Precursors of scifi

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Precursors of the contmporary genre, such as Mary Shelley's Gothic novel Frankenstein, or the Modern Prometheus (1818), the same author's post-apocalyptic The Last Man (1826), and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886) plainly are science fiction, whereas Bram Stoker's Dracula (1897), based on the supernatural, is not. A borderline case is Mark Twain's A Connecticut Yankee in King Arthur's Court, where the time travel is unexplained, but subsequent events make realistic use of science. Shelley's novel and Stevenson's novella are early examples of a standard science fiction theme: The obsessed scientist whose discoveries worsen a bad circumstance.
Slipstream is a term for a style of fiction which pushes conventional genre boundaries and doesn't sit comfortably within the confines of either science fiction/fantasy, or mainstream literary fiction.

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The term slipstream when used in reference to literature, was coined by cyberpunk author Bruce Sterling in an article originally published in SF Eye #5, July 1989. He says in part: "...this is a kind of writing which simply makes you feel very strange; the way that living in the twentieth century makes you feel, if you are a person of a certain sensibility." Slipstream fiction has consequently been referred to as "the fiction of strangeness," which is as clear of a definition as any others in wide use.

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Slipstream falls into the gap between speculative fiction and mainstream fiction. Fans of mainstream literature may find it too strange, whereas fans of SF may find it not strange enough. While some slipstream novels employ elements of fantasy or magic realism, not all do. The common unifying factor of these pieces of literature is a some degree of the surreal, the not-entirely-real, or the markedly anti-real. Many readers who have never heard the term slipstream, will still recognize the names of authors whose works have been categorized as slipstream. These include Christopher Priest, Margaret Atwood, Karen Joy Fowler, Douglas Coupland, Angela Carter, Steve Erickson, Paul Auster, Haruki Murakami, J. G. Ballard, Jorge Luis Borges and William S. Burroughs.

In films, Memento, Being John Malkovich and Intacto are recent examples that have been called slipstream.

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