Tag Archives: Science Fiction

The 2018 Nebula Award Winners!

We are in the thick of awards season, beloved patrons, and let me tell you, it’s a good season to be a reader.  Last week, the winners of the 52nd Annual Nebula Awards were announced at the annual convention of the  Science Fiction and Fantasy Writers of America (SFWA)

The Nebula Awards (a picture of one of the awards is on the left) were first awarded in 1966, and have grown in prestige to be recognized as one of the most significant awards for science fiction and fantasy in publishing.  Each year, a novel, novella, novelette, and short story are chosen…and just in case you, too, were wondering what a “novelette’ is, it is defined by SFWA as “a work between 7,500 and 17,500 words”, while a “novella” is between 17,500 and 40,00 words.  Any book written in English and published in the United States is eligible for nomination, and members of SFWA cast their ballots for the favorite books.  This means that, essentially, the awards are chosen by readers and genre devotees, which means that they are not only of high quality in terms of genre and style, but that they are also a darned good read.  As you will see, screenplays are also recognized with the Ray Bradbury Award, and middle grade and young adult fiction is nominated for the Andre Norton Award for Young Adult Science Fiction and Fantasy.

Once again, the Nebulas are a bastion of diversity and good storytelling.  As we mention each year, science fiction is a genre that is beautifully suited to questioning our current realities, imagining new ones, and crafting relationships that challenge and confront stereotypes.  Fantasy does this, as well, and you’ll see from the titles listed below, the authors honored at the Nebula Awards are gifted at utilizing and transforming the genres to tell wildly inventive, insightful, haunting and compelling stories that linger long after the final page has turned.

We hope you find some new reading and viewing fodder among the nominees and winners listed below.  For more information and a full list of Nebula winners, visit the SFWA’s website!

BEST NOVEL

WinnerThe Stone Sky, N.K. Jemisin 

Nominees:

THE RAY BRADBURY AWARD FOR OUTSTANDING DRAMATIC PRESENTATION

Winner: Get Out (Written by Jordan Peele)

Nominees:

THE ANDRE NORTON AWARD FOR OUTSTANDING YOUNG ADULT SCIENCE FICTION OR FANTASY BOOK

WinnerThe Art of Starving, Sam J. Miller

Nominees:

Going Off Book…A Handmaid’s Tale Season 2 If/Then…

Following the enormous popular and critical success of Hulu’s The Handmaid’s Tale (an adaptation of Margaret Atwood’s 1986 novel), the likelihood that there would be a Season Two was a pretty good one.  Media success doesn’t rest easily.  As a result, the show’s second season (which is currently streaming on Hulu) is running off-book.

It’s a pretty daring prospect, on the whole.  The Handmaid’s Tale is not the first series to run ahead of, or away from, its literary foundations.  The production of Game of Thrones has outpaced George R.R. Martin’s writing, so that the final two seasons have covered material that has not yet been in print….though the books will, hopefully, see the light of day soon.  Fox’s recently cancelled show Lucifer was based on a character in Neil Gaiman’s Sandman series, but took on a life of its own very quickly (#SaveLucifer by the way.  It’s an incredible show).  But The Handmaid’s Tale has the daunting task of remaining true to Atwood’s masterpiece, and also advancing the plot enough to give both readers and non-readers a reason to keep watching.

Thus far, they seem to be doing a very good job of it.  Ratings and reviews for the second series have been very good–if acknowledging the fact that the harrowing subject matter and superb acting make each episode uniquely difficult to watch.  The show’s creators are moving backwards and forwards on the timeline, showing June and her comrades in a blighted and besieged Boston, while simultaneously showing us how the world they inhabit came to be, from the creeping authoritarian laws to the gradual acceptance of society to the direction their world was taking.  Rather than striking out into wholly new territory, a great deal of this season seems to be filling in the gaps in Atwood’s novel, showing how such a place came to be–a move that strengthens the foundations of the stories and the series as a whole.

Via metro.co.uk

So for those who are watching Season 2 of The Handmaid’s Tale, those awaiting its arrival on our shelves in DVD form, and those who are looking for even more dystopian fiction featuring women and strong social commentary, here are a few suggestions from us to keep you thinking, reading, and enjoying well into the summer….

The Power: Naomi Alderman’s sensational novel won the 2017 Baileys Prize for Women’s Prize for Fiction, and has been referenced frequently alongside discussions of Margaret Atwood’s work–mostly because it turns the premise of The Handmaid’s Tale upside down.   All at once, in a not-too-distant-future, girls find that with a flick of their fingers they can inflict agonizing pain and even death. With this single twist, four lives are utterly transformed, and  society as a whole begins to rethink the way it has thought and spoken about people since it’s conception.  Like Atwood, Alderman doesn’t pull punches; this book is visceral and gritty at times, but it’s also incredibly funny and snarky.  The correspondence that frame the story itself poke fun at our current gender stereotypes brilliantly, and help readers conceive of a world that it as once so familiar, and at once so utterly, completely different.

Red Clocks: Leni Zumas’ novel was released earlier this year, and was already listed as one of the best books of 2018.  Part mystery, part thriller, and all painfully, beautifully compelling, this book is set in a not-too-distant-American-future, where abortion is once again illegal in America.  In addition, in-vitro fertilization is banned, and the “Personhood Amendment” grants rights of life, liberty, and property to every embryo.   Zumas uses this premise to focus in on five very different women in a small Oregon fishing town, and  the effects of these laws, and the culture they promote, on their lives, especially when a reclusive herbalist, or “mender” is arrested, and made the subject of a national show-trial.  Like Atwood’s work, Zumas’ characters are rich and nuanced, and because they both benefit from and are persecuted by the laws of their America, this book becomes a timely and incisive social commentary, as well as a moving and unforgettable story.

