Continuum: French Science Fiction Short Stories

By Annabelle Dolidon

Classic French science fiction short stories translated into English for the first time.
This unique collection of newly translated short stories offers a taste of classic and contemporary French science fiction to English-language readers. These stories cover a range of fascinating topics including simulated reality, speciesism, ecology, and transhumanism—all while exploring universal themes of belonging, death, and identity. Some of the authors featured in this anthology, like Julia Verlanger, Sylvie Denis, or Jean-Claude Dunyach, have shaped the history of French science fiction after World War II. Curated by Annabelle Dolidon and Tessa Sermet, French language and literature professors who share a love for the genre, these nine stories showcase some of the brilliant mid- to late twentieth and twenty-first century French contributions to science fiction.

Dolidon and Sermet provide illuminating expansions that accompany each tale and fascinating insights into the evolution of French and American science fiction. The discussion opportunities are also a wonderful resource for teachers and students of French literature and French culture as well as English and comparative literature. This anthology is a great opportunity to discover French sci-fi in English translation for fans or readers new to the genre.

• Language: English
• Publisher: Ooligan Press
• Release date: Apr 9, 2024
• ISBN: 9781947845480

Book preview

INTRODUCTION

by Annabelle Dolidon and Tessa Sermet

WHY THIS ANTHOLOGY?

There are two common reactions when talking about French science fiction in the Anglo-American context: it starts with someone saying oh, I didn’t know there were French science fiction writers besides Jules Verne; and this statement is most likely followed by the question, "then how is French science fiction different from other types of science fiction?" The first comment says more about how globalization affects the publishing world than anything else; indeed, very little fiction originally written in foreign languages gets translated into English, science fiction or otherwise. The dominance of Anglo-American science fiction and the saturation of Hollywood mainstream science fiction franchises (Marvel, DC, Star Wars) falsely gives the impression that this is what science fiction is, and pushes everything else towards categorization such as global or world literature.¹ Nonetheless, France has a long tradition of science fiction, from Voltaire’s philosophical tale, Micromégas (1752), to Jules Verne’s Extraordinary Voyages (1863–1905) and beyond. For example, did you know that the very first science fiction film, A Trip to the Moon (1902), was written, produced, and directed by Georges Méliès, a French magician converted film director? Or that the Planet of the Apes movies are adapted from the novel with the same name written by French author Pierre Boulle in 1963? With this anthology, we aim to show you how this tradition is continued by many authors to this day.

The second question, How is French science fiction different from science fiction written elsewhere, especially science fiction written in English in the US? requires a more nuanced response. As Ken Liu stated about Chinese science fiction,² it is difficult to give a neat answer to this question because, as is the case for American (and Chinese) science fiction, French authors have different styles and interests. Moreover, science fiction is a literary genre marked by common tropes across cultures and languages, such as cities under domes, rebellious robots, climate catastrophe, or faster-than-light space travel, that you will find in all national productions. There is still a dose of Frenchness in the texts in this anthology and the best way for you to experience French sensibility in science fiction is perhaps to start with the stories in this book, and to discuss them with fellow readers.

This is not the first collection of French science fiction short stories in English translation, but you will be hard pressed to find the others unless you turn to eBay or used bookstores. You will find a few French science fiction short stories in anthologies such as The SFWA European Hall of Fame edited by James and Kathryn Morrow (2008) or The Big Book of Science Fiction edited by Jeff and Ann VanderMeer (2016), including stories by Jean-Claude Dunyach, also represented in this anthology. However, the last anthologies entirely dedicated to French science fiction were published in the 1960s and 1970s: 13 French Science-Fiction Stories edited by Damon Knight (1965 and 1972) and Travelling Towards Epsilon: An Anthology of French Science Fiction edited by Maxim Jakubowski, (1976). In the latter, Jakubowski starts his introduction with these words: Science fiction does exist outside Britain and America! Not a surprising claim in itself, but one the average reader has, in the past, had little chance to check out.³ Have things changed since then? A few contemporary French authors have published short stories in English in science fiction magazines here and there. Jean-Claude Dunyach, mentioned above, has published collections. Yet, most stories are either difficult to trace or just not on the radar of many readers who are not die-hard fans.

