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Hugo & Nebula Winners This is a list of the works that have won both the Hugo Award and the Nebula Award, awarded annually to works of science fiction literature.
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(1) ANOTHER ONE BITES THE DUST. GoodEReader reports “Audio Realms is out of business”. Audio Realms has gone out of business and they have taken their main website and Facebook Page offline. They have provided no indication on what prompted … Continue reading

A lawsuit that ended years of benign neglect of Star Trek fan films by the studios has concluded with the announcement of a settlement between Alec Peters of Axanar and CBS and Paramount. The parties issued the following joint statement: … Continue reading

The Mystery Writers of America have revealed the nominees for the 2017 Edgar Allan Poe Awards honoring the best in mystery fiction, non-fiction and television published or produced in 2016. The Edgar® Awards will be presented to the winners on … Continue reading

The Horror Writers Association (HWA) has released the Preliminary Ballot for the 2016 Bram Stoker Awards®. This is not the list of finalists, but the list which HWA members will choose among when they vote to determine the finalists. The final … Continue reading

The six finalists for the 2017 Philip K. Dick Award have been announced. CONSIDER by Kristy Acevedo (Jolly Fish Press) HWARHATH STORIES: TRANSGRESSIVE TALES BY ALIENS by Eleanor Arnason (Aqueduct Press) THE MERCY JOURNALS by Claudia Casper (Arsenal Pulp Press) … Continue reading

A Hundred Thousand Worlds, Bob Proehl (Viking 978-03-99562-21-1, $26.00, 362pp, hc) June 2016.

Beause I can be an idiot, I thought I knew what Bob Proehl’s A Hundred Thousand Worlds would be about be­fore I even cracked the spine. It’s about comic book conventions, the blurbs on the back said, and follows small group of loosely intertwined comics-industry-adjacent characters as they travel across the country from one con to the next. I already know this plot, I thought. It’ll be all spandex and boobs and man-boys.

Yes, it is that – but 100% not in the way that I was anticipating. Instead, Proehl’s book is full of gentle wit and whip-smart commentary, while still telling an emotionally resonant story about a mother and her son that feels grounded and real, despite the larger-than-life setting. Val, a middle-aged actress who once starred in a cult TV classic, is on the road with her 11-year-old son Alex, who must be delivered to LA for rea­sons that will become clear. And, no, no science fictional/fantasy elements are direct plot devices; this is a story grounded in realism, even though a few of the characters wear tights. While the book itself isn’t genre, the world in which Proehl is playing is.

Proehl’s love for this world comes through in every word – and the moments in which he points out how alienating the comic scene can be for anyone who isn’t straight, white, and/or male clearly come from a desire for everyone to be able to find a place in his beloved community. There’s a chorus of costumed booth babes whose dressing room chatter reads like a treatise on gender dynamics. There’s Gail, a writer who knows exactly how mostly male-driven comic book stories come together and why, even though she wants to break that pattern:

‘‘That’s just not how it works,’’ says Gail. ‘‘We work in tropes. Broad, familiar strokes. Women are in the story to get the men where they need to be. Dead lovers and mothers, mostly.’’

But, mostly, A Hundred Thousand Worlds is about why we need stories, even imperfect ones, and how we discover them in order to make sense of the world. It’s about messy relationships and humans doing stupid things, sometimes, and redeeming themselves when they are able.

Read more! This is one of many reviews from recent issues of Locus Magazine. To read more, go here to subscribe.

by John Hertz: (reprinted from Vanamonde 1230; italics, parentheses after this, in original)  My exhorting my companions on the Left (Mike Glyer once said I have the gift of exhortation; I warned him I was taking that as a compliment) … Continue reading

(1) READING ROPEMAKER IRONMONGER. At Young People Read Old SFF, James Davis Nicoll has turned the panel loose on Cordwainer Smith’s “The Ballad of Lost C’Mell” Smith’s best known work is set several thousand years in the future, when humans … Continue reading

Logan, starring Hugh Jackman, Boyd Holbrook, and Doris Morgado, will be in theaters March 3.

By Mark L. Blackman: On the evening of Wednesday, January 18, the monthly Fantastic Fiction Readings Series welcomed in 2017 by presenting fantasy authors Holly Black and Fran Wilde at its longtime venue, the second-floor KGB Bar in Manhattan’s East … Continue reading

(1) STILL AT THE DOCK. Unless you subscribed to CBS All Access especially to see this show, it won’t be a crisis for you: “Star Trek Discovery delayed, no longer has a release date”. Those looking forward to Star Trek … Continue reading

Warren Lapine, Publisher and Editor-in-Chief, has announced he will stop publishing Fantastic Stories of the Imagination. The January issue will be the magazine’s final regular issue, and the “People of Color Take Over” issue will be its last issue. Lapine … Continue reading

Chasing Shadows: Visions of Our Coming Transparent World, edited by David Brin & Stephen W. Potts (Tor 978-0-7653-8258-0, $29.99, 336pp, hardcover) January 2017

The twin and inextricably intertwined notions of privacy and surveillance have been an important element of the core issues of science fiction since the birth of the genre. And the broader literature’s concern with these themes actually extends back even further than SF’s genre origins. Every utopia and every dystopia since Plato’s Republic has been concerned with monitoring its citizens somehow, to track their compliance with either supposedly liberating principles of fraternity and equality or with totalitarian dictates of limitation and suppression. (Sometimes it’s hard to tell the two extremes apart.) The tightrope balancing act between freedoms of the individual and civic duties always involves the question of how much information is to be shared among competing entities.

