Proponents of this shift have argued that the former is an inadequate demarcation of the genre’s loose characterization as a space in which multiple meanings and competing discourses can be worked through rather than resolved. 1 The shift in the usage of “science” to “speculative” is itself a response to the genre’s propensity for imprecise, incomplete, and multiple meanings within a given text. Her characterization of speculative fiction as a genre well-suited to the arguably inherently messy task of creative writing has been echoed by many authors of the genre who all tend to agree that its aptness for-in Robinson’s words- incoherency is a positive attribute rather than an annoying peculiarity to overcome. In her short story “Terminal Avenue” (2004), Haisla-Heiltsuk writer Eden Robinson practices the “mashing of ideas” for which she praises the genre of speculative fiction for encouraging among writers of fiction (Robinson qtd. Read Our Open Access Books and Journals.

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