Award lists considered harmful

Via James Nicoll, the list of winners of the John W. Campbell Memorial Award for Best Science Fiction Novel (but not the John W. Campbell Award for Best New Writer). In bold are those I’ve read, while the ones I read but thought filled a much needed gap in literature are struck through:

  • 1973 – Beyond Apollo, Barry N. Malzberg
  • 1974 (tie) – Rendezvous with Rama, Arthur C. Clarke; Malevil, Robert Merle
  • 1975 – Flow My Tears, The Policeman Said, Philip K. Dick
  • 1976 – The Year of the Quiet Sun, Wilson Tucker (special retroactive award for a novel from 1970)
  • 1977 – The Alteration, Kingsley Amis
  • 1978 – Gateway, Frederik Pohl
  • 1979 – Gloriana, Michael Moorcock
  • 1980 – On Wings of Song, Thomas M. Disch
  • 1981 – Timescape, Gregory Benford
  • 1982 – Riddley Walker, Russell Hoban
  • 1983 – Helliconia Spring, Brian W. Aldiss
  • 1984 – The Citadel of the Autarch, Gene Wolfe
  • 1985 – The Years of the City, Frederik Pohl
  • 1986 – The Postman, David Brin
  • 1987 – A Door into Ocean, Joan Slonczewski
  • 1988 – Lincoln’s Dreams, Connie Willis
  • 1989 – Islands in the Net, Bruce Sterling
  • 1990 – The Child Garden, Geoff Ryman
  • 1991 – Pacific Edge, Kim Stanley Robinson
  • 1992 – Buddy Holly Is Alive and Well on Ganymede, Bradley Denton
  • 1993 – Brother to Dragons, Charles Sheffield
  • 1994 – No award
  • 1995 – Permutation City, Greg Egan
  • 1996 – The Time Ships, Stephen Baxter
  • 1997 – Fairyland, Paul J. McAuley
  • 1998 – Forever Peace, Joe Haldeman
  • 1999 – Brute Orbits, George Zebrowski
  • 2000 – A Deepness in the Sky, Vernor Vinge
  • 2001 – Genesis, Poul Anderson
  • 2002 (tie) – Terraforming Earth, Jack Williamson; The Chronoliths, Robert Charles Wilson
  • 2003 – Probability Space, Nancy Kress
  • 2004 – Omega, Jack McDevitt
  • 2005 – Market Forces, Richard Morgan
  • 2006 – Mindscan, Robert J. Sawyer
  • 2007 – Titan, Ben Bova
  • 2008 – In War Times, Kathleen Ann Goonan

Not a great score, though several of the books I haven’t read yet are on my bookshelves (e.g. Gloriana). Others though, especially post-1990, just don’t appeal at all. McDevitt, Sawyer and Baxter for example are all writers who are at best mediocre (though Baxter surprised me recently). Which brings me to the question of whether anybody ever uses these award lists as a reading guide? If you’re already familiar with science fiction and fantasy seeing who’s nominated for a Hugo might be interesting, but what if you’re new to the genre? Personally I doubt these lists will give you a good overview of the field.

Take the two biggest awards. The Hugo is voted on by a dwindling number of science fiction fans who take the trouble of registering for this year’s Worldcon and whose taste tends towards the conservative and middle of the road. The Nebula on the other hand is determined by the Science Fiction Writers of America members, which sounds better than it is, as there’s a lot of politics involved in determining the winners and again the members tend to be more conservative than the actual readers. With both there have been long stretches in which the award was consistently given to mediocre books. So if you’re a new reader or trying to assemble a reading list for somebody to get acquainted with science fiction, just following the award lists would lead to reading a lot of godawful dull books.

When I started reading science fiction I did it through the local library, then later discovered fanzines (Holland SF) which pointed me in the direction of good books; these days there are of course plenty of blogs talking about sf as well. That would be my advice: try books out from the library and look for reviewers you trust, rather than award lists.

Science fiction is no good they holler until we’re deaf…

If it’s good, then it’s no sf:

What do novels about a journey across post-apocalyptic America, a clone waitress rebelling against a future society, a world-girdling pipe of special gas keeping mutant creatures at bay, a plan to rid a colonisable new world of dinosaurs, and genetic engineering in a collapsed civilisation have in common?

They are all most definitely not science fiction.

Literary readers will probably recognise The Road by Cormac McCarthy, one of the sections of Cloud Atlas by David Mitchell, The Gone-Away World by Nick Harkaway, Stone Gods by Jeanette Winterson and Oryx and Crake by Margaret Atwood from their descriptions above. All of these novels use the tropes of what most people recognise as science fiction, but their authors or publishers have taken great pains to ensure that they are not categorised as such.

On the one hand, it’s enough to give any genre an inferiority complex. Science fiction has always been uncool and unloved, rarely getting widespread critical love or street cred, but with many of its best practitioners getting siphoned off into the realms of literature being discovered years or decades after science fiction fans had discovered their talents. It’s not just mainstream writers or their publishers quick to distinguish their novels of the future from the dreaded esseff, it’s also the retroactive reclassification of writers like Ballard, Dick or LeGuin as something better than mere sf writers. It’s cultural appropriation of the worst kind (joke…)

On the other hand, I do understand why certain writers want to distance their books from the genre. Leaving aside base commercial motivations, it’s also a way of managing expectations. A novel like Margaret Atwood’s The Handmaid’s Tale for example wasn’t written as a science fiction
novel, but in the spirit of a much older literary tradition, the utopian/dystopian story. It doesn’t conform to science fiction conventions and its science fictional content is there as a tool, not a purpose.

