James Davis Nicoll, a recent nominee for the Hugo Award for Best Fan Writer, writes about “40 Years of the Prometheus Award,” for Tor.com. He concludes that “following this particular award can be rewarding for readers of all stripes. Probably not every work above will be to your taste, but certainly some will be.”
The comments, including back and forth between Nicoll and readers, also are interesting.
Continue reading Tor.com looks at the Prometheus Award on its 40th anniversary
A bust of J.R.R. Tolkien in the chapel of Exeter College, Oxford. (Creative Commons photo).
By William H. Stoddard
The Prometheus Award has been given annually since 1982, and the Hall of Fame Award since 1983. All through the twenty-first century, lists of four to six finalists have been announced for each award. And for much of that time, online comments on the nominations and awards have often questioned their rationale. There have been comments suggesting that the awards could go to virtually any book, or to winners that have no libertarian content, or indeed are actively opposed to libertarianism.
“Virtually any book” is an exaggeration. There are any number of compelling books whose themes aren’t political: The Island of Dr. Moreau, At the Mountains of Madness, and Ringworld are all examples. Even past winners of the Prometheus Award have written such books, such as Michael Flynn’s brilliantly tragic The Wreck of The River of Stars. There are also books written from viewpoints opposed to libertarianism, such as Star Maker or the Foundation series. I think it’s safe to say that none of these could have been a Best Novel nominee, or can be expected to be a Hall of Fame nominee.
Continue reading What Do You Mean ‘Libertarian’?
My Jan. 24 blog post on the death of prominent SF writer Ursula K. LeGuin mentioned that she won our Hall of Fame Award in 1993, for The Dispossessed.
I know now a lot more about the history behind that award, thanks to a new article by Victoria Varga.
Varga, the former editor of The Prometheus, the newsletter we sent out until we established this blog, explains that the novel came out in 1974 and she nominated it for the Hall of Fame Award in 1983, touching off years of debate. LeGuin appreciated the nominations but privately expressed doubt it would win, although it finally did.
Continue reading Reason magazine on our fight over ‘The Dispossessed’
Actor Nathan Fillion, who played Captain Malcolm “Mal” Reynolds. Creative Commons photo by vagueonthehow.
By William H. Stoddard
In the decade and a half since Firefly came on the air, it’s emerged as one of the high points of television science fiction, both for its characterization, and for the unusual depth in which its setting is imagined. In fact, that depth helps explain the characterization. The crew and passengers of the Serenity come from different places in a complex world, and their motives and relationships reflect this. On a first viewing, they’re inevitably two-dimensional, inviting the watcher to see them as dramatic stereotypes. Fitting the description of Firefly as a “space Western,” they often seem like Western stereotypes: the cynical veteran, the glamorous dance-hall girl, the preacher, the naïve city dweller out of his depth. But over the course of the first (and only) season, viewers came to know their backstories, and to see their actions in more depth, in relation to their pasts as well as their presents.
Continue reading Futures in Collision: Firefly’s Divided Society
By Eric S. Raymond
The history of modern SF is one of five attempted revolutions — one success and four enriching failures. I’m going to offer a look at them from an unusual angle, a political one.
This turns out to be a useful perspective because more of the history of SF than one might expect is intertwined with political questions, and SF had an important role in giving birth to at least one distinct political ideology that is alive and important today.
CAMPBELL AND HEINLEIN
The first and greatest of the revolutions came out of the minds of John Wood Campbell and Robert Heinlein, the editor and the author who invented modern science fiction. The pivotal year was 1937, when John Campbell took over the editorship of Astounding Science Fiction. He published Robert Heinlein’s first story a little over a year later.
Continue reading Freedom in the Future Tense: A Political History of SF