Michael Grossberg, who founded the LFS in 1982 to help sustain the Prometheus Awards, has been an arts critic, speaker and award-winning journalist for five decades.
Michael has won Ohio SPJ awards for Best Critic in Ohio and Best Arts Reporting (seven times).
He's written for Reason, Libertarian Review and Backstage weekly; helped lead the American Theatre Critics Association for two decades; and has contributed to six books, including critical essays for the annual Best Plays Theatre Yearbook and an afterword for J. Neil Schulman's novel The Rainbow Cadenza.
Among books he recommends from a libertarian-futurist perspective: Matt Ridley's The Rational Optimist & How Innovation Works, David Boaz's The Libertarian Mind and Steven Pinker's Enlightenment Now: The Case for Reason, Science, Humanism and Progress.
Here is the third and final part of the Prometheus interview with Wil McCarthy, the 2022 Prometheus Best Novel winner for Rich Man’s Sky.
Q: Talk about the impetus for your first novel Antediluvian, once you returned from your recent writing hiatus. I recently read and enjoyed it as an ingenious twist on the standard time-travel novel, offering a genetic-memory approach to experiencing what really might have happened millennia ago to our “cave man” ancestors. Your novel plausibly reimagines key events – like the massive flooding 12,000 to 14,000 years ago that’s the reality behind the story of Noah’s Ark – that gave rise through generations of oral history to our inherited (and likely highly distorted) mythologies about ancient history.
Here is the second part of the Prometheus Blog interview with Wil McCarthy, the 2022 Best Novel winner for Rich Man’s Sky.
Q: Were you aware of the Prometheus Awards before receiving your first Best Novel nomination this past year?
A: I have been aware of the award, yes. I used to think of it as a purely political award, which I think perhaps it was in the early days. But when you see it going to people like Cory Doctorow (Little Brother)and Charles Stross (Glasshouse) — both excellent, thoughtful writers, and clearly not Libertarians in any traditional American sense — I think it’s easier to see it as a genuine literary prize that rewards great ideas and great storytelling.
Most Libertarian Futurist Society members enjoy reading fiction, but few write it. John Christmas, a veteran LFS member and Best Novel finalist judge based in Europe, does both.
A former banker whose banking career ended when his whistleblowing against his employer was covered up by the European Bank for Reconstruction and Development, Christmas wove his real-life experiences into his novel KGB Banker, co-written with William Burton McCormick.
The novel has just been recognized by Best Thrillers as the “Best Conspiracy Thriller of 2022.”
The alien Tralfamadorians surely won’t be the only sentient beings celebrating the 100th anniversary Nov. 11, 2022, of Kurt Vonnegut’s birth.
Anyone who appreciates a blend of humor with social commentary in novels and stories that often incorporate science fiction should celebrate the memory of one of the most influential and popular American writers and novelists of the 20th century.
SF author Wil McCarthy, the 2022 Prometheus Best Novel winner for Rich Man’s Sky, took a long hiatus from writing science fiction, but now he’s back – and happy to answer a few questions about his work.
In the first part of this two-part interview, McCarthy explains why he went on hiatus, admires Robert Heinlein and reads the leading libertarian magazine Reason every day.
Q: You’ve written quite a few sf novels and stories. Why did you go on hiatus and what have you written since you returned?
A: I took a long hiatus from writing to run a tech start-up, among other things. When I came back, the first thing I did was write two novellas, the second of which ended up winning the AnLab award.
Then I wrote two novels, the second of which is Rich Man’s Sky, so it’s nice to see people actually taking notice. It’s a nice way to ease back in.
Rich Man’s Sky, the 2022 Prometheus winner for Best Novel, brims with the excitement, adventure, uncertainties and anxieties of real-world entrepreneurship.
Wil McCarthy’s kaleidoscopic novel, which thrillingly ventures beyond our Earth to chart the exploration, colonization and industrialization of our solar system, realistically and insightfully portrays the inevitably messy and risky progress of free men and women pursuing various goals through the cooperation of free markets.