On the gripping hand, this sort of thing can be really irritating, especially when you get mainstream writers who are trying to write proper science fiction, without love for the genre or much knowledge about and whose pedestrian treatments of lonmg chewed over ideas are hailed as groundbreaking.
P. D. James’ The Children of Men is a good example of this: an old idea, not very well thought through but published to wide critical acclaim denied to the sf works that treated this same subject better (like Philip Jose Farmer’s short story “Seventy Years of Decpop”).

But what can you do? Compared to where we were even twenty years ago we can’t really complain and besides, for every literature snob there’s a science fiction fan proud of his ignorance of anything this side of Perry Rhodan. Read what you like and remember that mainstream literature is a genre too.

Driftglass — Samuel R. Delany

Cover of Driftglass


Driftglass
Samuel R. Delany
318 pages
published in 1971

Samuel Delany is one of my favourite science fiction writers and in my opinion one of the best science fiction writers ever. Considering the cover blurb on this collection of short stories, I’m not alone in that opinion. According to Frederick Pohl, not a bad writer himself, “Delany may be the only authentic genius among us”. High praise indeed, but Delany deserves it. Everything I’ve read of his, including his earliest novels, displayed a mastery of both language and story, a lively imagination and ability to create novel but believable world and most importantly a grasp of the importance of culture that’s rare in science fiction, especially when he first started writing.

He is however more of a novelist than a short story writer, having written not nearly as many short stories as his contemporaries. in fact, Delany debuted with a novel at a time when science fiction was still largely a magazine driven field. It was only after he had established himself as a writer that he started publishing some of his short stories. Driftglass was his first collection, containing work written between ’65 and ’68 and published between 1967 and 1970. It’s a great collection, with two absolute classics in it: the Nebula winning “Aye, and Gomorrah…” as well as “Time Considered as a Helix of Semi-Precious Stones”, which won both the Hugo and the Nebula awards. Not to mention several other excellent stories.

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Oh no John Ringo!

I would just like to note Davind Hines’ delightfull takedown of John Ringo’s Paladin of Shadows series makes. If you don’t know Ringo, he’s one of an interchangable stable of authors writing the kind of formulaic mil-sf series Baen Books churns out by the dozen, featuring flint-eyed conservative he-men saving the world from alien menaces while spineless liberal appeaseniks are trying to stab them in the back. Those are bad enough already, both in content and writing, which is several rungs below David Weber, my personal bright red line below which I don’t bother, but this is much worse. A sample from the first chapter of the first book:

He knew that at heart, he was a rapist. And that meant he hated rapists more than any “normal” human being. They purely pissed him off. He’d spent his entire sexually adult life fighting the urge to not use his inconsiderable strength to possess and take instead of woo and cajole. He’d fought his demons to a standstill again and again when it would have been so easy to give in. He’d had one truly screwed up bitch get completely naked, with him naked and erect between her legs, and she still couldn’t say “yes.” And he’d just said: “that’s okay” and walked away with an amazing case of blue balls. When men gave in to that dark side, it made him even more angry then listening to leftist bitches scream about “western civilization” and how it was so fucked up.

It gets much worse and Hines is good at showing how bad it gets without getting the ick all over you, so to speak. What is it with Baen anyway? It’s not that they publish rightwing wankfests that I mind, it’s that several of their authors are decidedly creepy. There’s Krautman, who seems to think having the Waffen-SS star as heroes in one of his booksis no biggie, Leo Frankowski, who first presented a lighthearted rape in one of his intermibable Crosstime Engineer novels before moving to Russia because American women just didn’t understand a man’s needs and now Ringo and his not-quite rapist-hero and his collection of whores. To be sure not every rightwing Baen novelist is this batshit insane –David Weber might have some issues with liberals but seems quite sensible otherwise, while Eric Flint writes the same sort of mil-sf as the rest of them but featuring union members (he calls himself a Trotskist as well) — but there is a high percentage of outright nutters being published there.

Ammonite – Nicola Griffith

Cover of Ammonite


Ammonite
Nicola Griffith
386 pages
published in 1993

Nicola Griffith is a writer I’ve heard a great deal of but so far had never read anything by. Ammonite was her first novel and immediately made a strong impression on publication, winning both the James Tiptree Award and the Lambda Award. As these awards confirm, Ammonite is a classic feminist science fiction novel, straight in the tradition of writers like Ursula Le Guin (Left Hand of Darkness), Joanna Russ (The Female Man) and Sheri Tepper (The Gate to Women’s Country).

The world created in Ammonite is also a classic feminist science fiction trope: that of a world without men. In this case, it’s the colony world of Jeep where an alien virus killed off all men and a large percentage of women, leaving the survivors to rebuilt their societies on a one gender basis. How they’ve managed to do so is the central mystery of Ammonite, which is partially a puzzle story and partially a leisurely planetary romance as our protagonist, anthropologist Marghe Taishan, travels the planet in search of answers. Marghe is working for SEC, the government agency that was set up to safeguard the interests of indigenes of rediscovered colony worlds like Jeep from exploitation by the Company, which has a monopoly on space exploration and which whom Marghe has some unpleasant history…

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