British writer-philosopher Aldous Huxley (1894-1963) is best remembered today for writing one of the earliest and most emblematic works of dystopian literature.
His 1932 novel Brave New World continues to be a bestseller and is universally recognized as a modern classic. For example, the Modern Library ranked it number 5 on its list of the 100 Best Novels in English of the 20th century.
Not all dystopian works fit the distinctive focus of the Prometheus Award, but Brave New World more than qualifies – and that’s why I’ve nominated it for the Prometheus Hall of Fame for Best Classic Fiction.
Great Britain’s Royal Mint is honoring George Orwell – also worth celebrating today on the anniversary of his birthday June 25, 1903 – with a new coin, 75 years after his death in 1950.
Best known for his Prometheus-winning classics Nineteen Eighty-Four and Animal Farm, the British novelist and essayist will be celebrated with a new£2 coin.
In the Orwellian spirit of the well-known Nineteen Eighty-Four catch phrase that “Big Brother is watching you,” coin artist Henry Gray created a coin design that appears to be an eye, but at its center is actually a camera lens surrounded 360 degrees by the famous phrase.
George Orwell’s emphasis on clarity of language and objective definitions, exemplified in his seminal essay on “Politics and the English Language,” remains worth emulating in 2025 and beyond.
When so many so-called public intellectuals, columnists, opinion leaders and even professional economists embrace popular fallacies and use misleading language, it’s harmful both to literacy and liberty.
How pleasing it is, then, when a nationally known economist not only uses words accurately, in opposition to common misconceptions, misinformation and ideological bias, but also demonstrates how well he understands and appreciates Orwell’s classic fiction.
Editor’s note: To kick off a new year of judging and for the sake of greater transparency about the Prometheus Awards, the Prometheus Blog is posting an occasional series of essays by LFS awards judges about how they view our distinctive award standards and how they apply them to weigh candidates and nominees.
I am, and have been for many years, one of the 12 judges who screens LFS membership suggestions about novels deserving of the Prometheus Award.
This past year we had a record number of Best Novel nominations for the 2024 award – 17 – and trying to evaluate all of them in the time we have available was a real strain. In the future I think all the judges would prefer to see fewer but higher-quality submissions.
So I’m going to talk about what I consider a high-quality submission. Other judges have slightly different criteria and I’m not claiming to speak for them; but I will try to focus on the criteria I think we have in common, and towards the end of this post I’ll describe some axes of controversy within the committee’s emailing-list discussions and comparative reports.
Two of the best-known Prometheus Hall of Fame winners are enjoying a surge in sales.
George Orwell’s 1984 and Ray Bradbury’s Fahrenheit 451 shot up on Amazon’s best-seller list after the recent U.S. presidential election.
So did Margaret Atwood’s The Handmaid’s Tale, a 1987 Prometheus Best Novel finalist. (The Testaments, Atwood’s sequel to her classic dystopian novel, was recognized as a Best Novel finalist in 2020.)
Both Orwell’s classic and Bradbury’s classic dystopian novels were inducted into the Prometheus Hall of Fame in 1984, only the second year of the Hall of Fame.
All three novels – well-worth reading (or rereading) – offer cautionary tales about the rise of various types of authoritarian or totalitarian governments that institutionalize massive violations of individual rights – from censorship to torture and mass murder.
Check out the Prometheus blog review-essay Appreciations of Nineteen Eighty-Fourand Fahrenheit 451.
Sequels can be tricky and often disappointing, falling short of the originals in potentially all sorts of ways.
So it’s nice to report that C.J. Carey’s Queen Wallis (published by Sourcebooks in the U.S. and Quercus in the U.K.) is a worthy sequel that in several ways improves on Widowland, her 2023 Prometheus Best Novel finalist.
Overall, this feminist dystopian novel is one of the most enjoyable works of alternate history I’ve read in years.
Prometheus-winning author Charles Stross and Prometheus-finalists Martha Wells and John Scalzi are on the BSFA list.
So is Sandra Newman, author of Julia, the acclaimed sequel to Orwell’s 1984 that’s recently been nominated along with a dozen other 2023 novels for the next Prometheus Award for Best Novel.
What list are they on? It’s the fascinating and far-flung long list of nominees for the BSFA Awards, recently announced for works published in 2023.
Sponsored by the British Science Fiction Association, the BSFA awards have been presented annually since 1970 – and can be a harbinger of the Hugos, the Nebulas and other major sf/fantasy awards.
The BSFA awards also overlap to some extent with the Prometheus Awards over the decades, recognizing several of our favorite writers.
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.
By Michael Grossberg Almost three quarters of a century after the publication of Nineteen Eighty-Four, the influence and prophetic power of George Orwell hasn’t faded.
Quite the contrary.
George Orwell, in his 1943 press card portrait (Creative Commons license)
With the rise of “cancel culture” and various online-sparked mob panics increasingly common in our so-called enlightened modern era and with such dystopian experiments as the recent failed roll-out of the current administration’s “Disinformation Governance Board,” it’s become virtually impossible to read informed commentary across a broad spectrum of opinion magazines and columnists without coming across Orwellian references and warnings these days.
By Michael Grossberg
Libertarian futurists dream of unleashing the potential of every person to flourish, cooperate, innovate, progress, profit and pursue their happiness in peace and freedom – both here on earth, and perhaps eventually, beyond.
Yet, the politicization of society and increasingly, of our culture and arts, threatens that goal – and in the long run, undermines civility and could destroy civilization itself if this disturbing trend approaches authoritarian extremes.
American Purpose magazine logo
In a thought-provoking article “Enslaving Art to Politics,” published recently in American Purpose magazine, writer Daniel Ross Goodman argues persuasively against the “politicization of literature.”
His essay should interest Libertarian Futurist Society members, even when Goodman makes some points about particular works and artists that we might respectfully disagree with.
“The best novelists, like all great artists, are not narrow-minded agenda-driven partisans but adventurers in the unbounded universe of the human imagination, who, through their fictions, help us better perceive vital truths about ourselves and our reality,” Goodman wrote in late September in the online magazine.
