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.
Censorship, suppression of literature and “bowdlerization” of our culture has a long, harmful and shameful history – and is anathema to libertarians, who favor full freedom of expression and artistic liberty.
The Prometheus blog has posted several articles recently about the disturbing recent spate of efforts to suppress or change the original wording and author’s intent of Roald Dahl in his children’s fantasy classics.
Similar suppression sadly has been reported about efforts to shove down the Orwellian memory hole some wording in the original editions of Ian Fleming’s James Bond novels.
It’s even extended to the Goosebumps children’s horror-comedy series, many books of which were changed by the publisher without the knowledge or consent of the series’ still-living author R.L. Stine.
This is a troubling time for libertarians, classical liberals and all lovers of liberty and art – which is why it’s important to seek out, read and digest the best insights about the roots of this anti-authoritarian trend and how we might strive to better support both liberty and literature that reflects the intent of its creators.
Perhaps the most illuminating, historically aware and wisest commentary I’ve come across about this disturbing modern recurrence of bowdlerization was written recently by J. Daniel Sawyer as a guest post on the Substack blog of Holly Math Nerd.
Prometheus-winning author F. Paul Wilson is undergoing speech therapy after having a stroke.
Gregory Benford, another veteran sf author well-known to both sci-fi fans and libertarians, also has been recovering from a stroke.
Libertarian futurists are sending our best wishes for a full recovery to Wilson and Benford, two bestselling (and libertarian) sf authors whose novels and stories have entertained and illuminated millions of readers.
Did something significant to science fiction – actually, unprecedented – just happen at the Academy Awards?
It wasn’t really highlighted in any media reports I came across, but isn’t Everything Everywhere All at Once the first outright science fiction film to win the Oscar for Best Picture?
And not only that, but the Best Picture winner is especially intriguing to consider from a libertarian futurist perspective: Is it possible that this year’s Academy Awards recognized one of the most pro-freedom films to ever win an Oscar for best picture?
Such questions are sparked by an intriguing column on Reason magazine’s blog: “Oscar-winning Everything Everywhere All At Once Celebrates individalism, Free Will.”
Just how important are the engineers in Atlas Shrugged?
More vital – and central to Rand’s novel (and her other fiction) – than even her fans might imagine.
According to a well-researched essay published online in The Savvy Street, Rand’s bestselling magnum opus is in many ways a “literary celebration” of engineering.
Writer Peter Saint-Andre argues persuasively that virtually every significant character is an engineer of some kind in Rand’s epic novel about the role of the mind and the importance of rationality and liberty in sustaining human civilization.
Even those who believe they are fully familiar with Atlas Shrugged – inducted into the Prometheus Hall of Fame in the very first year of that award category in 1983 – are likely to find the essay both surprising and compelling in adding a crucial dimension of understanding about Rand’s classic work.
Libertarian Futurist Society members have made 15 nominations for the Best Novel category of the Prometheus Award.
Of the authors nominated, two thirds are being recognized for the first time by LFS members, perhaps reflecting in part a new generation of emerging writers whose varied works fit the award’s distinctive focus on science fiction and fantasy, broadly conceived, that dramatizes libertarian and anti-authoritarian themes.
Good news for lovers of liberty, culture and artistic integrity: Matilda, The Witches, Charlie and the Chocolate Factory and Roald Dahl’s other children’s classics will continue to be published and reprinted in their original uncensored forms.
That sudden and welcome reversal (see our previous blog post) is thanks to a remarkably wide range of principled and thoughtful responses from across the political spectrum objecting to the plans by the late great Dahl’s cowardly and conformist British publisher to bowdlerize his bestselling children’s classics in doctored reprints.
They keep coming to cancel or censor more fiction and more classics of literature. Now, disturbingly, it’s Roald Dahl’s turn.
The re-editing, rewording and outright expungement of now-disfavored wording in the delightfully subversive and amusing children’s books by the late great British writer, who died in 1990 at 74, are just the latest example of efforts to suppress or censor literature.
But the “they,” this time, doesn’t refer only to government agencies, bureaucrats and woke cultists eager to shove more politically incorrect stories and thoughts down Orwell’s proverbial memory hole.
This time, ironically but unsurprisingly, “they” includes Dahl’s British publisher Puffin and the Dahl estate, eagerly colluding to publish bowdlerized versions of his books to avoid “triggering” anyone.
So far, in the first two parts of his Prometheus-blog interview, SF writer Karl K. Gallagher has answered questions about his own novels. Now, in the wide-ranging conclusion, the focus shifts to other authors and his favorite works – including the “sense of wonder” and “sense of freedom” that he gets from his favorite pro-liberty sf novels.
Q: Which authors in particular have influenced you most as a writer – whether in terms of their style, themes or spirit?