Origins

British science fiction is arguably as old as the genre itself. Prior to the codification of the genre, works such as Mary Shelley’s Frankenstein and Robert Louis Stephenson’s The Strange Case of Dr Jekyll and Mr Hyde took early steps on the road to what would become science fiction. At the end of the nineteenth century, H. G. Wells produced a number of novels that mark him out as one of the forefathers of science fiction. The Time Machine and The War of the Worlds are regarded as classics to this day. With the rise of the pulp magazines and the definition of science fiction, the genre began to draw more from American traditions, but authors such as Arthur C. Clarke continued to leave there mark throughout the Golden Age.

Traits

What then, are the foundational traits of British science fiction? What are the hallmarks that separate it from its genre siblings arising from the United States, the former Soviet Union, or elsewhere in the world?

One of my initial theories, rooted in a study of Wells, was that British SF was more openly political, or perhaps more socially minded, than comparative stories from other nations. I have dismissed this notion on two counts. In the first instance, I have not read enough foreign literature to accurately draw a conclusion. Moreover, familiarity cannot be overlooked as a factor. It may not be that British writers are more willing to draw on contemporary issues, but instead that I, a British-born reader, am simply more aware of a book’s surrounding context. Doubtless there are US readers who see their native science fiction as overburdened by modern culture, and that British SF is distant and remote in its ideals.

After some consideration, I believe I have found three distinct yet connected traits shared by British science fiction.

Cynicism – One thing you will not find a lot of in British SF is idealism. Oftentimes, naïve optimism exists only to be undercut. There is, as evidenced in the works of Eric Brown, Alastair Reynolds, and Peter F. Hamilton, to name but a few, a pervasive sense that humanity is incapable of outgrowing its baser instincts. The notion that societies worsen over time also occurs in the works of Neal Asher. American SF has a tendency towards optimism, but British SF is rare in showcasing galaxy-spanning empires. Near future dystopias and apocalyptic scenarios are for more common.

Grounding – British literature as a whole has become increasingly character focused, but the characters themselves remain small. There is less interest in supermen and self made heroes in the UK, and more of an emphasis on everymen and the working classes. There are possible ties here to the strength of British labour unions, but that tangent requires a great deal more study than has gone into this article. What is clear is a rejection of traditional hierarchies, and the championing of every day heroes.

Melancholy – It is undeniable that Britain no longer has the power on the world stage that it once boasted. While other nations may still see themselves (erroneously, in many cases) at their peak, Britain has largely accepted that the glory days are over. This is reflected in an acknowledgement of humanity’s own fragile nature. Best exemplified in Stephen Baxter’s novels, which depict a universe impossibly beyond the scale of the human race. this tradition goes at least as far back as H. G. Wells, whose The Time Machine is a stark depiction of a world on the edge of collapse, jus as the British Empire was within Wells’ own lifetime.

Notable Absences

One subgenre of science fiction that has largely failed to gain traction in the UK is military SF. This remains a staunchly American genre. I suspect this is largely due to the public perception of the military in each country. Whereas the USA has gone from revilement of the armed forces to something approaching hero worship within a few short decades, the UK has been fairly consistent in a career in the armed forces as something unremarkable, at least in a post-World War Two world. Phrases like ‘thank you for your service’ are very rarely uttered in the UK. The army is, for all intents and purposes, just another job. An important and respectable one, but a job nonetheless.

This reflects a general antipathy towards military stories in the British public. While the Iraq War did make an impact, it did not lead to an upswell in military SF as it did in the US. Outside of tie-in novels, most notably Warhammer 40,000, there is very little military SF on British shelves, be they by British or foreign authors.

Recent Contributions

Finally, it should be noted that two particular subgenres have their roots firmly in British traditions, and both have spread globally.

Grimdark – Though today it is, widely regarded as a fantasy subgenre, grimdark originated in the science fiction world of Warhammer 40,000, stemming from the tagline of ‘in the grim dark future, there is only war.’ Blending brutal violence with gallows humour, the genre now dominates fantasy markets, but remains notably absent in the science fiction that spanned it. Outside of Warhammer 40,000 and perhaps Neal Asher, grimdark science fiction remains a rare beast.

Steampunk – A unique approach to alternative history that images a technologically advanced Victorian era, the term steampunk was coined by American author K. W. Jeter, but it is through British authors that the genre has come to be defined. Authors such as Mark Hodder, Jonathan Green, and George Mann have made the genre their own, pulling on the tapestry of British history to create a genre that holds the rare distinction of transcending literature. In particular, steampunk music has taken off among UK subcultures, with artists such as Professor Elemental, Madame Misfit, and Mr B. The Gentleman Rhymer becoming regulars on the convention scene.

Conclusion

In summary, then, we can see that British SF is as varied as that of any other nation, yet there are certain traits and genres that are recognisably British in nature. if you have different thoughts, I would be grateful to hear them, especially if you have an outsider’s perspective on the topic.