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Locus All-Centuries Poll short fiction results

Locus posted the short fiction results to its poll a couple of days ago and the results are… not entirely unexpected. Americocentric. A little more diverse in terms of race and gender than the novel results, but not by that much. And yes, pretty much exclusively Anglophone. But let’s see how my choices did…

20th Century SF/F Novella
22 – 1 ‘Great Work of Time’, John Crowley (1989)
6 – 2 ‘The Fifth Head of Cerberus’, Gene Wolfe (1972)
51 – 3 ‘Forgiveness Day’, Ursula K Le Guin (1994)
0 – 4 ‘Equator’, Brian W Aldiss (1958)
72 – 5 ‘Green Mars’, Kim Stanley Robinson (1985)
83 – 6 ‘Marrow’, Robert Reed (1997)
0 – 7 ‘Secrets’, Ian Watson (1997)
1 – 8 ‘Story of Your Life’, Ted Chiang (1998)
71 – 9 ‘Piper at the Gates of Dawn’, Richard Cowper (1976)
10

Well, I picked the number one novella, although I had it down at number eight. A single Aldiss novella barely made the top fifty – so much for his sixty-year career (though I will admit ‘Equator’ is not generally seen as one of his career highlights; I still love it, however.) A single Ian Watson novelette made it to number 117 – so there’s another British author who has been cruelly neglected.

Instead, the actual top twenty had Chiang, old favourites like Heinlein and Simak and John W Campbell and Sturgeon and Lovecraft, and six women (including US middle-aged fan favourite Connie Willis). Most, surprisingly, are science fiction, rather than fantasy.

20th Century SF/F Novelette
108 – 1 ‘The Barbie Murders’, John Varley (1978)
170 – 2 ‘Beauty and the Opéra or the Phantom Beast’, Suzy McKee Charnas (1996)
0 – 3 ‘The Time-Tombs’, JG Ballard (1963)
73 – 4 ‘A Little Something For Us Tempunauts’, Philip K Dick (1974)
157 – 5 ‘Black Air’, Kim Stanley Robinson (1983)
0 – 6 ‘The Last Days of Shandakor’, Leigh Brackett (1952)
100 – 7 ‘No Woman Born’, CL Moore (1944)
0 – 8 ‘FOAM’, Brian W Aldiss (1991)
44 – 9 ‘Swarm’, Bruce Sterling (1982)
0 – 10 ‘Housecall’, Terry Dowling (1986)

A few more zeros here, meaning no one selected those choices as their number one. My highest placer is Bruce Sterling at 44, and I thought that was my most commercial pick. I should have instead listed ‘The View From Venus: A Case Study’ by Karen Joy Fowler, which, er, no one picked at all.

The actual top twenty has the execrable ‘Nightfall’ at number two. Kill it with fire. And another Asimov at number four. Plus Harlan Ellison (it’s harder to know which to despise more, the man or his fiction). Three women, although Tiptree is selected twice. Samuel Delany sneaks in at number sixteen. All twenty novelettes are by Americans (the first Brit appears at 41).

20th Century SF/F Short Story
56 – 1 ‘And I Awoke And Found Me Here On The Cold Hill Side’, James Tiptree Jr. (1972)
25 – 2 ‘Air Raid’, John Varley (1977)
0 – 3 ‘Forward Echoes (AKA Identifying the Object)’, Gwyneth Jones (1990)
213 – 4 ‘The Lake of Tuonela’, Keith Roberts (1973)
0 – 5 ‘The Road To Jerusalem’, Mary Gentle (1991)
0 – 6 ‘A Map of the Mines of Barnath’, Sean Williams (1995)
0 – 7 ‘The Brains Of Rats’, Michael Blumlein (1986)
22 – 8 ‘Aye, And Gomorrah’, Samuel R Delany (1967)
276 – 9 ‘A Gift From The Culture’, Iain M Banks (1987)
101 – 10 ‘The Gernsback Continuum’, William Gibson (1981)

I wasn’t expecting to have many popular choices in this category, but not a single one of mine made it into the top twenty. Delany came highest at 22, and then Varley at 25. And they’re popular works of sf. I got four zeroes.

