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Аннотация

This novel, written over ten years ago, not only did not lose its sharpness and relevance, but, on the contrary, is intended to be a significant milestone for all intelligent readers. For all those who are still interested in secrets of space and the dual and contradictory role of scientific progress in modern society, and feelings of the characters who undergo the hardest tests of courage, devotion to duty and humanity. Moreover, the novel "Chronicle of Natotevaal" has the potential to become a cult product for fans of science fiction – it is imbued with romance of heroism, great sense of humor and it is literally impossible to break away from reading it. But, nevertheless, the novel is anything but entertaining light reading: the author raises complex issues of science, politics, philosophy and moral before his heroes and the readers. In the tradition of the best works of fiction of the 20th century, Andrey Demidov reveals the unknown in his novel, something that might either happen tomorrow or will never happen at all. The author clearly highlights the difficulty of the way to complex, unknown future – it is a long and difficult path, with mistakes and defeats on the way; and the victory will not be easy, but endured, with a promise of new ways and new challenges. To many of the questions posed by Andrey Demidov in the novel "Chronicle of Natotevaal" humanity does not yet have sufficiently complete and convincing answers. Humanity will search for these answers as long as it exists; it is obliged to, if we want to go forward, not blindly. Searching through fiction in particular, and the book you now hold in your hands will become a reliable, but demanding assistant, and possibly – your spiritual guide to a modern, distorted world. Because “imagination – is just a part, although a significant one of what usually denotes reality. Ultimately, it is unknown to which of the two genres – reality or fiction our world belongs”.

Андрей Демидов - Natotevaal. War Chronicle

Natotevaal. War Chronicle

Foreword

‘Imagination – is just a part, although a significant one, of what usually denotes reality. Ultimately, it is unknown to which of the two genres – reality or fiction our world belongs.’

H.L.Borges

Philosophy and science fiction, like any other forms of culture can interact in many different ways. Certainly not all their features are equal.

If Borges, for instance, describes philosophy as a kind of fiction with inimitable literature-centrism, Derrida principally refuses to distinguish between (fiction) literature and philosophy, and in the best case fiction critics are only able to collect images and references to philosophy in science fiction works, thus philosophical consideration of fiction is hardly a noticeable opportunity.

In pursuit of reality, and in an attempt to lay the foundation of scientific knowledge, philosophy not only ignored imagination and fantasy along with their products (relating to purely subjective orders) but systematically and consistently tried to get rid of them by all means, so as to approach objectivity and – ideally – entirely possess it.

Only, perhaps, the establishment of non-classical way of philosophizing, that allowed and even suggested alternative interpretations of reality, has gradually changed the attitude to fiction.

It is peculiar that almost at the same time – in the second half of the XIX century – formation of proper literary fiction occurs (of course: Jules Verne, G.Wells).

Only in the second half of the XX century philosophy started to conduct special studies of the imaginary, virtual, semantics of possible worlds, etc. (along with gaining fiction maturity).

However, actual fiction still remained below the horizon of perception, although only fiction provides philosophy with a special field-space for deploying extravagant concepts, as well as unique tools for modeling and experimentation.

In order to highlight these features by heuristic fiction of philosophy and outline the shapes of the appropriate project, it is useful to see philosophy as an operator, which is applied to science fiction as a phenomenon.

If philosophy assumes the reflection of ultimate bases of culture as a whole, claims to critically examine the diversity of the world in general, then by the same gesture, which provides its versatility, condemns itself and has to delve into the specifics of each particular cultural form, each area and region of the world.

For instance, a mathematician studies mathematics, and a musician – music, while figuring out how music differs from mathematics or what comprises one or the other, is not of their concern, but the task of philosophy in its applied sense, so to speak.

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