“Over the last seventy-five years it has been science fiction, more than any other genre, that has appropraited [the Hegelian] vision and continued to develop it. In 1926 Hugo Gernsback published the world’s first magazine dedicated to science fiction, and even in the introduction to that first issue, science fiction was already designated as “a charming romance intermingled with scientific fact and prophetic vision.” Here, the ideas of “science”, “vision” and “future” (suggested by “prophecy”) are already clearly indicated. From these three ideas emerged the golden age of the forties, followed successively by other grand “prophetic visions” such as Robert Heinlein’s Future Histories series and Issac Asimov’s Galatic Empire series (1950-52).
“Ironically, it was precisely at this time that grand narratives like these were becoming obsolete in the real world. The thirties marked the dawn of science fiction and at the same time saw the Nazi’s narrative give birth to Auschwitz and witnessed the Marxist-Lenninist narrative turn into Stalinism. By this time, science fiction’s American consumers were probably aware that it was the uncontrollable spread of these “sciences” and “prophetic visions” that was causing the world to fall apart. Of course, people cannot live without some sort of dream or vision…
“This essence of the genre hasn’t changed much. On its surface, of course, science fiction has gone through a huge transformation since the forties. […]. If someone were to ask what characteristic lies at the core of science fiction, I believe that many fans would still say it is the “grand narrative” or “grand vision.” For science fiction to be science fiction, some kind of vision must be proposed, even if it is a vision of science’s failure or of a dark, foreboding future.In the eighties, cyberpunk filled this role. It was not that the worlds of cyberpunk lacked vision, these authors captured readers’ attention precisely because of their elegant new vision of a visionless world.
“At the core of the science fiction genre lies the paradoxical doctrine that it must continue to depict visions, even when grand visions are impossible. In other words, it is in science fiction that the ideal of the nineteenth century philosophy – the desire for the whole of twentieth century philosophy had to reject – still lives and breathes.”
SF as Hamlet: Science Fiction and Philosophy, Azumi Hiroki [trans. Miri Nakamura], in Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime. Christopher Bolton, Istvan Csicsery-Romay Jr & Takayuki Tatsumi [eds]. University of Minnesota Press, Minneapolis, 2007. pp 77-78.