And so from Zamyatin’s We to Lang’s Metropolis, from Orwell’s 1984 to Bradbury’s Fahrenheit 451, from Vonnegut’s “Harrison Bergeron” to Doctorow’s Little Brother, the genre has presented us with classic, mind-blowing exercises in secrecy versus transparency. (Novels involving generalized telepathy, such as Bester’s The Demolished Man, are an eccentric offshoot of the theme, as are ones that posit universal space-time viewers, such as Baxter and Clarke’s The Light of Other Days.)

When the computer revolution began to accelerate in the mid-1960s, prospects for even more intrusive practices than possible in the past began to impinge on the minds of SF writers. I recall one of Isaac Asimov’s essays from F&SF, at least forty years ago—which one, I cannot pinpoint; perhaps a reader will know—that speculated on the pluses and minuses of a universal identification card. If I remember correctly, Asimov was not wild about the idea, but felt in the end that it would have more benefits than deficits, especially for honest upright citizens who never did anything wrong—an argument still being made today.

A milestone work of non-fiction in this vein, now almost twenty years old, comes from within the genre. David Brin’s The Transparent Society (1998) surveyed the new technology that is driving us towards more and more disclosure, and drew fresh new conclusions about the issues.

Now, still cogitating on the ramifications of these issues, and displaying admirable tenacity and dedication to the cause, Brin offers an anthology of fiction on the topic, featuring a stellar lineup of contributors. At this juncture, I might also mention a similar contemporary project in which I myself was involved: Watchlist, edited by Bryan Hurt.

Brin and Potts’s book features a majority of original pieces with several reprint selections, as well as some non-fiction. We can select a few highlights from the over-two-dozen excellent tales—mainly from among the fresh items—that shed exceptional light on the matter to hand.

We start with a superb introduction by James Gunn, who covers in fascinating detail the territory that I highlighted above. Then we leap into “Mine, Yours, Ours” by Jack Skillingstead, which follows the fate of a woman who subscribes nobly to the share-an-organ plan of her era. “What is it you need from me?” “Your right lung for transplantation.”

James Morrow in his typical confidently acerbic mode slyly conflates a serum for temporary werewolfism with a device that sniffs out secrets, all in a setting of local schoolboard politics, and gives us “The Werewolves of Maplewood.” His hacker hero is surprisingly Ruckeresque.

D. G. Compton’s The Unsleeping Eye from 1973 was, if not the first, then one of the earliest stories to examine the notion of a person wired to transmit what they saw for public consumption. David Walton proves that the trope still has hidden corners in “Eyejacked.” “You promised the bedroom would be off-limits,” our protagonist implores his publicity-addicted wife. And the coincidentally allied title from Jack McDevitt—“Your Lying Eyes”—actually refers to a pair of smart glasses that reveal the falsity of any utterance. McDevitt compacts a lot of social change and challenge into a small compass.

Possibly my favorite entry in the volume, for its sprightly refusal to trade in clichés and its cockeyed optimism, is Brenda Cooper’s “Street Life in the Emerald City.” The radical move of equipping the homeless with drones results in nonlinear transformational social changes. “A park had grown on our street. The empty lots where two buildings had been torn down were green. There were trees and benches.” The street finds its own uses for things, indeed.

Ramez Naam gives us “The Disconnected,” which is a Wellsian “story-essay” that paints an utterly convincing future paradise—then pulls the rug out from under it by showing us “the holes in the world…the dark place…the dark hours.”

Karl Schroeder’s “Eminence” gives us the scoop on “Gwaiicoin,” the potlatch currency of a future Canada, while also dealing with the attendant encryption rituals, all while not slighting the deeply human aspects of the tale.

“Elephant on Table” is primo Bruce Sterling, showing us postmodern life in the Shadow House of Sardinia, circa 2073, “an opaque structure in a transparent world,” and the motley inhabitants thereof: the Chief, Tullio and Irma. Overstuffed with ideas and speculations, the story pivots and darts all over the map, yet remains organically whole. The hooker-cum-industrial agent Monica might be the most vibrant character: “My sugar daddy is a big defense corporation. It’s an artificial intelligence… It knows all my personal habits, and it takes real good care of me… So sometimes I do a favor—I mean, just a small personal favor for my big AI boyfriend…”

And finally, Brin himself closes out the book with “A Tsunami of Light,” a cogent wrap-up essay.

This anthology satisfies on many levels. It offers dramatic storytelling, grand ideas, and mutually divergent speculations which hew to no particular ideological party line. If we enter the transparent world with any kind of foreknowledge, it will be due to well-conceived and well-executed projects such as this one.

Paul Di Filippo has been writing professionally for over thirty years, and has published almost that number of books. He lives in Providence, RI, with his mate of an even greater number of years, Deborah Newton.

SFF.net, a longtime internet community that was historically important to the genre, will close on March 31. Jeffry Dwight and Steve Ratzlaff informed their users: We are sad to announce that, after 20 years, SFF Net is going offline. Although … Continue reading

The Worldcon’s YA Award Committee asked fans last year to suggest a name for the prospective award, which received its first passage at MidAmeriCon II and is up for ratification at Worldcon 75 in Helsinki. The committee received 1,138 responses, … Continue reading

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