Analysis Of How To Live Safely In A Science Fictional Universe

Literature is open to countless interpretations, sometimes it would seem easier for authors to simply provide a guide on how to read their work. In Charles Yu’s, How to Live Safely in a Science Fictional Universe, he does just this further reminding readers of the book’s own status as fiction. By doing this, Yu illustrates the dichotomy between the real world and the fictional world of the work subverting expectations of the science fiction genre. Further, he gives the main character his own name blurring the boundaries between the author, the narrator, and the fictional characters creating a sense of familiarity between the author and the reader even more. In many instances throughout the book, he reflects upon his process of composition

However, for the reader, the book provides a guide outlining the different roles between the two categories of inhabitants in Universe 31 which are the protagonists and the back office. The way people are separated into these categories is by demonstrating an attachment coefficient of 0.75.-1.00 which is calculated through several factors that read off like a hero archetype checklist. For example, a major factor is the “willingness to see U31 as nonboring or, better yet, to see it as interesting, and maybe even important, and despite its deeply defective nature possibly even worth saving” (Yu 31). By defining these roles, Yu employs a sense of metafiction and self-reflexivity in acknowledging the constructed nature of fiction narrative whilst reminding the reader that this indeed is a work of fiction, and this is how it should be read. More so, it breaks the fourth wall by encouraging the reader to participate play in the construction of the narrative and to examine their relationship with the

However, often the genre is utilized to explore what it means to be human and how our experiences shape our understanding of ourselves and the world around us. Such is seen in Martha Wells’ All Systems Red in the character of Murderbot, an artificial construct, who struggles with questions of identity and agency compelled to confront what it means to be alive and the responsibilities that entail. While both All Systems Red and HTLSIASFU explore futuristic, technological innovations of artificial intelligence and time travel, each subvert genre conventions by deconstructing sci-fi tropes of the hero’s journey and rouge AI. Despite existing in distant technologically advanced universes, both the characters of Charles and Murderbot struggle with incredibly human issues of depression, guilt, and antisociality. Moreover, both characters deal with these issues in the same manner by closing themselves off from the rest of the world in a small box to avoid interaction with anyone and indulging in various media as a form of entertainment. Yet, both books use humor to lighten the otherwise bleak and somber themes as Charles and Murderbot use self-deprecating humor and snarky observations when exploring deeper philosophical questions. For instance, “No, it