Yet, the 291-page Baen Books novel – which launches a projected trilogy – also perceptively contrasts markets, warts and all, with the grimier and darker realities of politics – which unlike the voluntary transactions of the marketplace, unavoidably involves various forms and degrees of coercion, outright violence or the threat of violence and thus leads to some benefiting unjustly at the expense of others.
Many people have viewed science fiction as all about futuristic technology – starships, robots, interstellar travel, space habitats, vast mega-engineering feats, etc.
Yet, some of the best so-called “sf” of the past century has been what is sometimes called “social science fiction.”
Such works may incorporate various speculative forms of advanced technology, especially to work out how such technology affects people and changes culture.
Yet the most interesting aspects of such “social sf” is how it illuminates the various socio-political, economic and cultural implications of new ideas, different attitudes or fundamental changes in how a society’s norms, laws and system of government work.
In the rare and exemplary case of Barry Longyear’s The Hook, the 2021 Prometheus Best Novel winner, the dramatic and fascinating focus is on what happens to a society when its government is abolished – but other governments continue to threaten its freedom and independence.
After watching just the first few episodes, fans of “The Lord of the Rings” may still be making up their minds whether the Amazon-Prime prequel “The Rings of Power” is a worthy successor to the three LOTR films and most important, whether it does justice to J.R.R. Tolkien and his powerful anti-authoritarian themes.
But Reason magazine has weighed in with an insightful column that offers a nuanced answer to the question of how faithful is the epic new series to “Tolkien’s Anti-Statism.”
The answer, fans of the Prometheus Hall of Fame-winning trilogy will be happy and relieved to hear, is mostly yes.
Like the LFS members who voted to induct Tolkien’s fantasy trilogy into the Prometheus Hall of Fame in 2009, Reason columnist Christian Britscchgi seems well aware of the ways in which The Lord of the Rings celebrates “freedom against arbitrary government interference.”
LFS members have nominated eight works for the next Prometheus Hall of Fame for Best Classic Fiction.
Among them are one song, a novelette, a collection of linked short stories, two short stories and three novels – reflecting the many forms of fiction that are eligible for consideration in this Prometheus category.
With the nominations deadline having passed in September, here is the final list of this year’s nominees:
* The End of Eternity, a 1955 novel by Isaac Asimov
* “Free Men,” a 1966 novelette by Robert Heinlein
* “Primary Education of the Camiroi,” a 1966 short story by R.A. Lafferty * That Hideous Strength, a 1945 novel by C.S. Lewis
* Circus World, a 1981 collection of linked stories by Barry B. Longyear
* “The Trees,” a 1978 song by Neal Peart and Rush * The Truth, a 2000 novel by Terry Pratchett
* “Or Give Me Death,” a 1955 short story by Donald Westlake
In the current century, publishers have brought out previously unseen material by Robert Heinlein.
Some of it is simply alternate versions of familiar novels, such as Podkayne of Mars, The Puppet Masters, Red Planet, and Stranger in a Strange Land.
But we’ve also see works that he didn’t publish, but that he later quarried for the material of later works: For Us, the Living, which supplied a secondary character to Beyond This Horizon and several thematic elements to the Future History, and The Pursuit of the Pankera, which was radically rewritten to give us The Number of the Beast.
With the compilation of the Virginia Edition, not only all of Heinlein’s previously published works have been made available, but various less known ones, such as decades of his letters. Among these are various ventures into scriptwriting for movies and television. Destination Moon is well known, but his proposals for television series were never produced, and only with the Virginia Edition have they become available.
The last of these, Century XXII, was mainly worked on in 1963, and he abandoned it in 1964 after clashes with Howie Horowitz, who proposed the project to him. After that, Heinlein gave up on writing for film and television as a waste of time. But Century XXII casts some light onto Heinlein’s later writing, and especially onto The Moon Is a Harsh Mistress, generally regarded as one of his best novels and more specifically as the prototype of libertarian science fiction.