The actual results featured Ellison (3), Heinlein (2), Clarke (3), Asimov, Bradbury (2)… It’s Dead White Male time. (Except Ellison isn’t dead, of course.) Four women. JG Ballard’s highest placing is 47, which is dismaying. Looking at the results, I see a lot of stories that are repeatedly anthologised. Well, there you go…

21st Century SF/F Novella
59 – 1 ‘Arkfall’, Carolyn Ives Gilman (2008)
0 – 2 ‘My Death’, Lisa Tuttle (2004)
6 – 3 ‘Diamond Dogs’, Alastair Reynolds (2001)
0 – 4 ‘Dangerous Space’, Kelley Eskridge (2007)
0 – 5 ‘A Writer’s Life’, Eric Brown (2001)

I’ve read two of the novellas which made the top ten in this category. One of them was the Reynolds. I was surprised Carolyn Ives Gilman didn’t get zero, but then it was originally published in Asimov’s. Two of the others were original novellas from PS Publishing, so no surprise with the zeroes there…

21st Century SF/F Novelette
2 – 1 ‘The Merchant and the Alchemist’s Gate’, Ted Chiang (2007)
66 – 2 ‘Divining Light’, Ted Kosmatka (2008)
3
4
5

I freely admit to being crap at this category. Not only is the novelette a completely useless category and should be roundly expunged from, well, everything, but I’ve not read enough long short fiction published this century. Still, my number one choice made number two. Still, Chiang… (On the other hand, he also made the number one spot.)

As it is, the top ten are all genre darlings – Chiang, Link, Gaiman, Stross, Miéville, Bacigalupi…

21st Century SF/F Short Story

I was so rubbish at this one, I couldn’t think of a single story to nominate. If I had chosen the story I remembered after the deadline, ‘The Avatar of Background Noise’, Toiya Kristen Finley, it would have come… nowhere. No one picked it. Instead, we got ten relatively recent award winners, with a couple of outliers – Le Guin and Swanwick.

We can thus conclude that all worthwhile science fiction and fantasy short fiction is written by a group of about thirty people, over half of whom are dead. Of course, this is a consequence of the small number of voters, most of whom probably fit a fairly similar profile. I’m not sure how useful an exercise that makes the poll, though as a guideline for changing a reader’s approach to the genre it offers a possible blueprint. You know, don’t read the writers in the top twenties for each category, read other ones instead, ones you may not have come across before. Diversify your diet of genre fiction. Add some diversity to it.

And finally, I just have to say something about the amazingly stupid remark made in the comment thread on the results page:

“If there was more women and minorities that cared enough to vote in this poll, then there would have been more females and minorities on the list. you cannot blame others for it.”

Poor grammar aside, it’s a remarkably dumb thing to say. Because of course only women and minorities nominate women and minorities. And women only vote for women, just as minorities only vote for minorities. Someone take away Maddog’s computer, he’s clearly too stupid to use it properly.


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The Novel Poll results are in

… and oh dear. Well, that’s a little embarrassing. The results for the novels for the Locus All-Centuries Poll are in – see here. The best science fiction novel of the twentieth century is apparently Frank Herbert’s Dune, the best fantasy novel of the twentieth century is The Lord of the Rings, the best sf novel of the twenty-first century is John Scalzi’s Old Man’s War, and the best fantasy novel of the twenty-first century is Neil Gaiman’s American Gods.

These results only show that most people confuse popularity with quality. I love Dune and I’ve read it many times, but it’s not a very well-written book. In fact, Herbert’s prose rarely rises above the embarrassingly bad. The Lord of the Rings is the giant elephant in the fantasy room, and it’s about time fantasy got over it. The less said about the twenty-first century novel choices, the better. I’ve read neither, I have no intention of reading them, they are not books I’d ever consider would merit the description “best”.

Unsurprisingly, my own choices did woefully badly. Only one actually made it onto a list – Watership Down at number ten on the 20th Century Fantasy Novel. For the record, here are the actual positions of my choices, where 0 (zero) means the book was not chosen as number one on a list by anyone.

