Qual foi a primeira história de ficção científica definida para o futuro sem se preocupar com o presente?

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Não estou falando de viagens no tempo e coisas do gênero, mesmo que isso possa estar envolvido. Nos primeiros dias da ficção científica, mesmo que você viajasse para o espaço sideral, no tempo ou para a frente no tempo, ele sempre começava em nosso próprio tempo (ou no que estava presente quando o autor escreveu a história) em nosso próprio planeta.

Em Wells máquina do tempo or Sleeper Awakes, o personagem principal vive primeiro no presente e depois acaba no futuro. Buck Rogers vem do presente e acorda no futuro. No Clarabóia do Espaço, tudo começa na Terra antes de passar para o espaço sideral.

Mais tarde, esse conceito desapareceria. Quando somos apresentados a um personagem, ele ou ela já vive no futuro e / ou em algum lugar fora da Terra ou mesmo em nosso próprio sistema solar. Pelo que posso ver, Edmond Hamilton Crashing Suns da 1928 começa milhares de anos no futuro. Existem histórias anteriores a isso?

por Tim Hansen 13.02.2019 / 13:44

8 respostas

1826: The Last Man, um romance de Mary Shelley, Disponível em Projeto Gutenberg.

Na página da Wikipedia:

The Last Man is a post-apocalyptic science fiction novel by Mary Shelley, which was first published in 1826. The book tells of a future world that has been ravaged by a plague.

A história se passa inteiramente no futuro (final do século XIX) a menos que você conte a introdução onde ela finge explicar como a encontrou. Citando a Wikipedia novamente:

Mary Shelley states in the introduction that in 1818 she discovered, in the Sibyl's cave near Naples, a collection of prophetic writings painted on leaves by the Cumaean Sibyl. She has edited these writings into the current narrative, the first-person narrative of a man living at the end of the 21st century, commencing in 2073 and concluding in 2100. Despite the futuristic setting, the world of The Last Man appears to be relatively similar to the era in which it was written.


Aqui está outra história, muito mais tarde; não na disputa pelo "primeiro", mas talvez você goste mais porque apresenta um futuro muito mais avançado, com viagens interplanetárias etc.

1915: "Dólar de John Jones", uma breve história de Harry Stephen Keeler, publicado pela primeira vez na edição 1915 de agosto de O Gato Preto, uma digitalização disponível no Internet Archive. O texto da história está disponível em Projeto Gutenberg. Cito o início da história:

On the 201st day of the year 3221 A.D., the professor of history at the University of Terra seated himself in front of the Visaphone and prepared to deliver the daily lecture to his class, the members of which resided in different portions of the earth.

The instrument before which he seated himself was very like a great window sash, on account of the fact that there were three or four hundred frosted glass squares visible. In a space at the center, not occupied by any of these glass squares, was a dark oblong area and a ledge holding a piece of chalk. And above the area was a huge brass cylinder; toward this brass cylinder the professor would soon direct his subsequent remarks.

In order to assure himself that it was time to press the button which would notify the members of the class in history to approach their local Visaphones, the professor withdrew from his vest pocket a small contrivance which he held to his ear. Upon moving a tiny switch attached to the instrument, a metallic voice, seeming to come from somewhere in space, repeated mechanically: "Fifteen o'clock and one minute—fifteen o'clock and one minute—fifteen o'clock and one min—" Quickly, the professor replaced the instrument in his vest pocket and pressed a button at the side of the Visaphone.

As though in answer to the summons, the frosted squares began, one by one, to show the faces and shoulders of a peculiar type of young men; young men with great bulging foreheads, bald, toothless, and wearing immense horn spectacles. One square, however, still remained empty. On noticing this, a look of irritation passed over the professor's countenance.

But, seeing that every other glass square but this one was filled up, he commenced to talk.

