Fantastic worlds are not a creation of modern literature; On the contrary, they are part of the first shafts of man, when he began to take the taste of story and mysteries. The fantastic does not only designate a space beyond the earth, as it seemed at first sight, but especially one that could be anywhere, but nowhere, a land of fantasy, gods and monsters, of the people at the limit of civilization, heaven and hell, of the myth, of the miter, of the imagination, of the imagination the future.

The connection between science and literature is much older than it would seem at first sight. Thus, some of the scientific treaties of the Middle Ages have come to feed the Literature of the 19th and 20th centuries as we will see that it happened with the physiologist. Later, however, the SF current, including not only the literature itself, but also all the imaginary represented in films, comics, etc., has come to take it before scientific research, giving rise to inventions that have changed the face of our civilization. In other words, the creative imagination of the writer has enhanced the scientist. Numerous examples of this kind are known, not only Jules Verne's rocket and submarine, but also mobile phones, computers, first steps a month, international space station, spatial costumes, organ transplantation, climatic changes (from John Barnes's "Hurricles") and many others. Of course the Hard SF has evolved around scientific ideas, many more difficult to put into practice, but still possible in a certain future.

Everything that means mythological and fantastic is largely linked to the spaces beyond the surface of the Earth, even if not from the cosmic space, but below the ground, as they were seen at the beginning, if we were to think about the first gods, representations of the earth, the first agrarian rituals and especially the first representations of the hell, As well as later, in Christianity, when Dante Alighieri proposed a model-cliff model of the world beyond, in which the sub-earth hell and heaven communicated with each other. The scientific-fantastic literature is tributary, more than I think, these ideas and images, but they treat in a modern way, blending them with prospective science.

Many would be surprised by reading the physiologist (a fantasy zoology manual) and discovering fantastic animal grilles. Perhaps the innocence, the griffon and the Ghionoaia would have known them, but precisely they would have difficulty recognizing Vasilisk, Calandrion and Aspida, even though he met them in many of the Heroic Fantasy writings, but under another name. Animals that populate the worlds of Ursula K. Le Guin are the variants of much older models, produced by a double spatial and temporal overlap through which the plans of antiquity meet elaborating new creatures, new ways of combining within a type of literature (considered underground by some critics) that continue to the MAIN, but to the MAIN, Antiquity, but also those of the last -minute scientific research. The ants eating people from the history of Alexandru Macedon, but also from the kings of the sands (G. R. R. Martin), the cape with an eye in the forehead, now played in a more technical, but equally expressive manner, the monsters with a man's head and one of a dog, reminiscent of some joints, Ionuț Bănuță), and last but not least, aliens, mutants, telepathies, people with supernatural powers, are as many examples reminiscent of the ancient models of the genre.

These exercises of the imagination are combined with the stories about the underground worlds, giving rise to new writings, which, through their modern air, seem to challenge the texts from which they came. Some Cyberpunk and Steampunk stories are based on these texts that are now part of a database that we each refer to.

The schemes of the itinerary embodied by miraculous events, of places where nothing is used, of strange people and fabulous animals, does not cease to attract, whether they are found in fantastic literature or science fiction, on the space stations of the future.

Also on a journey that seems detached from the Baroque literature, the character of Serge Brussolo (Iron Carnival), David, who goes to the city of oracles and the right to take part in an adventure in an world full of creatures, as if from the appetite, as if he had to obtain, as if, as if he, The iron carnival represents a modern variation on the grounds of travel in exotic lands, in which the character meets people-people, people-people, seas made of dwarves who help the ships to sail by passing them from hand. The same props of the Middle Ages, which at that time was probably the last-minute science, and which was given a modern face, crosses the time barrier. The current SF is therefore an amalgam of ideas and images, some very old, but also of scientific "inventions" that are waiting to find their place in the modern world, boosting the research.

Of course, some SF ideas, fashionable a few decades ago, remained only between the pages of books, with all the efforts of the researchers. The flying machine is still in the project phase, and the time trip seems to be possible only in the future, aboard a spacecraft that moves at the speed of light, as Stephen Hawking argues. Also, the implants in the Cyberpunk literature have found only their way in our lives to a small extent, while teleportation is still far from transporting people and objects.

String anthology includes various texts, from fantastic to SF, due to writers as different. It is a message that passes from generation to generation, from those who wrote and published in the '80s (Mihai Grămescu, Aurel Cărășel, etc.), who debuted in the' 90s (Cotizo Draia, Florin Petea, Costi Gurgu) to those who started writing after 2000. Antology also includes a section dedicated to the world, and to the world, and to the world, And to those who have published, but are still at the beginning of the road. A non-fiction section comes to complete the image of this area less visited by literary criticism-the Romanian SF. Regardless of age and favorite subgen, writers of the Romanian SF create worlds, or not to new scientific ideas, but that remain areas where anything is possible, as long as we accept the game of imagination and the convention of unusual spaces, hidden in the shadow of reality.