20th Century SF Novel
221 – 1 Coelestis, Paul Park (1993)
206 – 2 Dhalgren, Samuel R Delany (1975)
16 – 3 The Dispossessed, Ursula K Le Guin (1974)
283 – 4 Kairos, Gwyneth Jones (1988)
0 – 5 Synthajoy, DG Compton (1968)
349 – 6 Ash: A Secret History, Mary Gentle (2000)
0 – 7 Where Time Winds Blow, Robert Holdstock (1981)
35 – 8 Red Mars, Kim Stanley Robinson (1992)
0 – 9 Take Back Plenty, Colin Greenland (1990)
76 – 10 The Female Man, Joanna Russ (1975)

20th Century Fantasy Novel
229 – 1 Aegypt, John Crowley (1987)
265 – 2 In Viriconium, M John Harrison (1982)
236 – 3 Rats & Gargoyles, Mary Gentle (1990)
34 – 4 Mythago Wood, Robert Holdstock (1984)
0 – 5 Lens of the World, RA McAvoy (1990)
10 – 6 Watership Down, Richard Adams (1972)
102 – 7 The Golden Compass, Philip Pullman (1995)
62 – 8 Tehanu, Ursula K Le Guin (1990)
18 – 9 The Book Of The New Sun, Gene Wolfe (1983)
0 – 10 The Grail of Hearts, Susan Shwartz (1992)

21st Century SF Novel
14 – 1 Light, M John Harrison (2002)
67 – 2 Life, Gwyneth Jones (2004)
0 – 3 Ascent, Jed Mercurio (2007)
0 – 4 Alanya to Alanya, L Timmel Duchamp (2005)
0 – 5 The Caryatids, Bruce Sterling (2009)

21st Century Fantasy Novel
0 – 1 Evening’s Empire, David Herter (2002)
87 – 2 A Princess of Roumania, Paul Park (2005)
0 – 3 Lord Byron’s Novel: The Evening Land, John Crowley (2005)
155 – 4 Hav, Jan Morris (2006)
0 – 5 Lord of Stone, Keith Brooke (2001)

So there we have it: popularity contest picks most popular novels and calls them “best”. In other words, a total waste of time. I knew going in that some of my choices were reasonably obscure – not totally obscure, as they were published by major publishing houses – but even so I expected some people to recognise their quality. Sadly not. And even my choices for the more popular and better-known authors didn’t even make it into the final top ten or top five. I mean, no halfway-intelligent person can consider Old Man’s War to be a better book than Light. Not, and be taken seriously. But that’s the problem, isn’t it? Sf and fantasy aren’t taken seriously. And never will be as long as we pull stupid strokes like the results of this poll.

So, science fiction and fantasy, go and stand in the corner.


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Locus poll adden-doh

So, a day or two after I filled in my selections for the Locus Poll of Polls (see here), I stumbled across this Mind Meld I did back in October 2010 on my perfect short fiction anthology. While most of the TOC made it into my categories for the polls, some didn’t and I wish I’d managed to remember them. The missing ones were:

‘That Only a Mother’, Judith Merrill (short story, 1948)
I went for ‘No Woman Born’ by CL Moore instead. I’d have to reread both to decide which of the two I should have chosen. It might have been both.

‘The Sword of Rhiannon’, Leigh Brackett (novel, 1949)
This is apparently a novel, so it doesn’t even belong in a short fiction anthology. Whoops. I picked Brackett’s ‘The Last Days of Shandrakor’ for my 20th Century SF/F Novelette category.

‘A Woman Naked’, Christopher Priest (short story, 1974)
I did think about including this one, but I had more than ten choices for my 20th Century SF/F Short Story category. Even though some turned out to be novelettes, I still had to say no to a couple of titles. Incidentally, I wrote a guest post on this story on Gav Reads – see here.

‘The View from Venus: A Case Study’, Karen Joy Fowler (novelette, 1986)
I considered this one too, but I thought it was a short story and I was over-subscribed in that category. But I’ve just looked on isfdb.org and it’s down as a novelette. So I should have included it in that category, probably in place of the Sterling or the Dowling.

‘In Saturn Time’, William Barton (short story, 1995)
Like the Priest, I considered this, but had no free space in the category.

‘Beside the Sea’, Keith Brooke (short story, 1995)
I’d forgotten about this one, but I suspect it wouldn’t have made the cut anyway. Though it is an excellent short story.

‘The Avatar of Background Noise’, Toiya Kristen Finley (short story, 2006)
I wish I’d remembered this one. I left my 21st Century SF/F Short Story category blank, but I’d have included this one if I’d remembered it. Argh.

