Review: The pros and cons of “libertarian” seasteading communities in Naomi Kritzer’s Liberty’s Daughter

By Michael Grossberg

It’s nice to see more sf writers exploring various visions of a fully free future – even writers who aren’t avowed libertarians.

Case in point: Naomi Kritzer, whose Liberty’s Daughter (published by Fairwood Press) is one of 17 diverse 2023 works nominated for the next Prometheus Award for Best Novel.

Well-written and well-paced, with believable characters, an interesting plot and setting and a controversial theme, Liberty’s Daughter explores the drawbacks and benefits of a constellation of linked seasteading communities, most set up with libertarian rationales.

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Robots, liberty and the tyranny of “benevolence”: Jack Williamson’s novelette “With Folded Hands…,” the 2018 Prometheus Hall of Fame winner

To highlight the Prometheus Awards’ four-decade history and make clear why each winner deserves recognition as a notable pro-freedom work, the Libertarian Futurist Society has been publishing since 2019 an Appreciation series of all past award-winners.

Here is an Appreciation for Jack Williamson’s “With Folded Hands…,” the 2018 Prometheus Hall of Fame winner for Best Classic Fiction.

By William H. Stoddard

Jack Williamson’s novelette “With Folded Hands . . .” illustrates one of the distinctive characteristics of science fiction: its tendency to a kind of dialogue, in which one author’s stories comment on earlier stories by other authors. (Poul Anderson was noteworthy for this kind of writing, in stories such as “Journeys End,” which offered a different view of relationships between telepaths, and “The Man Who Came Early,” which questioned the assumptions of “castaways in time” stories such as Lest Darkness Fall.)

In 1947, when Williamson’s novelette appeared in Astounding Science Fiction, the idea of essentially benevolent robots was well established there; Isaac Asimov’s Three Laws of Robotics (which Astounding’s editor, John W. Campbell, played a part in formulating) had been explicitly stated in Asimov’s novelette “Runaround” five years before, in 1942. What Williamson did was not to revert to the older theme of monstrous and hostile robots (which Asimov had called “the Frankenstein complex”), but to look at Asimov’s own vision of robots from a different angle.

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