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.
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.
Here is the second half of the Prometheus Blog interview with author-songwriter Leslie Fish.
Fish, interviewed by journalist and blog editor Michael Grossberg, won the 2014 Special Prometheus Award for her novella “Tower of Horses” (published in the Music of Darkover anthology) and related filk-song “The Horseman’s Daughter.”
LFS: Did science fiction and fantasy have a major influence on how you developed your views of the world?
Fish: Yes, if only by leading me to think outside the box, and to always ask “What if?”
LFS: How did your anarchist and anti-statist views evolve?
Fish: I learned early on to throw out the muddy ideas of “socialism”… from my observation of the real world. I saw for myself that in a free society people will voluntarily gather into interest groups to achieve what they want, and no “force-propped authority” is necessary to make them do it.
“(In sf fandom), the Prometheus is now considered third place after the Hugo and Nebula.” — author-songwriter Leslie Fish
Here is the first part of the Prometheus Blog interview with Leslie Fish, the Prometheus-winning author and songwriter.
Fish, interviewed by journalist and blog editor Michael Grossberg, won a 2014 Special Prometheus Award for her novella “Tower of Horses” and related filk-song “The Horseman’s Daughter.”
LFS: You’ve said a lot of your stories and songs contain libertarian themes. What attracts you to such themes and what kinds of stories do you find best reflect those themes?
Fish: It’s more a case of the ideas being part of me and therefore coloring all my work. I’ve noticed the nostalgic medievalism of most published Fantasy stories, and the socialistic assumptions of a lot of Science Fiction, and it tends to annoy me, so I tend to write songs and stories that push in the opposite direction. I’m surprised by how much of my own work is reactive, in this way.