I only managed nine in the 20th Century SF/F Novella category, two in the 21st Century SF/F Novelette, and none in 21st Century SF/F Short Story. I think I need to read more short fiction from the first decade of this century. It’s not like I’m prevented from doing so – I have a huge pile of Interzones, a shelf full of Postscripts, and a whole bunch of other magazines and anthologies…

So, I think, as a resolution for 2013, I shall work towards putting together a short fiction best of the year, as I do every year for books, films and albums. That should encourage me to read more short stories. I’ll not differentiate between short story, novelette or novella – they’ll all be munged together into one list. Nor will I work overly hard at reading as much as possible. If a story doesn’t grab me within the first 500 to 1,000 words, I’ll not bother finishing it. I’ll stick to the venues I usually frequent, though if someone recommends a story published elsewhere I’ll give it a go. Hopefully, by the end of the year I’ll have enough to choose from to list the five best. I’ll even be able to pick stories to nominate for the BSFA Award. (hint, hint.)


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The humungous Locus poll and my picks for it

I hate polls; polls are stupid things. Picking the best fiction with a popularity contest? Fail. But I had a bash at it anyway. Not that my choices are likely to appear in the final top ten in any category, or cause anything but the tiniest amount of skew in the results. But it was sort of fun as an intellectual exercise.

Picking out the novels was easy enough, but the short fiction categories were hard, especially the 21st century ones. Some stories stay with you for years afterwards, but they’re few and far between. And numbers alone – plus the fact I don’t read every piece of short fiction as it’s published – means I probably encountered few memorable stories during the first decade of this century.

Anyway, for what it’s worth here are my picks:

20th Century SF Novel
1 Coelestis, Paul Park (1993)
2 Dhalgren, Samuel R Delany (1975)
3 The Dispossessed, Ursula K Le Guin (1974)
4 Kairos, Gwyneth Jones (1988)
5 Synthajoy, DG Compton (1968)
6 Ash: A Secret History, Mary Gentle (2000)
7 Where Time Winds Blow, Robert Holdstock (1981)
8 Red Mars, Kim Stanley Robinson (1992)
9 Take Back Plenty, Colin Greenland (1990)
10 The Female Man, Joanna Russ (1975)

20th Century Fantasy Novel
1 Aegypt, John Crowley (1987)
2 In Viriconium, M John Harrison (1982)
3 Rats & Gargoyles, Mary Gentle (1990)
4 Mythago Wood, Robert Holdstock (1984)
5 Lens of the World, RA McAvoy (1990)
6 Watership Down, Richard Adams (1972)
7 The Golden Compass, Philip Pullman (1995)
8 Tehanu, Ursula K Le Guin (1990)
9 The Book Of The New Sun, Gene Wolfe (1983)
10 The Grail of Hearts, Susan Shwartz (1992)

20th Century SF/F Novella
1 ‘Great Work of Time’, John Crowley (1989)
2 ‘The Fifth Head of Cerberus’, Gene Wolfe (1972)
3 ‘Forgiveness Day’, Ursula K Le Guin (1994)
4 ‘Equator’, Brian W Aldiss (1958)
5 ‘Green Mars’, Kim Stanley Robinson (1985)
6 ‘Marrow’, Robert Reed (1997)
7 ‘Secrets’, Ian Watson (1997)
8 ‘Story of Your Life’, Ted Chiang (1998)
9 ‘Piper at the Gates of Dawn’, Richard Cowper (1976)
10

20th Century SF/F Novelette
1 ‘The Barbie Murders’, John Varley (1978)
2 ‘Beauty and the Opéra or the Phantom Beast’, Suzy McKee Charnas (1996)
3 ‘The Time-Tombs’, JG Ballard (1963)
4 ‘A Little Something For Us Tempunauts’, Philip K Dick (1974)
5 ‘Black Air’, Kim Stanley Robinson (1983)
6 ‘The Last Days of Shandakor’, Leigh Brackett (1952)
7 ‘No Woman Born’, CL Moore (1944)
8 ‘FOAM’, Brian W Aldiss (1991)
9 ‘Swarm’, Bruce Sterling (1982)
10 ‘Housecall’, Terry Dowling (1986)

20th Century SF/F Short Story
1 ‘And I Awoke And Found Me Here On The Cold Hill Side’, James Tiptree Jr. (1972)
2 ‘Air Raid’, John Varley (1977)
3 ‘Forward Echoes (AKA Identifying the Object)’, Gwyneth Jones (1990)
4 ‘The Lake of Tuonela’, Keith Roberts (1973)
5 ‘The Road To Jerusalem’, Mary Gentle (1991)
6 ‘A Map of the Mines of Barnath’, Sean Williams (1995)
7 ‘The Brains Of Rats’, Michael Blumlein (1986)
8 ‘Aye, And Gomorrah’, Samuel R Delany (1967)
9 ‘A Gift From The Culture’, Iain M Banks (1987)
10 ‘The Gernsback Continuum’, William Gibson (1981)