It is important to note that not all the stories in this anthology were written by authors from France, so when we say French, we mean in the French language. Jacques Sternberg was Belgian and Laurence Suhner is Swiss, but they write in French and share the same readership of Western Europe as French nationals. Of course, many writers write and publish in French in other Francophone countries; but, apart from Quebec, science fiction isn’t as popular there as it is in Europe. As author Nalo Hopkinson lamented in an interview talking about English-language science fiction back in 2011, there is (still) a relative lack of voices of color and postcolonial voices in science fiction.⁴ This is also the case in the French Caribbean and French-speaking African countries. This absence is unfortunate because many authors there publish wonderful and successful novels and short stories, just not in the science fiction genre. In the end, selecting nine science fiction stories was difficult enough, and we found it more meaningful and relevant to stay within the European borders—which doesn’t preclude a later Continuum: Francophone Science Fiction Short Stories!

A (VERY) SHORT HISTORY

OF FRENCH SCIENCE FICTION

In 1516, Thomas More wrote Utopia, subtitled A little, true book, not less beneficial than enjoyable, about how things should be in a state and about the new island Utopia. More placed his story in Utopia, a place where everything is perfect and a place that doesn’t exist, to criticize contemporary England. More’s novel, alongside the discovery of new lands and popular travel narratives written by colonists and missionaries, gave birth to a new genre: extraordinary travels. For centuries in France, authors privileged travels to mysterious, unknown lands and the discovery of strange places and people. They created utopian societies, imaginary or programmatic, to better comment on their times, criticize them, and sometimes suggest alternatives. Thus, maybe the history of French science fiction started in the seventeenth century when poet-soldier Savinien de Cyrano de Bergerac, surfing the utopian wave, described life on the moon and the sun to satirize the religious and astronomical beliefs of his time. Or maybe it started in 1771, when Louis-Sébastien Mercier wrote The Year 2440 (L’An 2440. Rêve s’il en fut jamais). Shaped by the philosophy of the Enlightenment, this utopia takes place not in a faraway land but in the future. Mercier’s utopia is considered one of the first novels of Anticipation, a term often used to describe early French science fiction.

Origins might not be clearly defined, but French science fiction gained momentum in the nineteenth century with the Extraordinary Voyages of Jules Verne (1828–1905), probably the French science fiction author most famous outside of France. In the nineteenth century, technological advances ignited other narratives around disease, machinery, or extraterrestrial life. The mid-century saw the rise of socialism and dreams of a new society based on the collective good. Jules Verne’s entire work is strongly marked by positivism,⁵ with the exception of The Eternal Adam (1910), a posthumous short story that might have been co-written by his son Michel Verne. But if Verne is the most famous, there are other French authors publishing at the turn of the century and beyond, such as J.-H. Rosny aîné (1856–1940) whose 1887 novel, Les Xipéhuz, is considered one of the first novels of the merveilleux scientifique genre, another term for early science fiction. The short story The Horla (1887) by Guy de Maupassant (available in English) encompassed many of the fears born out of knowing more about the world, and thus facing the fact that there was, and is, much we don’t know. Maupassant was influenced by hypnosis techniques, advances in astronomy, and Darwin’s theory of evolution. During this era of positivism and great faith in the progress of technology and human civilization (before it all collapsed with WWI), this story stood out. It is usually categorized as a conte fantastique or a horror story rather than a science fiction story, but it is a good representation of the tropes that science fiction was privileging at the time.

