- Hard Light: A Cass Neary Crime Novel by Elizabeth Hand (Minotaur Books)
- Mongrels by Stephen Graham Jones (William Morrow)
- The Fisherman by John Langan (Word Horde)
- Stranded: A Novel by Bracken MacLeod (Tor Books)
- Disappearance at Devil’s Rock by Paul Tremblay (William Morrow)
You can see the complete list of noms in all categories in the official press release. The presentation of the Bram Stoker Awards will occur during the second annual StokerCon aboard the Queen Mary in Long Beach, California on the evening of April 29, 2017.
Congrats to all the nominees! Anything in this list piqued your interest? Any favorites?
- The Girl Who Drank the Moon by Kelly Barnhill (Algonquin Young Readers)
- The Star-Touched Queen by Roshani Chokshi (St. Martin’s)
- The Lie Tree by Frances Hardinge (Macmillan UK; Abrams)
- Arabella of Mars by David D. Levine (Tor)
- Railhead by Philip Reeve (Oxford University Press; Switch)
- Rocks Fall, Everyone Dies by Lindsay Ribar (Kathy Dawson Books)
- The Evil Wizard Smallbone by Delia Sherman (Candlewick)
Our congrats to all the nominees.
The finalists for the 2016 Aurealis Awards have been announced. The nominees in the SF, Fantasy, and Horror novel categories are:
- Watershed by Jane Abbott (Penguin Random House)
- Confluence by S.K. Dunstall (Ace)
- Gemima by Amy Kaufman & Jay Kristoff (Allen & Unwin)
- Squid’s Grief by DK Mok (self-published)
- Stiletto by Daniel O’Malley (HarperCollins)
- Threader by Rebekah Turner (Harlequin Australia)
- Nevernight by Jay Kristoff (Harper Voyager)
- The Fall of the Dagger by Glenda Larke (Hachette Australia)
- Den of Wolves by Juliet Marillier (Pan Macmillan Australia)
- Vigil by Angela Slatter (Jo Fletcher)
- The Road to Winter by Mark Smith (Text)
- Sisters of the Fire by Kim Wilkins (Harlequin Australia)
- Fear Is the Rider by Kenneth Cook (Text)
- My Sister Rosa by Justine Larbalestier (Allen & Unwin)
- The Grief Hole by Kaaron Warren (IFWG Publishing Australia)
See the official press release for the all the nominees in all categories.
- All the Birds in the Sky by Charlie Jane Anders (Tor; Titan)
- Borderline by Mishell Baker (Saga)
- The Obelisk Gate by N.K. Jemisin (Orbit US; Orbit UK)
- Ninefox Gambit by Yoon Ha Lee (Solaris US; Solaris UK)
- Everfair by Nisi Shawl (Tor)
Locus has the complete list of nominees in all categories.
The British Science Fiction Association has announced the shortlist for the 2016 BSFA Awards.
- Daughter of Eden by Chris Beckett (Gollancz)
- A Closed and Common Orbit by Becky Chambers (Hodder & Stoughton)
- Europe in Winter by Dave Hutchinson (Solaris)
- Occupy Me by Tricia Sullivan (Gollancz)
- Azanian Bridges by Nick Wood (NewCon Press)
See the press release for the complete shortlists in all categories. The Awards will be presented at Innominate, the 68th Eastercon, which this year is taking place at Hilton Birmingham Metropole from 14th-17th April 2017.
Hello everyone! We’ve just added a new “best of” list to Worlds Without End (#33!) that we think you’re really gonna like: Science Fiction by Women Writers.
This list comes to us from WWEnder and Uber User, the King of Lists himself, Mr. James Wallace Harris and his compatriot Mike Jorgensen. Jim and Mike created this new list using the time tested method that gave us the much revered Classics of Science Fiction list. Basically they reviewed every damn list they could find (65 in all!) and picked the books by women writers that made it onto at least 4 of those lists. The result is a who’s who of women in genre fiction and a great place to find some great reads. Be sure to check out the Classics of Science Fiction website for the source lists and essays.
This new list is an excellent addition to the other women-centric lists we feature on WWEnd including Ian Sales’ popular SF Mistressworks, David G. Hartwell’s 200 Significant SF Books by Women, and WWEnd’s own Award Winning Books by Women Authors. If you’re ready to explore more works by women authors these lists will take you far along that road.
And as long as you’re at it join us for the 5th annual WWEnd Women of Genre Fiction Reading Challenge! This year’s iteration has reading levels from just 6 books, enough to get your feet wet, all the way up to 48 books, for those looking to dive deep.
Our thanks to Jim and Mike for building such a great list and sharing it with us on WWEnd! Let us know what you think about the new list in the comments below. Read on!
How old were you when you first encountered the concept of time travel? I used to believe it was when I first saw the George Pal version of The Time Machine which came out in 1960, and I didn’t see until 1962 or 1963 when I was ten or eleven. Memory is a highly unreliable resource, especially for dating. I vaguely remember that seeing the movie made me get the book from my school library the next day. What’s weird, is I don’t remember being blown away by the idea of a time machine at that time. And time travel is certainly a concept that was mind blowing. What I remember, was being blown away at the idea that humans could mutate into new species. Now that was something to think about.
My guess is I already knew about time travel. But when did I first encounter the idea?