"I am pleased, gentlemen, to see you all posted at your local Visaphones this afternoon. I have prepared my lecture today upon a subject which is, perhaps, of more economic interest than historical. Unlike the previous lectures, my talk will not confine itself to the happenings of a few years, but will gradually embrace the course of ten centuries, the ten centuries, in fact, which terminated three hundred years before the present date. My lecture will be an exposition of the effects of the John Jones Dollar, originally deposited in the dawn of civilization, or to be more precise, in the year of 1921—just thirteen hundred years ago. This John Jon—"

At this point in the professor's lecture, the frosted glass square which hitherto had shown no image, now filled up. Sternly he gazed at the head and shoulders that had just appeared.

"B262H72476Male, you are late to class again. What excuse have you to offer today?"

From the hollow cylinder emanated a shrill voice, while the lips of the picture on the glass square moved in unison with the words:

"Professor, you will perceive by consulting your class book, that I have recently taken up my residence near the North Pole. For some reason, wireless communication between the Central Energy Station and all points north of 89 degrees was cut off a while ago, on account of which fact I could not appear in the Visaphone. Hence—"

"Enough, sir," roared the professor. "Always ready with an excuse, B262H72476Male. I shall immediately investigate your tale."

From his coat pocket, the professor withdrew an instrument which, although supplied with an earpiece and a mouthpiece, had no wires whatever attached. Raising it to his lips, he spoke:

"Hello. Central Energy Station, please." A pause ensued. "Central Energy Station? This is the professor of history at the University of Terra, speaking. One of my students informs me that the North Pole region was out of communication with the Visaphone System this morning. Is that statement true? I would—"

A voice, apparently from nowhere, spoke into the professor's ear. "Quite true, Professor. A train of our ether waves accidently fell into parallelism with a train of waves from the Venus Substation. By the most peculiar mischance, the two trains happened to be displaced, with reference to each other, one half of a wave length, with the unfortunate result that the negative points of one coincided with the positive points of maximum amplitude of the other. Hence the two wave trains nullified each other and communication ceased for one hundred and eighty-five seconds—until the earth had revolved far enough to throw them out of parallelism."

"Ah! Thank you," replied the professor. He dropped his instrument into his coat pocket and gazed in the direction of the glass square whose image had so aroused his ire. "I apologize, B262H72476Male, for my suspicions as to your veracity—but I had in mind several former experiences." He shook a warning forefinger. "I will now resume my talk."

"A moment ago, gentlemen, I mentioned the John Jones Dollar. Some of you who have just enrolled with the class will undoubtedly say to yourselves: 'What is a John Jones? What is a Dollar?'

13.02.2019 / 14:53

Micromégas (Voltaire, 1752)

Isso vem do ângulo "começa em outro planeta" na sua pergunta, e não do ângulo "começa no futuro". Não tenho certeza se isso se encaixa exatamente de qualquer maneira, já que eles chegam à Terra na metade da história. O protagonista, Micromégas, é nativo de um planeta orbitando Sirius, e a narrativa começa com Micromégas em seu planeta natal:

On one of the planets that orbits the star named Sirius there lived a spirited young man, who I had the honor of meeting on the last voyage he made to our little ant hill. He was called Micromegas[1], a fitting name for anyone so great. He was eight leagues tall, or 24,000 geometric paces of five feet each.

De acordo com o resumo da trama em WikipediaMicromégas é considerado culpado de heresia e banido do tribunal em seu país. Frustrado, ele começa a viajar pela galáxia e conhece um morador de Saturno. Eles comparam suas experiências em seus planetas e, finalmente, viajam juntos para a Terra, onde exploram um pouco e conversam com alguns filósofos.

14.02.2019 / 00:38

1863 Jules Verne escreveu Paris no século XX (Paris no século XX) no 1863, mas não foi publicado até o 1994, por isso não tenho certeza de que conta.

Ao contrário de Shelley The Last Man, que tem uma referência ao presente do escritor na introdução, esse romance parece ser ambientado inteiramente no futuro de 1960.

Da Wikipedia:

The novel's main character is 16-year-old Michel Dufrénoy, who graduates with a major in literature and the classics, but finds they have been forgotten in a futuristic world where only business and technology are valued. Michel, whose father was a musician, is a poet born too late.