At the turn of the century, France’s intellectual, political, and scientific communities were, for the most part, seduced by the optimistic promises of positivism and industrial expansion. This seemingly contradictory atmosphere of capitalist (and colonial) expansion and aspirations of vivre ensemble (living together) found its way into socialist utopias as well as dystopic tales of machines gone mad, which retrospectively foreshadowed the monstruous weapons that killed millions in WWI and again in WWII. The collective imagination that gets expressed in these stories shows great optimism next to a real concern for the ways in which progress is accelerating and profoundly changing society, not just in France but globally. Distances shrunk with new modes of transportation. Periodicals, catalogs, and department stores introduced people to a world of local and exotic manufactured artifacts never seen before. The cinematograph made objects move on two-dimensional planes that people couldn’t touch.⁶ Freud discovered the unconscious. A law by Jules Ferry made school mandatory in France for children who then did not have to work before they turned twelve. French people generally believed that humanity was on a linear path to better days, to a higher civilization, while remaining oblivious to the terrible misuse of science for many at home and abroad.

These ways of relating to a determinate world changed with the onset of WWI and its display of violence on a global scale, crushing optimism, fragmenting time, and demonstrating the terrible destructive capability of a different kind of collective us. As Natacha Vas-Deyre puts it, The First World War will disrupt the materialization of the imaginary, of progress rendered dynamic by utopian literature, and give a terrible blow to this optimistic ideology. ⁷ The authors of early science fiction or merveilleux scientifique became pessimistic; utopia was abandoned. According to Natacha Vas-Deyre, authors even turned away from science fiction altogether as science became not a source of knowledge but of doubt and fear, and it was in the United States that science fiction fully developed.⁸ In 1926, Hugo Gernsback⁹ founded the first magazine dedicated to science fiction, Amazing Stories. The first issue contained texts from Edgar Allan Poe and H. G. Wells, but also Jules Verne.

Jumping ahead, the 1950s marked the start of several collections of science fiction in France, including Anticipation novels and short-story collections at several large Parisian publishers like Gallimard and Denoël. Magazines like Fiction and Galaxies, modeled after American publications, were launched. Space travel and extraterrestrial encounters were popular themes, but some stories (as you will see when you read The Bubbles and So Far From Home included in this collection) still stand out for their ability to question modernity as well as entertain. The world wasn’t the same after Hiroshima and the contemporary philosophical and social movements of the 1950s and 1960s (the philosophy of existentialism, the rise of consumer society, the feminist movement, and decolonization to name a few). These developments became a new source of inspiration for authors who questioned (again) the use of technology to trap, kill, or destroy the planet, rather than to improve people’s lives. Yet, science fascinated.

One important author, despite his conservative views (an after-the-fact yet accurate reading of his overall oeuvre), made many young French readers dream of the future starting in the 1940s: René Barjavel (1911–1985). His main novels have been translated, Ravage published in 1943 and translated as Ashes, Ashes in 1967; Le Voyageur imprudent (1944) translated as Future Times Three (1958); and La Nuit des temps (1968) translated as The Ice People (1971). Used copies of the English translations are available but not affordably. While Ravage is set in a hetero-patriarchal France imbued with Pétainist¹⁰ ideology of returning to the soil and raising large families, and against modern technology (a unilateral means for humans to destroy and be lazy), his later work remained fascinated by the infinite possibilities of time travel (such as the famous science fiction trope of the grandfather paradox) and rebirth after apocalyptic upheavals.

French science fiction cannot be reduced to one trend or vision: While Barjavel is still famous nowadays (you can find his books in almost any French bookstore and Ravage is taught in French schools today), various authors published science fiction from the 1940s and 1950s onward, such as Robert Merle, Jacques Spitz, Julia Verlanger, Régis Messac, and Maurice Renard, to name a few. Francis Carsac (1919–1981) excelled at both delighting and writing intelligent science fiction that responded to his time’s question of how to better live together, much like Isaac Asimov or Arthur C. Clarke. His excellent, ageless novel Pour patrie l’espace (1962) is now available in English translation as The City Among the Stars (2020).