In past decades I assumed all the great science fiction concepts like aliens, robots, time travel, interstellar travel, artificial intelligence came from reading science fiction. But in more recent years, as I wrote about my past, struggling to get the facts right, I realized that assumption was wrong. This line of thought started when I tried to remember when I first learned about dinosaurs. I wondered why little kids love dinosaurs, and if they understood dinosaurs existed millions of years ago and are now extinct. Those are heavy concepts too – vast times and extinction. I remember having dreams about dinosaurs when I was four or five, well before I could read, or attend school. And I don’t remember my parents telling me about dinosaurs. How did I learn about them?
Finally, I assumed I was introduced to all the far out ideas of science fiction via television, even though I grew up in the 1950s when television was primitive. That’s why I’ve felt I’ve always known about outer space, robots and traveling through time. Hell, I might have been exposed to time travel before I could tell time.
Evidently, childhood was a phase when my mind was a mass of proto-concepts gathered from television – like Pangaea before splitting into distinguishable continents. Reading science fiction shaped those vague impressions into precise concepts. Although reading Time Travel by James Gleick made me realize that time travel is a tremendously complex subject that we continue to refine.
Now here’s the thing I really want to talk about. In this age of alternate facts, should we be raising kids by stuffing them with fantasy and fantastic beliefs before they understand the nature of reality? We believe that make-believe is perfect for young minds, but is that true? Can you imagine a different way, where we taught kids facts first, and then later introduced them to fantasy?
Can you imagine growing up only seeing science shows that carefully explained what we know and how we know it? How would that change society? Would a fact-based early childhood education make us more realistic about reality? Is fiction the driving force that makes us constantly reshape reality with alternative facts? Does fantasy consumption encourage fantasy viewpoints? What an idea for a science fiction/fantasy novel! Imagine our world without science fiction and fantasy.
Let’s consider one more thing. What if we raised kids without fiction — at what age would they invent time travel on their own? When would they imagine building robots that could think like people, or traveling to Mars? Do we cheat our kids by telling them about all the far out ideas before they could invent them on their own?
Science fiction is a technology for transmitting speculative ideas, ones that writers have predigested for us, sort of like when Neo in The Matrix is taught martial arts with a program injected into his brain. I’m just wondering if we’d have more grit if we acquired our concepts through working out ideas ourselves.
Recommended Recent Reads:
- The Making of Future Man – James Gleick writes about Hugo Gernsback
- 30 years of Culture: what are the top five Iain M Banks novels?
- Disunion: Vision of Our Fragmented Future – Paul Di Filippo
- Beware the Retrofuture: Elan Mastai and Jack Womack Navigate the Problems of SciFi Nostalgia
- Groundhog Day Breaks the Rules of Every Genre
The 2016 Philip K. Dick Award nominees have been announced:
- Consider by Kristy Acevedo (Jolly Fish)
- Hwarhath Stories: Transgressive Tales by Aliens by Eleanor Arnason (Aqueduct)
- The Mercy Journals by Claudia Casper (Arsenal Pulp)
- Unpronounceable by Susan diRende (Aqueduct)
- Graft by Matt Hill (Angry Robot)
- Super Extra Grande by Yoss (Restless)
The award is presented annually to a distinguished work of science fiction originally published in paperback form in the United States from the previous calendar year. First prize and any special citations will be announced on Friday, April 14, 20176 at Norwescon 40 at the DoubleTree by Hilton Seattle Airport, SeaTac, Washington.
Have you read any of these? What looks good to you on that list?
At The Little Red Reviewer, they are having Vintage Science Fiction Month where readers post reviews of older science fiction books they’ve recently read. I read The Stars Are Ours! and it’s sequel Star Born by Andre Norton, and The Drowned World by J. G. Ballard. I reviewed the process at my blog. But since then I’ve been thinking about why we read vintage science fiction, and if the why changes because of our age. Does someone who is twelve today, perceive The Stars Are Ours! different than I did when I was twelve in 1963?
I assume the main appeal of vintage science fiction is nostalgia, and most of us who read it are older. In other words, we’ve lived long enough for some books to age. Do they age like fine wine or a stack of old newspapers? What is the essence of vintage?
That we notice a difference implies books written in the 1950s are different from books written in the 2010s. From my perspective, that’s true. Science fiction written in the 1920s has a distinctive style than science fiction written in any of the decades since. For proof of my point, check out The Pulp Magazine Archive. This site has scans of pulp magazines that you can read online, including early issues of Amazing Stories. I’m going to assume you’ll agree with me that the stories change. Now the question: Do we change?
If I could send a copy of The Three-Body Problem by Cixin Liu back to my teenage self to read and write a review, how would it be different from the review I would write today? Even President Obama was impressed with this book. Do all of us experience the same wow or is that impact different if the reader is young or old? Or if readers back in the 1960s could read The Three-Body Problem would they perceive it as something very different? Could they sense that it was written in the future like my younger self could sense reading The Skylark of Space by E. E. Smith was very old, written in the past?
Maybe another way to approach my query is to ask: Does an older reader today feel The Drowned World is vintage science fiction in the same way a young reader would? Our feeling of “vintage” might be a sense of nostalgia, while a young person might define it as feeling old-fashioned and quaint. But what if the young reader hadn’t read much science fiction? Would an unsophisticated 12-year-old reader of 2017 be that different from one in 1967? It could be possible they’d react to the story in many of the same ways.
When I first read Foundation by Isaac Asimov in the 1960s, I was reading stories written in the 1940s, and it didn’t seem old or vintage. Could a kid today get an ebook copy of Star Flight by Andre Norton that reprints The Stars Are Ours! and Star Born, not noticed the 1954 and 1957 copyright dates, read these books and think they were written today? Or would they sense their vintage quality?