This first book-length study of French-language science fiction from Canada provides an introduction to the subgenre known as "SFQ" (science fiction from Quebec). In addition, it offers in-depth analyses of SFQ sagas by Jacques Brossard, Esther Rochon, and Elisabeth Vonarburg. It demonstrates how these multivolume narratives of colonization and postcolonial societies exploit themes typical of postcolonial literatures, including the denunciation of oppressive colonial systems, the utopian hope for a better future, and the celebration of tolerant pluralistic societies. A bibliography of SFQ available in English translation is included.

Canadian Science Fiction, Fantasy, and Horror: Bridging the Solitudes exposes the limitations of the solitudes concept so often applied uncritically to the Canadian experience. This volume examines Canadian and Québécois literature of the fantastic across its genres—such as science fiction, fantasy, horror, indigenous futurism, and others—and considers how its interrogation of colonialism, nationalism, race, and gender works to bridge multiple solitudes. Utilizing a transnational lens, this volume reveals how the fantastic is ready-made for exploring, in non-literal terms, the complex and problematic nature of intercultural engagement.

Essays about the inherently collaborative nature of science fiction As a geometric term, parabola suggests a narrative trajectory or story arc. In science fiction, parabolas take us from the known to the unknown. More concrete than themes, more complex than motifs, parabolas are combinations of meaningful setting, character, and action that lend themselves to endless redefinition and jazzlike improvisation. The fourteen original essays in this collection explore how the field of science fiction has developed as a complex of repetitions, influences, arguments, and broad conversations. This particular feature of the genre has been the source of much critical commentary, most notably through growing interest in the "sf megatext," a continually expanding archive of shared images, situations, plots, characters, settings, and themes found in science fiction across media. Contributors include Jane Donawerth, Terry Dowling, L. Timmel Duchamp, Rachel Haywood Ferreira, Pawel Frelik, David M. Higgins, Amy J. Ransom, John Rieder, Nicholas Ruddick, Graham Sleight, Gary K. Wolfe, and Lisa Yaszek.

At the close of the nineteenth century, American youths developed a growing interest in electricity and its applications, machines, and gadgetry. When authors and publishers recognized the extent of this interest in technology, they sought to create reading materials that would meet this market need. The result was science fiction written especially for young adults. While critics tended to neglect young adult science fiction for decades, they gradually came to recognize its practical and cultural value. Science fiction inspired many young adults to study science and engineering and helped foster technological innovation. At the same time, these works also explored cultural and social concerns more commonly associated with serious literature. Nor was young adult science fiction a peculiarly American phenomenon: authors in other countries likewise wrote science fiction for young adult readers. This book examines young adult science fiction in the U.S. and several other countries and explores issues central to the genre. The first part of the book treats the larger contexts of young adult science fiction and includes chapters on its history and development. Included are discussions of science fiction for young adults in the U.S. and in Canada, Great Britain, Germany, and Australia. These chapters are written by expert contributors and chart the history of young adult science fiction from the nineteenth century to the present. The second section of the book considers topics of special interest to young adult science fiction. Some of the chapters look at particular forms and expressions of science fiction, such as films and comic books. Others treat particular topics, such as the portrayal of women in Robert Heinlein's works and representations of war in young adult science fiction. Yet another chapter studies the young adult science fiction novel as a coming-of-age story and thus helps distinguish the genre from science fiction written for adult readers. All chapters reflect current research, and the volume concludes with extensive bibliographies.

Mike Ashley's acclaimed history of science-fiction magazines comes to the 1980s with Science-Fiction Rebels: The Story of the Science Fiction Magazines from 1981 to 1990. This volume charts a significant revolution throughout science fiction, much of which was driven by the alternative press, and by new editors at the leading magazines. The period saw the emergence of the cyberpunk movement, and the drive for, what David Hartwell called, 'The Hard SF Renaissance', which was driven from within Britain. Ashley plots the rise of many new authors in both strands: William Gibson, John Shirley, Bruce Sterling, John Kessel, Pat Cadigan, Rudy Rucker in cyberpunk, and Stephen Baxter, Alistair Reynolds, Peter Hamilton, Neal Asher, Robert Reed, in hard sf. He also shows how the alternative magazines looked to support each other through alliances, which allowed them to share and develop ideas as science-fiction evolved.

Mike Ashley's acclaimed history of science-fiction magazines comes to the 1980s with Science-Fiction Rebels: The Story of the Science Fiction Magazines from 1981 to 1990. This volume charts a significant revolution throughout science fiction, much of which was driven by the alternative press, and by new editors at the leading magazines. The period saw the emergence of the cyberpunk movement, and the drive for, what David Hartwell called, 'The Hard SF Renaissance', which was driven from within Britain. Ashley plots the rise of many new authors in both strands: William Gibson, John Shirley, Bruce Sterling, John Kessel, Pat Cadigan, Rudy Rucker in cyberpunk, and Stephen Baxter, Alistair Reynolds, Peter Hamilton, Neal Asher, Robert Reed, in hard sf. He also shows how the alternative magazines looked to support each other through alliances, which allowed them to share and develop ideas as science-fiction evolved.