Science fiction in France kept expanding in the following decades and increasingly turned to social issues and climate concerns, but also embraced the new world of social media, avatars, and virtual reality. In the 1970s, new collections were launched. Authors stayed attentive to what was happening to US science fiction, carried by a wave of popular sci-fi films, but kept on their own trajectory. Major early names in science fiction prose to keep in mind (whose texts are not present in this collection) are Jean-Pierre Andrevon, Philippe Curval, Michel Demuth, Charles Henneberg, Nathalie Henneberg, Michel Jeury, Gérard Klein. More recent authors include Pierre Bordage, Catherine Dufour, Jean-Marc Ligny, and a pleiad of exciting young authors. Like Anglo-American science fiction, French science fiction has been heavily dominated by male authors, but an increasing number of female science fiction authors publish with the large and small specialized presses that now exist and thrive in and outside Paris. Women have been writing great science fiction for a long time (see stories by Julia Verlanger and Colette Fayard in this collection). Still, there is more to do to make these authors better known to the younger generation of readers, even in France.

It is important to note the parallel development of comics (bande dessinées) that also have much to offer in terms of science fiction. The adult-focused magazine Métal Hurlant, co-founded by artist Jean Giraud/Gir/Moebius in 1974, focused on science fiction, fantasy, and horror. Comics have come out of the silo of children’s literature the way science fiction is about to become a respectable literary genre—we’re almost there. The first tome of the comic series Snowpiercer by Jacques Lob and Jean-Marc Rochette was released in 1982. Since then, five other volumes, a film adaptation by Bong Joon-ho (2013), and a TV show (2020) have enriched the Snowpiercer universe and showed that French science fiction is popular beyond French borders. Today, comics are a good medium for English readers to discover French science fiction because many comic albums are translated—and available in US public libraries—while prose science fiction literature still is not. There are too many French comics available in English to give an exhaustive list, but look up collaborative albums for which author Serge Lehman wrote scenarios or, more recently, all the graphic novels by Mathieu Bablet. Another format in which French artists are very present, yet perhaps inconspicuously so, is video games. The yearly festival Les Utopiales always features a video game pole for visitors to experience the multiple universes created by French (and others) game designers. Some authors, like Sabrina Calvo (whose French prose is just gorgeous), are also game designers. If you wish to keep track of current publications in French, check out the selection of new works in competition at the Utopiales each year or follow Bifrost, a quarterly publication that publishes book reviews. For general information, a great database is nooSFere.org.

THE STORIES

In French, a short story is called une nouvelle. It is a genre that designates a narrative shorter than a novel, but it is not its only specificity. The constraints of brevity lead authors to take a different path to tell a story that relies on a particular attention to detail and to language. Each paragraph in a short story is carefully crafted as only the essential must be said. Often—but not always—a nouvelle focuses on an anecdote, a moment, a tipping point in the life of one character or a small group of characters. The short story is by nature an invitation to the reader to fill in the blanks, to jump over the ellipses that necessarily punctuate the text. In this regard, short stories are cognitively close to comics and short graphic novels whose readers must also (re)construct the unsaid, signaled notably by the gutter (the space between two panels). We hope the nine stories presented in this collection will both entertain and challenge you and that they will prompt you to start a conversation about the themes they explore and the questions they raise. Each story is followed by a short text titled Expansion about the author and the story to offer further insight into what you have read, and by Discussion Questions to ponder alone or in a group. These stories are unique and, as a collection, will introduce you to the breadth of ways in which French science fiction intrigues, amuses, estranges, and challenges readers to look at the future from a critical standpoint on the present. Here is a snapshot of the stories—we don’t want to tell you too much.

The Bubbles (1956) by Julia Verlanger rings a bell in the wake of COVID-19 and the lockdown we went through, whose effects are still palpable. Unknown diseases and war certainly have not gone away in our time and the story still reads well. Told from the point of view of a sixteen-year-old confined in her house, the narrative evokes the fears that lingered in the post-WWII decades but also demands answers that may or may not be given at the end. It is left to the reader to fill in these blanks.

So Far From Home (1957) by Jacques Sternberg takes a different approach to the 1950s than Verlanger and a more philosophical tone. It is the longest text in the collection, and its length mirrors its content to make us feel, like its extraterrestrial agent that landed on Earth and blended into the population, the slow descent into existentialist void. Otherness leads to alienation; for the reader, this story might even feel like a wake-up call.

