Farrah Mendlesohn, in “Reading Science Fiction,” argues that “science fiction is less a genre–a body of writing from which one can expect certain plot elements and specific tropes–than an ongoing discussion” (1). If it were a genre, Mendlesohn contends:

we would know the rough outlines of every book that we picked up. If it were a mystery, we would know that there was ‘something to be found out;’ if a romance, that two people would meet, make conflict and fall in love; if horror, that there would be an intrusion of the unnatural into the world that would eventually been tamed or destroyed (2).

Mendlesohn brings Schild’s Ladder (1992), one of the best examples of sf, to show how sf cannot be a genre: it is both mystery, romance, and horror story.

Question: Could this explain why Sheppard Lee’s plot is so bizarre? Is it melding genres?

Mendlesohn naturally contradict herself by claiming  that there is “genre sf,” which began in the mid-1920s.” This genre, she claims, is united by a “sense of wonder.” Charasterics of this “genre sf” include:

• “the earliest sf relied on the creation of a new invention, or an arrival in a new place. For the readers of this material, this was enough; one could stand and stare at the flying city, or gasp at the audacity of the super-weappon” (3).
• the tone was primarily descriptive, the protagonist unfamiliar with his/her surroundings describing to the reader, or auditing a lecture on our behalf” (3).
• “almost all stories ended either in universal peace or with the destruction of invention and inventor because the writers either lacked the skill to go beyond the idea and employed the explosion as the sf equivalent of ‘I woke up and it was all a dream,’ perhaps in order to avoid any sense of consequence […] The result was a sense of wonder combined with presentism” (3).

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