Nairobi — Science fiction is one of the literary genres that have received scanty criticism, especially from Africa.

Even literature departments in the universities are yet to capture and integrate some works from this genre on their reading lists.

Many reasons abound for the near negligence of science fiction by African literary scholars. Perhaps, because it is a genre that still sounds foreign to us since most of its authors come from the west.

Even though science fiction has become an arena where ideas and theories are investigated, explored and refined, especially in the west, it is not known whether science influenced fiction or vice versa.

Sscience fiction has captured and sustained the imagination of the general populace globally.

In fact, in recent times, this has become more apparent with the upsurge of science fiction films, both at the cinema and on home video screens, in sprawling video dens, and of course on the Internet. The growth in this genre is partly driven by science fiction writers' ability to expound physical, social and psychological principles on which their imaginary kingdoms in space and time are based.

Perhaps this is why critics are cautious when venturing into science fiction world.

Although it has been holding the interest of the reader throughout the ages, science fiction has frequently come under attack as an escapist form of literature. It is claimed that this fiction is steeped in myth, fantasy, and imaginary utopias.

In fact Anthony F Franco in Search for Tomorrow: Science Fiction Literature and Today's Student openly laments on the critics' failure in appreciating this genre.

He writes, "On the surface, science fiction does not appear to be a readily viable vehicle to introduce the world of tomorrow to today's readers."

Rather than seeing it as invasion of fiction, the critic should be celebrating its role in expanding our literature domain. This can be achieved by attempting to understand its origin and linkages to the mythical worlds.

This genre draws from three literary forms that permeate literature: the myth, fantasy, and utopias.

Reincarnation is one of the notable mythical motifs that structure this genre; and as such, a revival is seen as bringing the dead back to mortality or even elevating the dead to immortality.

The prolongation of life by moving a character unchanged into the future is another plot tact often used by science fiction writers.

In other cases, this genre combats mortality by creating life from 'unliving' materials. One interesting thing about science fiction is its constant allusion to the Bible. A careful study of some of the myths found in this genre reveals a close connection with the Christian biblical myths.

Perhaps, science fiction writers recognise that their audience is aware of biblical myths and are often able to utilise them effectively in an effort to lend plausibility to their work. For example when Mike, the protagonist in Robert Heinlein's Stranger in a Strange Land, returns from the metaphysical world, the episode, perhaps recalls the "Second Coming of Christ".

Jeff Robinson in When Science Invaded Fiction makes some startling remarks on the origin of the genre.

Robinson sees the emergence and flourishing of this genre as a direct consequence of industrial revolution.

That as industrial development progressed the world's frontiers shrank and once exotic locations became less novel.

After some time, there were fewer places that were fresh and new and by the turn of 19th century, it was implausible to find an undiscovered civilisation even in Africa, as it was to find one in the heart of England.

Therefore, it was the desire for adventure and fantasy, and the need for new venues that provided the impetus that forced science into fiction. He continues to observe that with the introduction of science into fiction, entire new worlds and cultures could be created.

New conflicts and situations, that were more unusual and exotic than anything, could be manufactured. After all, science itself was no longer exciting.

More readers have solidified their allegiance to this genre by recognising that science fiction can, in many cases, become science fact.

Lovers of this fiction, especially from visionary writers such as H G Wells, Jules Verne, and Hugo Gernsback, would readily agree to this assertion.

In fact, some of the prophecies made by the 19th century science fiction authors came to pass.

For instance, Wells in When the Sleeper Awakes (1899) experienced uncanny success at predicting what futures would be like. In this book, Wells foresaw such technological advances as air conditioning, video recordings, automatic doors, portable television sets, aerial bombings, and war between armed aircraft.

In the same work, Wells made other startling predictions that are yet to become reality. For example, automatic clothes-making machines that can take measurements and produce instantly, moving conveyor roadways, pleasure cities, which are designed to placate the masses among others.

These predictions cannot be so unbelievable that any one of us can deny their possibilities.

Thus, science fiction has high interest, is easily readable and can be meaningful for contemporary readers.

Action drama with clear plot lines and characterisation, make science fiction literature accessible for readers across the age.

Finally, the growth of science fiction film and its ensuing popularity provides a stepping-stone for introduction to the more serious treatment it deserves in its literary form.