of awareness. Through the creation of postulated science Bulwer creates a world independent from reality. The Vril ya are non existent, yet the novel depicts their language: the word Ana (pronounced broadly Arna ) (30), mannerisms: uttering a soft sibilant monosyllable (14), dress: under tunic and leggings (9), ect. This world is a novum, its people, traditions, and

5 environment are fantastical, but through world building they are brought into existence. This reality is estranged because it is reliant on nonexistent novum to create a new world. Suvin suggests that world building: enable[s] us to recognize our own [world] by representing it in an estranged manner (16) By creating an alien world, Bulwer Lytton creates an environment where he can examine societal expectations of women, without breaking through the society taboo s present in realistic fiction. The Coming Race is a SF novel, because the introduction of Vril and the Vril ya constitute as novum and postulated science, while his description of the Vril ya amount to world building and estranged cognition, thus fulfilling OED s and Darko Suvin s definitions. Frankenstein and The Coming Race combine different elements of SF. Frankenstein relies on the readers pre existing conceptions of reality to create a story dependant on its characters, while The Coming Race relies on world building and fantastical science. The intent of each text differs, while the elements used to develop these ideas are similar. When comparing the two novels it is apparent that The Coming Race is a SF novel. It combines many elements typically associated with SF. It is cognizant of reality, through its analysis of gender roles, Virl is the novum and postulated science, and it creates the world of the Vril ya. The Coming Race possesses estranged cognition, novum, and world building. Frankenstein is primarily a realistic novel with two elements of SF, the creation of the monster and critique of reality. However, cognition can be found in realistic fiction, thus is not a sound element to consider when defining this novel. It is the fantastical creation of the monster that pushes an otherwise realistic novel into the realm of a pseudo science fiction.

6 The commonality between the OED s and Suvin s definitions is that SF must contain unrealistic science. The connection between these definitions indicates a broader relationship. The element Frankenstein and The Coming Race share is postulated science. While, this may seem obvious, since the name of the genre science fiction incorporates this idea, it is important to examine what this signifies. Suvin and the OED both include some allowance for fictional science in their definitions; however, the focal points of the definitions are at odds. The OED s embraces the concept of postulated science, while Suvin expands his definition to examine how the novel creates a relationship between reality, awareness, and fiction. While, Frankenstein is an SF novel under the OED s definition, it is unclear where the novel falls under Suvin s. However, it is important to remember that at the heart of the genre is the concept of fictional science. Perhaps, some aspects of Suvin s definition pertaining to fictional science have more importance than those characterizing a novel's relationship to reality and the creation of worlds., True SF novels contain unrealistic science, which indicates that while definitions of SF may differ, the idea of postulated, unrealistic, and estranged science will unify critiques, novelists, and fans alike.

7 Works Cited: Baker, Brian. Science Fiction. London: Palgrave, Shelley, Mary Wollstonecraft. Frankenstein. London: Penguin Group, Print. Lytton, Edward Bulwer Lytton. The Coming Race. London: Aziloth, Print.