21st Century SF Novel
1 Light, M John Harrison (2002)
2 Life, Gwyneth Jones (2004)
3 Ascent, Jed Mercurio (2007)
4 Alanya to Alanya, L Timmel Duchamp (2005)
5 The Caryatids, Bruce Sterling (2009)

21st Century Fantasy Novel
1 Evening’s Empire, David Herter (2002)
2 A Princess of Roumania, Paul Park (2005)
3 Lord Byron’s Novel: The Evening Land, John Crowley (2005)
4 Hav, Jan Morris (2006)
5 Lord of Stone, Keith Brooke (2001)

21st Century SF/F Novella
1 ‘Arkfall’, Carolyn Ives Gilman (2008)
2 ‘My Death’, Lisa Tuttle (2004)
3 ‘Diamond Dogs’, Alastair Reynolds (2001)
4 ‘Dangerous Space’, Kelley Eskridge (2007)
5 ‘A Writer’s Life’, Eric Brown (2001)

21st Century SF/F Novelette
1 ‘The Merchant and the Alchemist’s Gate’, Ted Chiang (2007)
2 ‘Divining Light’, Ted Kosmatka (2008)
3
4
5

21st Century SF/F Short Story
1
2
3
4
5

Well, the same names crop up in most lists, but that’s because I think those writers are amongst the most interesting in genre fiction. I did trawl through the lists of suggested titles provided by Locus, but there were few novels or stories I liked or thought especially good – in fact, many of choices above don’t appear on any of their lists. I’ve not read enough 21st century short fiction to pick the five best. I managed it with a handful of novellas and novelettes, but short stories?

(No doubt I’ll think of possible titles the moment I hit the “Publish” button on this post…)

And let me once more ask what on earth is the use of the novelette? It’s an entirely arbitrary and useless category. Anything bigger than a short story but smaller than a novel is a novella. The only places where novelette is used as a category is in the Big Three genre magazines and US genre awards. And it seems to me it only exists so the big friendly and incestuous club of US genre writers have an excuse to give each other yet another award. Get rid of it, please.


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Doing the Hugos, Part 3e

And finally we have the last of the novellas in this year’s Hugo shortlist: ‘True Names’ by Cory Doctorow and Benjamin Rosenbaum, first published in Fast Forward 2 (published by Pyr and edited by Lou Anders).

This one was a headache to read. If I hadn’t been writing this series of blog posts, I’d probably have given up. Which is not to say that ‘True Names’ is bad. I just found it very annoying. One of my pet hates is sf which appropriates the vocabulary of operating systems and networking (not to mention a bit of OO programming). It doesn’t work for me. It’s not a vocabulary designed for, or suited to, telling stories.

Stories set in virtual realities, whose viewpoint frequently pulls out of those realities, also don’t work for me. It’s not metafiction, it’s not post-modern in the way, say, The French Lieutenant’s Woman is post-modern. It’s not story, and the makings of story. It’s simply two nested narrative universes, with two different vocabularies. And, using those different vocabularies for essentially the same story often confuses. ‘True Names’ adds further confusion through having the point of view leap from character to character without signalling a transition, having multiple iterations of the same characters, and having new characters randomly introduced as the story progresses.

Of course, ‘True Names’ is supposed to be funny, it’s supposed to be gonzo. The references to Pride and Prejudice are clue enough. But I find it hard to find computing terminology witty – I’ve seen so much bad code during my career, I no longer find it amusing.

I wanted to like ‘True Names’. It uses a twenty-first century mode of science fiction. It is full of ideas and eyeball kicks and bits of sensawunda. But none of it is real. It’s all simulated or emulated. Except the level of reality which isn’t simulated or emulated… but the prose isn’t always entirely clear which level that is. Much of the plot is also carried by dialogue, which is a very twentieth century mode of science fiction. And there are lot of indigestible wodges of exposition; like this one:

The Beebean system of tav calculation was a corollary result from the work of classical mathematician and poet Albigromious, who first formulated the proof of the incalculability of the Solipsist’s Lemma.

