Oh, what a brave new world Danny King charts in Cancelled – now a Best Novel finalist.
Framed initially as a visionary utopia that fully embraces love, inclusion, social justice, and a triumphant institutionalization of progressive-left politics maybe not that far beyond current norms, this New Britannia initially might seem appealing.
Yet, cracks inevitably appear in the facade, as hidden realities are revealed in this gripping SF-enhanced dystopian fable, one of 11 2024 novels nominated for the next Prometheus Award for Best Novel.
Robert Heinlein at his writing desk in the 1940s Photo courtesy of Heinlein Trust archives
Art Dula, primary trustee of the Heinlein Prize Trust, spoke eloquently about the life and legacy of Robert Heinlein during the 43rd annual Prometheus Awards ceremony.
During his acceptance speech for the Prometheus Hall of Fame for Heinlein’s story “Free Men,” Dula read excerpts from – and commented on – one of the Grand Master’s most interesting but little-known letters, written over several months but completed Feb. 27, 1947.
“It’s a remarkable early document in Heinlein’s life,” Dula said.
Sequels to classic works of literature by deceased authors rarely measure up to the originals, but that doesn’t stop different authors and publishers from trying.
Yet, the new novels often spark interest, especially by fans of the earlier works, and sometimes they even become bestsellers – only to fade while the original works continue to be celebrated. (Does anyone today remember Scarlett, a popular sequel to Margaret Mitchell’s still-read Gone with the Wind?)
George Orwell in 1943 (Creative Commons license)
The latest effort, recently announced and of special interest to Libertarian Futurist Society members, will offer a retelling of a Prometheus award-winner that ranks among the 20th century’s most influential and best-known novels: George Orwell’s Nineteen Eighty-Four.
Julia, an upcoming novel by Sandra Newman, will refocus the events of the dystopian tale of totalitarian dictatorship, propaganda, mind control, newspeak and doublethink from the perspective of Winston Smith’s illicit love interest.
Here is the Prometheus Blog Appreciation of E.M. Forster’s “The Machine Stops,” the 2012 Prometheus Hall of Fame winner for Best Classic Fiction:
By Chris Hibbert
E. M. Forster’s short story “The Machine Stops” is very appropriate for the time of the pandemic. Forster wrote about a society of enforced physical isolation where everyone can be in constant communication via the Machine.
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
Framed initially as a visionary utopia that fully embraces love, inclusion, social justice, and a triumphant institutionalization of progressive-left politics maybe not that far beyond current norms, this New Britannia initially might seem appealing.
