Johanna Sinisalo holds her Prometheus Award. (Photo by Ryan Lackey).
The Paris Review has a new article up, “How Finland Rebranded Itself as a Literary Country,” which purports to tell the story of how Finnish writers have acquired an international reputation.
But the article’s author, Kalle Oskari Mattila, seems to be determined to make sure that neither the science fiction community nor the Prometheus Award will receive any credit for the growing attention to Finnish writing.
By Tom Jackson
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.
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 Tom Jackson
With The Handmaid’s Tale, science fiction readers who inclined toward feminism got to see what the tools of science fiction would look like in the hands of a skilled mainstream writer, Margaret Atwood.
Libertarian science fiction fans who have wondered what an equally skilled mainstream writer could do by taking a stab at science fiction now have their novel, too: The Mandibles: A Family, 2029-2047 by Lionel Shriver.
Continue reading Review: The Mandibles: A Family 2029-2047 by Lionel Shriver
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
