In 1989 Bruce Sterling polemicized the state of literature before arguing for a broadening of speculative fiction into the mainstream and somewhat off-handedly coining the term \u201cslipstream\u201d to mean \u201ca kind of writing which simply makes you feel very strange; the way that living in the late twentieth century makes you feel, if you are a person of a certain sensibility\u201d (n.pag.). His description and the monicker have since been employed in two distinct ways, as Pawel Frelik describes in his essay \u201cSlipstream 101\u201d (4f.): on the one hand it might mean a mainstream encroachment on genre fiction \u2013 similar to what Sterling proposes and what John Clute calls \u201ca description of commercial piggybacking\u201d (n.pag.) by mainstream authors using genre tropes to gain further genre audiences. On the other hand, it has been used to describe a genre discourse or sentiment of science fiction that Frelik describes as showing \u201ccognitive dissonance, generic and conventional indeterminacy, and playful postmodernity\u201d (4).<\/p>\n\n\n\n
This is the lecture \u201cSlipstream and Crossovers (2000s)\u201d by Prof. Dr. Doug Davis (Gordon College):<\/p>\n\n\n\n