There’s little doubt that ‘True Names’ is more sfnal, and more contemporary, than the Kress, the Finlay, and perhaps even the Reed. But it’s not as well written as the McDonald, and it’s certainly not as clearly written (McDonald’s ornate prose notwithstanding). ‘True Names’ felt too long, felt too forced in places, and for me ultimately didn’t work.


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Doing the Hugos, Part 3d

I was a bit busy last week, with four deadlines all landing on the last day of the month. So I didn’t get the chance to read, or write about, the next novella on the Hugo 2009 shortlist. Which is ‘The Tear’ by Ian McDonald. This was published in Galactic Empires, edited by Gardner Dozois and published by the Science Fiction Book Club.

I actually have a problem with stories from SFBC-published books being eligible for the Hugo Award. You have to be a member of the club to buy the book. It’s not freely available, it cannot be bought in your local Borders, Waterstone’s, Walden Books, or Internet retailer of choice. Hugo Awards should only be given to fiction which can be purchased or read by all.

Even more worrying, for a novella such as ‘The Tear’ to have been nominated, it suggests that SFBC members cast sufficient votes for it to appear on the shortlist. The intersection of Worldcon members and SFBC members must be therefore be disproportionately large. Or the number of nominations disproportionately small.

But that is all – for the moment – irrelevant. And, I suppose, somewhat ironic, given that ‘The Tear’ is best of the novellas I have so far read from the shortlist.

‘The Tear’ shares it setting with ‘Verthandi’s Ring’, McDonald’s story from 2007′s excellent The New Space Opera anthology. It is baroque space opera, full of big numbers, big vistas, and big ideas.

The water world of Tay has been visited by the 800 shatterships of the Anpreen Commonweal, post-humans who have taken the form of nano-motes. A human from Tay, Ptey, learns that the Anpreen are fleeing an enemy. And when that enemy appears on the outer edges of Tay’s planetary system, he leaves his world aboard one of the Anpreen shatterships. He returns alone millennia later to discover Tay has been incinerated. The story then takes an abrupt swerve as it explains the reason why the Anpreen were being hunted.

Looked at from a great height, ‘The Tear’ appears somewhat thin on plot. Ptey leaves, Ptey comes home again, Ptey works out why it all happened. It’s tempting to compare ‘The Tear’ to a painting by an Old Master, rich in colour and detail, but depicting only an old man sitting in a chair. Some have said there’s too much detail in it for a novella, that it would be better-suited to novel-length. I disagree: the story is the details…

Which in turn leads to ‘The Tear’s one major failing. McDonald has created so rich a background he can’t help but stop his plot every now and again and unload exposition on the reader. In that respect, ‘The Tear’ is even moreso heartland sf than it actually presents: it displays in full the unique vision of the genre, yet fails to overcome its greatest handicap.

In other words, ‘The Tear’ full of eyeball kicks. For instance, in the Anpreen shattership, Thirty Third Tranquil Abode, there is a waterfall: “Feet down to world-sea, head up to the roof, it was a true fall, a cylinder of falling water two hundred metres across and forty kilometres long.” This is not true of the other novellas I’ve read from the shortlist.

There’s also some lovely writing in it – “… the catboat ran fast and fresh on a sweet wind across the darkening water” on the very first page, for example. There is also writing which is somewhat over-ornamented, which only just manages to avoid falling flat on its face. But then that is McDonald’s skill as a writer: taking his prose to the edge of ostentation, and then pulling it back from the brink before it collapses into a jumbled heap of over-written prose.

‘The Tear’ is one of those stories which reminds you why you read science fiction. Not everything in it is convincing – not just the ideas on display, but also the dénouement – but it doesn’t matter. It is as big as the universe and full of fireworks-explosions of ideas, and that’s what good sf is.


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Doing the Hugos, Part 3c

Here’s the third of the novellas on the Hugo shortlist, ‘The Political Prisoner’ by Charles Coleman Finlay, from F&SF‘s August 2008 issue. This is the second time Finlay has been nominated for the Hugo – he was also on the shortlist in 2003 for ‘The Political Officer’, which was set in the same universe and featured the same protagonist.

Maxim Nikomedes is an officer in the Department for Political Education on the world of Jesusalem, which was settled by Plain Christians (some sort of back-to-basics fundamentalist Christians). Nikomedes is also an undercover agent for the Department of Intelligence. The latter stages a coup, and there is a purge against Political Education. Because Nikomedes’ cover is a political officer, he gets caught up in the purge and carted off to a “reclamation camp”. Where he has to survive forced labour until he’s rescued when someone from Intelligence figures out where he is.