That Which is Not Named (1985) by Roland C. Wagner takes you on a journey into the power and complexities of language. A young man is chosen to become the future guardian of his people’s language. However, his role won’t be to preserve it but to reduce it to the point where reality and dangers disappear. Does that which is not named exist? Can that which is named be reduced to that name? Who decides?

The Liberator (1989) by Colette Fayard is one of the most bizarre of the stories presented here. Reminiscent of Maupassant’s frightening tale The Horla, it holds some uncanny and some disturbing moments that will only be explained at the very end, if one can consider the ending an explanation. Is the narrator crazy despite his constant recourse to science? If you imagine life out there, what shape do you think it takes? How far do you think fascination for what you don’t understand can take you? Content warning and spoiler alert: this story evokes an adult-minor relationship. However, it turns out the minor is not a human being; it is an alien that took on a human appearance to trick the narrator.

Nowhere in Liverion (1996) by Serge Lehman offers a twist on the classic Utopia by Thomas More by merging history with a future world engulfed in virtual reality. When everything is data and simulacrum, the battleground moves from Earth to geo-satellites. The power of utopias does not reside only in their possible existence on a different plane of truth but in the resisting force they represent in a monolithic society run by faceless regimes and corporations. Read this story to know if the place is real, but then again, which reality are we talking about?

Inside, Outside (1999) by Sylvie Denis picks up where you left off with Lehman’s utopia and takes you to a different kind of dreamland, one that exists, but not one the main protagonist cares to emulate. In this cult-driven, surveillance-obsessed, dystopian enclave of modern comfort, brainwashed children perpetuate their community’s ideals. The heroine, of course, knows better and wants to get out. The premise might seem familiar but Denis’s original take on some science fiction tropes might surprise you.

The Swing of Your Gait (2009) by Sylvie Lainé explores how a man overcomes losing his girlfriend in a pure science-fictive universe. The main character lost the woman he loves and seeks to know her through technology. You will be charmed by this story that mixes gravity and humor. Like other stories in the collection, the use of technology is never devoid of ambiguity but Lainé, a very talented nouvelliste, never takes our eyes off the characters and what they are going through. What we might take for a tale of transformation is in fact a story of love for the other and the self.

Beyond the Terminator (2017) by Laurence Suhner takes us far, far away, to another planet, but it is not a classic tale of colonization or terraformation. New encounters are recast in twenty-first century reconsiderations of human-animal relations. Suhner, a Swiss author and graphic designer, writes in parallel with the scientific discoveries of her time, whether it is the identification of new celestial bodies or the explosions generated in the Large Hadron Collider. With this short story, she takes off from astrophysics findings to craft a tale about encountering beauty, and the need to respect what we do not know.

The City, That Night (2019) by Jean-Claude Dunyach renders a gothic-like atmospheric world in which characters seem to silently glide. Is this fantastique?¹¹ The short story diffuses an ambience that evokes vampire stories and builds upon a boy’s need to belong. Is it science fiction? Yes, read carefully. Dunyach is a versatile master writer who has published a lot, including texts available in English translation (a new collection of translated short stories is forthcoming as we write this introduction). This story is unique and weird—a little twist to end Continuum: French Science Fiction Short Stories on an overarching question: what is science fiction?

Many articles and books by science fiction scholars propose definitions of the genre of science fiction: it is a literature of wonder and estrangement; it often revolves around a novum, an element that marks a story as science fiction through the introduction of a technological device or another narrative element that oversees the internal logic of the story. Our favorite approach is that of Istvan Csicsery-Ronay Jr. who wrote The Seven Beauties of Science Fiction: it is a kind of awareness, a mode of response.¹² Science fiction raises fundamental questions about how we use new technology, how we treat others, how we relate to our own body, how we build community, and how we care or not for our planet through creative fiction. These fictional worlds cannot but reflect our reality and, more importantly, our perception and interpretation of what reality is—what we love and what we hate about it, what we hope and what we fear about it. Through the fictional detours of space travel, post-apocalyptic upheaval, authoritarian regimes, and the overall confrontation with the unknown, science fiction helps us make sense of our social and physical environment. Science fiction makes you think. It enchants and gets you out of your skin so you can experiment with other ways of living, working, loving, and thinking. As a species, we have traced the origins of humankind back thousands of years ago and imagined, as well as researched, how people have lived, organized, and believed through the ages. Why not explore what we will become one hundred years, ten thousand years from now? Shouldn’t we at least question who we want to be, what trajectory humanity might follow? Science fiction does that. Back and forth between adventure and activism, exaltation and fear, in between the elusive limits of this large historical and thematic arch, French science fiction has proven to be, and remains, a dynamic and inquisitive literary genre.

