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Against this huge backcloth he then proceeds to develop an ordinary love-story, spy-story, wreck-story, or crime-story. Whatever in a work of art is not used is doing harm.The faintly imagined, and sometimes strictly unimaginable, scene and properties, only blur the real theme and distract us from any interest it might have had.
Of the articles I have read on the subject (and I expect I have missed many) I do not find that I can make any use. For another, many were by people who clearly hated the kind they wrote about.
It is very dangerous to write about a kind you hate. I don’t like detective stories and therefore all detective stories look much alike to me: if I wrote about them I should therefore infallibly write drivel.
And of course to devise a definition for the purpose of excluding either in another, and then blame them for being excluded, is foolery.
I am, then, condemning not all books which suppose a future widely different from the present, but those which do so without a good reason, which leap a.
I had read fantastic fiction of all sorts ever since I could read, including, of course, the particular kind which Wells practised in his and others.
Then, some fifteen or twenty years ago, I became aware of a bulge in the production of such stories.
Above all, it should not masquerade as criticism of individual works.
Many reviews are useless because, while purporting to condemn the book, they only reveal the reviewer's dislike of the kind to which it belongs.
And if you do not know what sort of people they are, you will be ill-equipped to find out what conditions have made them so.
In this way, one may say of a kind not only (as Wordsworth says of the poet) that 'you must love it ere to you it will seem worthy of your love', but that you must at least have loved it once if you are even to warn others against it.