I don’t get this story; I don’t get why it’s science fiction. Finlay might as well have set it in Nazi Germany. Or Stalinist Russia. Or any totalitarian regime which slaughtered great swathes of its population in the name of something or other. ‘The Political Prisoner’ may be set on another planet, and the forced labour is supposedly part of the terraforming required to make the world more habitable, but that’s as close as it gets to sf. Setting a story on another planet does not make it science fiction.

And when the third paragraph of the story has the protagonist looking at their reflection so the writer can describe their appearance to the reader… well, that doesn’t bode well. ‘The Political Prisoner’ then dives into paragraph after paragraph of back-history, some of which I’m guessing is the plot of ‘The Political Officer’. I’m all for “not starting the story at the beginning”, but if you have to go back and describe that beginning in the narrative, then you’ve done something wrong.

In my comments on Nancy Kress’s ‘The Erdmann Nexus’ (see here), I mentioned the open mechanism which drives science fiction stories. That mechanism is absent in ‘The Political Prisoner’. Its workings do not need to be laid bare because everything is on the surface. Nikomedes is in the wrong place at the wrong time, Nikomedes can’t reveal his secret affiliation, Nikomedes gets sent to a reclamation camp and his past experiences help him survive, Nikomedes gets rescued. There is no idea which needs to be explicated, no idea upon which the plot is carried, no idea with consequences which can be explored.

I’ve not read Finlay’s ‘The Political Officer’, but I can only imagine that those who liked it voted for ‘The Political Prisoner’. Because on its own, there’s nothing in it that’s strikes me as award-worthy. There are enough examples of one group of people horribly treating another in recent human history, without having to go to all the trouble of writing a science fiction novella on the subject. Especially since ‘The Political Prisoner’ doesn’t actually say anything insightful or worthwhile. Nikomedes survives several months in the reclamation camp, then the head of Intelligence turns up and rescues him. Nikomedes asks that the prisoners he had been bunked with, the ones who had been doing the hardest labour, are released. Because, he says, “There’s been enough killing.” Oh dear.

‘The Political Prisoner’ is definitely the weakest of the three novellas I’ve read so far. And, like the Kress, I can’t quite understand why it was nominated in the first place.


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Doing the Hugos, Part 3b

Next up is ‘Truth’ by Robert Reed (Asimov’s Oct/Nov 2008). I think I might have read this before, but since I don’t subscribe to Asimov’s, or buy copies of the magazine, it must have been online. And yet, as I became more convinced I’d read it before, I still couldn’t remember the ending.

Ramiro is a terrorist kept in a super-secret Gitmo in a Kansas salt mine. He is from 140 years in the future, and he travelled back in time as part of an army of 200 bent on conquering the world. He was caught in 2002 – the car he was driving skidded on black ice and crashed, and the police discovered Uranium-235 hidden under the car’s spare tyre. For twelve years he has been interrogated and imprisoned. As a result of the intelligence gained from him, the US invaded Iraq. And then Iran. Terrorists then set off nukes in the US. Now billions are dead. Ramiro’s original interrogator has committed suicide, and a new one – the narrator – has been sent to make sense of the suicide, and to finally break Ramiro….

I really wanted to like ‘Truth’ but the fact that I’d read it before, and forgotten it, bothered me. Surely a good novella, a Hugo-nominated novella, should be more, well, memorable? And there is plenty to like in it. The central premise is good, and the final twist on that premise is satisfying.

Unfortunately, the narrator is unlikeable – admittedly, she’s a torturer, so it’s not really fair to expect her to be sympathetic – but she’s also too obtuse. It feels like she’s withholding information from the reader simply in order to extend the story. The novella seems longer than it needs to be. I suspect this is partly in order to ramp up the effects of the “temporal jihadists”. The earth has to suffer increasingly worse attacks in order to set up the final pay-off.

‘Truth’ does have something important to say and I consider that a point in its favour. It makes clever use of recent history, commenting on both the invasion of Iraq and the US’s criminal use of torture. It feels a tiny bit out-of-date now that Obama is president, but of course it was originally published before the presidential election so it’s hard to hold that against it.