14.02.2019 / 10:43

A Batalha de Dorking por George Tomkyns Chesney, publicado na 1871, começa várias décadas no futuro e volta a piscar alguns anos após sua data de publicação. Está, portanto, tudo pronto no futuro, embora a maior parte não esteja muito longe no futuro.

13.02.2019 / 14:02

Para responder minha própria pergunta; a história da 1909 The Machine Stops de EM Forster, que começa em um futuro utópico ou distópico (alguns parecem amar sua sociedade, outros não).

14.02.2019 / 06:58

Não há alegação de que seja a mais antiga, mas "With the Night Mail (UMA HISTÓRIA DO AD 2000)" de Rudyard Kipling tem direitos autorais 1905.

13.02.2019 / 19:37

"No ano 2889"de Jules e Michel Verne foi publicado na 1889. É cerca de um dia na vida de Fritz Napoleon Smith, um magnata do jornal, e de todas as tecnologias que ele usa. Você pode ter uma noção do tom dele no parágrafo de abertura:

Little though they seem to think of it, the people of this twenty-ninth century live continually in fairyland. Surfeited as they are with marvels, they are indifferent in presence of each new marvel. To them all seems natural. Could they but duly appreciate the refinements of civilization in our day; could they but compare the present with the past, and so better comprehend the advance we have made! How much fairer they would find our modern towns, with populations amounting sometimes to 10,000,000 souls; their streets 300 feet wide, their houses 1000 feet in height; with a temperature the same in all seasons; with their lines of aërial locomotion crossing the sky in every direction! If they would but picture to themselves the state of things that once existed, when through muddy streets rumbling boxes on wheels, drawn by horses—yes, by horses!—were the only means of conveyance. Think of the railroads of the olden time, and you will be able to appreciate the pneumatic tubes through which to-day one travels at the rate of 1000 miles an hour. Would not our contemporaries prize the telephone and the telephote more highly if they had not forgotten the telegraph?

15.02.2019 / 00:15

Na página 75-76 de A história da ficção científica de Adam Roberts, visível no Google Livros aqui, dois possíveis exemplos muito antigos:

Francis Cheynell's six-page political squib Aulicus: His Dream of the King's Sudden Coming to London (1644) is sometimes described as the first published future fiction. This oversells it, as there are plenty of prior examples of this mode of writing. More, Cheynell's text is something of a squib. Aucilus—Latin for courtier—is a dunce, unable to comprehend what has happened to his country, or the failings of the king he slavishly serves. Cheynell retells his dream of Stuart victory only to mock its absurdity. A companion volume Aulicus, His Hue and Cry Sent Forth After Britanicus, who is Generally Reported to be a Lost Man (1645) reflects back upon the Civil War, and finds rumours of Britain's 'loss' much exaggerated. Indeed, Aulicus is a stock figure in 17th-century satire, a means of critiquing court politics by invoking a foolish courtier without treasonously, and perilously, satirising the monarch himself.

Jacques Guttin's Epigone, histoire du siècle futur (1659) is a more considered attempt to portray a future society, although the flavour of the whole is very far from what we might consider futuristic. On the contrary indeed, Guttin's book rehearses romance and epic tropes in a fully nostalgic manner. The frame narrative describes how Epigone (whose name means posterity or after-born) and his friends are caught in an enormous storm at sea, are shipwrecked on the apparently African coast of Agnotie (Guttin's own glossary defines this as terre inconnue). They are taken inland to a mighty city, where by virtue of a crystal translation artefact they are able to communicate with the strange natives, to whose monarch Epigone relates his various adventures. Despite being notionally located in the future age, this text draws heavily on Virgil's Aeneid. The adventures themselves, including an interlude in a female-ruled amazonian kingdom devoted to sensual pleasure, echo Homer's Odyssey. The reversals, adventures, love elements, sword fights, escapes and all the usual bag and baggage of conventional romance dilute the notional futurity. Paul Alkon argues that 'Guttin's "future century" is not unequivocally a future at all' [Alkon, Origins, 37].

23.04.2019 / 02:50