The nine stories you are about to read form an eclectic corpus across time (from the 1950s until recently) and topics (aliens, oppressive regimes, technology, (anti)speciesism . . .). They were chosen carefully to provide a range of themes, questions, and approaches to the issues French-language authors are interested in. With this new anthology, we wish to (re)introduce readers, especially those who don’t usually read science fiction, to an array of stories that address different important themes in the field of science fiction in France in the hope that more translations will be available in the future. It is a first, modest, yet important step to open the door to a more explicit dialogue between productions of global science fiction in different languages, beyond the circle of the insiders; an extended hand to invite you to seek more, read more, connect more with the fabulous conversations that science fiction allows.

---

1 We refer you to Istvan Csicsery-Ronay’s article What do we mean when we say ‘Global Science Fiction’? Reflexion on a new nexus. Science Fiction Studies, vol. 39 (3), Nov. 2012, pp. 478–493.

2 Ken Liu. n.d. China Dreams: Contemporary Chinese Science Fiction. Clarkesworld Magazine. Accessed June 1, 2021. https://clarkesworldmagazine.com/liu_12_14/.

3 Maxim Jakubowski. Travelling Towards Epsilon: An Anthology of French Science Fiction. London, England: New English Library, 1976. p 9.

4 Jessica Langer. Postcolonialism and Science Fiction. New York, NY: Palgrave Macmillan, 2011.

5 At the end of the nineteenth century, in the sciences, positivism refers to a methodology that rests on what can be positively observed, quantified, measured, and verified. Positivism is anchored in a strong belief in human progress and in a future when all questions can be answered through the positivist method.

6 Again, check Journey to the Moon by Georges Méliès; it is available on YouTube and only fifteen minutes long!

7 Vas Deyre, Natacha. Ces Français qui ont écrit demain: utopie, anticipation et science-fiction au XXe siècle. Champion, 2012, 34. (These French who wrote tomorrow—Our translation.)

8 Vas-Deyre, 126, 132.

9 Gernsback also coined the term science fiction, saying that the stories in the magazine were 75 percent literature interwoven with 25 percent science.

10 This term refers to the political philosophy associated with the Marshal Philippe Pétain, who served as head of the collaborationist regime of Vichy France during WWII.

11 The term fantastique refers to the intrusion of the supranatural into the realistic frame of a story. It is often used to describes the works of Edgar Allan Poe and nineteenth century French writers such as Guy Maupassant, Théophile Gautier, or Villiers de l’Isle-Adam (all found in translation).

12 The Seven Beauties of Science Fiction. Wesleyan University Press, 2008, pg. 2

The Bubbles

by Julia Verlanger

translated by Tessa Sermet

August 8

Today, I saw the Other again. She was waving her long arms in front of the window, and she talked, talked. Her mouth moved nonstop, but I didn’t hear anything. Of course, we cannot hear anything behind the window. Then she pressed all her arms on the glass, she pushed. I got scared, I pressed the button, and the shutters slammed shut. Yet I know she can’t enter. No one can enter.

Father used to say that in the past, long, long ago, window glass could break. I cannot believe it, but Father knew. He used to say that we were very lucky the bubbles arrived during our time because, in the old days, everyone would have died. The houses weren’t like nowadays, and there were no servants. No one would have been safe from the bubbles.

It is Father who said I should write when I was older. He used to say, One has to write for the future. Because, one day, we would find a way to fight the bubbles, and everything would be back the way it was. He used to say: "One will have to know what happened during the years of the bubbles. That is why you need to write,