There’s little doubt in my mind that ‘Truth’ is better than ‘The Erdmann Nexus’, but I still can’t quite love it. Possibly because it feels too long for its contents.


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Doing the Hugos, Part 3a

I had intended to write a single post covering all of the novellas on the Hugo shortlist but, well, a novella is pretty much a short novel. So I’m going to split it into a post on each.

First up is ‘The Erdmann Nexus’ by Nancy Kress (Asimov’s Oct/Nov 2008).

I quite like that branch of science fiction which uses the quotidian to explore the extraordinary. But it has to be done right. Sf operates using an open mechanism: the workings of its plot are visible to the reader. Unlike in a crime novel, which must hide those workings so that the final reveal is satisfying to the reader. So for sf, the explanation for the extraordinary has to be presented up front, and then the story should show – or ramp up – the consequences.

In ‘The Erdmann Nexus’, a group of residents at an old folks’ home have been experiencing odd “events”, moments of what seems to be merged consciousness. The story hops between those involved, one of the helpers, a neurological researcher working on a project at the home, and a pair of detectives investigating the mysterious death of the helper’s legally-separated husband. The search for an explanation is led by Henry Erdmann, one of residents, a brilliant physicist who now teaches at a nearby university. It is not until the end of the novella that the reader learns what the events were and what caused them.

Unfortunately, hiding the extraordinary’s explanation, and only revealing it at the end, doesn’t work because it makes for an uninvolving narrative. And, for all its many viewpoints, ‘The Erdmann Nexus’ is pretty dull. (For an example on how to do it properly, see Ted Kosmatka’s ‘Divining Light’.)

Kress throws in a framing narrative, describing a sentient spaceship approaching Earth, but it seems entirely gratuitous. The plot certainly doesn’t require it. And the mentions of split photons, quantum entanglement and emergent complexity just obfuscate. When an author holds the explanation close to their chest, it has to be a damned impressive explanation to redeem the story. Kress’s isn’t. We’ve seen it before, in both science fiction and fantasy. In that respect, it’s not very different, truth be told, to Mike Resnick’s terrible ‘Alastair Baffle’s Emporium of Wonders’ on the novelette shortlist (see here); and not just because both feature OAP characters.

The single-note characterisation in ‘The Erdmann Nexus’ doesn’t help either – gossipy granny, bible-basher, ex-ballerina who pines for her past, blue-collar retiree out of his depth…. And detective Geraci – Kress might as well have named him Goren since he’s plainly based on Vince D’Onofrio’s character in Law & Order: Criminal Intent.

Kress has appeared on Hugo ballots an impressive number of times – 11 nominations and one win, according to the Locus Index to SF Awards. This should not have been one of them. I have to wonder if it was another choice driven by nostalgia….


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Doing the Hugos – an update

Asimov’s have finally put their Hugo nominated story and novellas on their web site. So here’s my thoughts on:

‘From Babel’s Fallen Glory We Fled’, Michael Swanwick (Asimov’s Feb 2008)
An interesting story. I can’t decide if it’s taking the piss or a little bit lazy. The meta-fictional framing feels like an afterthought, and the typographical tricks for the alien’s speech feel like Swanwick is having a sly laugh at his readers. There are some nice ideas in the story, but it feels too thin a treatment, as if it should have been longer and more detailed. It’s a great deal better than Resnick’s story, and not as inconsequential as the Kowal, but the Chiang and Johnson still have it beat.

As four of the five novellas are now available, I’ll work my way through those. It might take a while – they’re the longest of the “short” lengths, as long as an old-style novel in fact. Sadly, the missing novella is the one I really wanted to read. For the record, the shortlist is as follows:

The Erdmann Nexus’, Nancy Kress (Asimov’s Oct/Nov 2008)
‘The Political Prisoner’, Charles Coleman Finlay (F&SF Aug 2008)
‘The Tear’, Ian McDonald (Galactic Empires)
‘True Names’, Benjamin Rosenbaum and Cory Doctorow (Fast Forward 2)
‘Truth’, Robert Reed (Asimov’s Oct/Nov 2008)

Incidentally, a point of order. Mike Resnick’s ‘Article of Faith’ was first published in Postscripts #15 in September 2008. According to the Hugo shortlist, it was published in Jim Baen’s Universe in October 2008. But that would be a reprint. At the very least, the Hugo committee should correctly attribute the magazine in which the story was first published.

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