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Like some science fiction novel dunes, an event in the future tens of thousands of years in the future. Some of his science fiction stories take place in the distant past, in a galaxy far, far away. There are also things that take place in a vague and unavoidable place called the “near future.” But how close can science fiction get to the present, and can it still remain science fiction?in big book of science fiction, editors Ann and Jeff VanderMeer defined science fiction as “a story that depicts the future, whether or not it’s the future.” Stylistically or realistically. ” But how close can that future come? The dearly departed sci-fi series “Max Headroom” was set “15 minutes” in the future.
A better edge case might be the Blue Ant Trilogy by William Gibson. Gibson is a very sci-fi writer and is often referred to as the founder of his sci-fi subgenre of cyberpunk. But the Blue Ant trilogy is not cyberpunk. It may not even be science fiction.Consists of novels pattern recognition, spook countryand zero history, the Blue Ant trilogy is… something else. It could be a techno-thriller, a speculative brand of fiction, an evocation of nostalgia for the present, or a ghostly excavation of the early internet.Click here for more from Anna Krawczyk-Waskarszewska’s essay Spaces beyond time and space: Urban spaces in William Gibson’s techno-thriller novels:
Attempting to capture the spirit of the early 21st century, an era of increasing connectivity, Gibson essentially focuses on the urban reality of the networked society “fantasised” in early science fiction novels. The large “global” cities featured in the “Blue Ant” trilogy, such as New York, Los Angeles, London, Tokyo, Moscow, and Vancouver, are clearly real cities, but they were created by Gibson. There is a completely mediated nature of the urban landscape. This makes it difficult to establish clear boundaries between the real and the imagined, the strange and the familiar, the real and the artificial.
While the semiotic excesses of fictional cities are typically structured and interpreted primarily using capitalism as a point of reference, Gibson’s literary representation of all things urban uses spatial navigational tools. They tend to rely on the quasi-psychogeographical experiences and reflections of their fictional protagonists. GPS, Google Earth, Google Maps, Wikipedia, social networking media, and more. However, even immediately traceable and seemingly explicit settings remain mysteriously unstable, depending on the events occurring within them.
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