How can science fiction be used to explore and perhaps take steps to prevent the darker possibilities of the future?
Writer-historian Niall Ferguson examines the benefits and prophetic classics of science fiction in an intriguing essay in The Spectator magazine.
Several Prometheus-winning authors – including Ray Bradbury (Fahrenheit 451), Sinclair Lewis (It Can’t Happen Here), George Orwell (Nineteen Eighty-Four), Neal Stephenson (The System of the World, Snow Crash) and Yevgeny Zamyatin (We) – are discussed with intriguing and incisive commentary in Ferguson’s recent article, “How Science Fiction Novels Read the Future.”
A Nobel-Prize-winning author has written a novel chosen as a Best Novel finalist – a notable and interesting intersection of two literary awards with quite different focuses.
Japanese-British author Kazuo Ishiguro, winner of the Nobel Prize for Literature, writes mostly “mainstream” fiction that often conveys a wistful sense of loss and missed connections.
Klara and the Sun, Ishiguro’s latest novel about the ambiguous status of an intelligent and curious A.F. (Artificial Friend), was recently named by Libertarian Futurist Society judges as one of five 2022 Best Novel finalists.
To highlight the Prometheus Awards’ four-decade history and make clear why each winner deserves recognition as a notable pro-freedom and/or anti-authoritarian work, the Libertarian Futurist Society is publishing an Appreciation series of all past award-winners.
Here is an Appreciation for Sinclair Lewis’ novel It Can’t Happen Here, a 2007 Prometheus Hall of Fame winner for Best Classic Fiction.
That common American comment, widely uttered in the 1920s and 1930s as the rest of the world seemingly was going crazy or descending into tyranny and barbarism, became the resonant title of Sinclair Lewis’ cautionary 1935 novel.
First published during the dark era of 1930s collectivism marked by the rise of fascism in Italy and Hitler’s National Socialism in Germany, It Can’t Happen Here offers a semi-satirical tale and timely warning about the potential rise of similar totalitarianism within the United States.
The central character Berzelius “Buzz” Windrip is a demagogue who incites fear while promoting traditional patriotism and ends up elected U.S. President. Windrip takes complete control of the government by exploiting a ruthless paramilitary force, outlawing dissent, ending women’s and minority rights and eliminating the influence of the U.S. Congress.