An Unkindness of Ghosts: In addition to drawing comparisons to Margaret Atwood, Rivers Solomon has also been compared to Octavia Butler for the way they use the science fiction genre to interrogate issues of race and power in our present day.  An orphan , Aster lives in the lowdeck slums of the HSS Matilda, a space vessel organized much like the antebellum South. For generations, Matilda has ferried the last of humanity to a mythical Promised Land. In order to keep the peace as they know it, the overseers on the ship have imposed harsh and degrading regulations over the darker-skinner sharecroppers onboard, as well as those of different religions and social class.  Aster is a character who needs answers; on a personal level, she is determined to find out what happened to her mother.  But the more she investigates, the more she is determined to find out who is really in charge of the ship that is her world–and to challenge the system that has harmed her and so many others.  Solomon uses their premise to interrogate not only gender and racial issues, but also sexuality, class, and the ways in which power and the police state can corrupt and harm all those involved in it.  This book adds a great deal of dimension to the social commentary that Margaret Atwood provided in her book, while also being a fascinating and deeply imaginative science fiction book that will hold enormous appeal for readers across genres.

The Witchfinder’s Sister: Beth Underdown’s novel is, on the surface, a richly-detailed work of historical fiction.  However, Underdown uses her historical premise to ask a lot of questions that are as significant to the present as they are to the world of her characters.  The year is 1645, and Alice Hopkins, a pregnant widow, has returned to the small English town in which she grew up.  Without prospects, and unfamiliar with the town after a five-year absence, Alice is forced to live with her brother, who has become a rich and influential man–and a feared hunter of alleged witches.  Torn between devotion to her brother and horror at what he’s become, Alice is desperate to intervene—and deathly afraid of the consequences. But as Matthew’s reign of terror spreads, Alice must choose between her safety and her soul.  We have been subjected to a lot of talk about witch hunts lately, but Underdown’s novel delves deeply into what such a practice really is–and the irrevocable damage it causes on all those involved.  Like Atwood’s book, this book deals with the persecution of women in a patriarchal society, but adds an element of mystery and rich historical detail to her fascinating and original novel.

The 2018 Hugo Award Nominees!

The Hugo Award is the the longest running prize for science fiction or fantasy works, having been established in 1953.  Up until 1992, the award was known simply as the Science Fiction Achievement Awards, but was subsequently named after Hugo Gernsback, the founder of the pioneering science fiction magazine Amazing Stories.  Gernsback was also responsible for creating the idea of a ‘fandom’, to describe a group of people who share a cultural bond over their love of a particular genre–in this case, weird/science fiction.   When readers wrote into Amazing Stories, their addresses were published along with their letters.  As a result readers began to become aware of themselves as fans, and to recognize their collective identity as devotees of the science fiction genre–not bad for 1926.

Since 1993,  Worldcon committees have had the option of awarding Retrospective Hugo Awards for past Worldcon years (1939 onwards) where they had not been presented.  This year, the retrospective awards for 1943 were also announced, which you can read here.

The Hugo Award Trophy, via The Hugo Awards

We’ve discussed at length the problems inherent in the awarding of the Hugos, and several attempts over the last few years to sabotage the process by the groups known as the “Sad Puppies” and the “Rabid Puppies.”  However, as we also noted, saner heads prevailed, the Hugos produced an optimistically diverse and inclusive group of winners last year.  It’s a trend we can only hope will continue, as access to as many types of stories, by as diverse a group of humans as possible can only benefit us, and our imaginations.

So, without further ado, here is a curated list of Hugo Award nominees, with links to the titles available at the Library.  You can read the full list here.

Best Novel

Best Series

Best Graphic Story

Best Dramatic Presentation, Long Form

  • Blade Runner 2049, written by Hampton Fancher and Michael Green, directed by Denis Villeneuve
  • Get Out, written and directed by Jordan Peele
  • The Shape of Water, written by Guillermo del Toro and Vanessa Taylor, directed by Guillermo del Toro
  • Star Wars: The Last Jedi, written and directed by Rian Johnson
  • Thor: Ragnarok, written by Eric Pearson, Craig Kyle, and Christopher Yost; directed by Taika Waititi
  • Wonder Woman, screenplay by Allan Heinberg, story by Zack Snyder & Allan Heinberg and Jason Fuchs, directed by Patty Jenkins

There are two other Awards administered by Worldcon 76 that are not Hugo Awards:

Award for Best Young Adult Book

John W. Campbell Award for Best New Writer

Congratulations to all the Hugo Award Nominees!  We’ll check back in when the winners are announced

Westworld: An If/Then Reading List

For those of you still having feelings about Superbowl LII…we see you, and we support you.  For those of you good readers who watched the Superbowl for the commercials, it was a pretty decent showing, all in all.  Particularly those Tide ads, that played heavily on genres, tropes, and gimmicks within familiar commercials.

But for fans of the series, there was no ad quite like the trailer for the upcoming season of Westworld, which debuts on April 22.  You can catch that trailer below if you missed it:

For those who aren’t familiar with the show, Westworld is a science-fiction western thriller airing on HBO.  The television show was inspired by a 1973 film of the same name that was written and directed by Michael Crichton, and stars Yul Brynner, Richard Benjamin, James Brolin.  The story takes place in the fictional Westworld, a technologically advanced Wild West-themed amusement park populated by android (robotic) hosts. Westworld caters to high-paying guests, who come to experience life in the frontier town of Sweetwater, and interact with the robotic “hosts”, whose advanced programming allows them to follow a pre-defined set of intertwining narratives, and to deviate from these narratives as visitors interact with them. The hosts repeat these narratives anew each day, having their memories wiped of the previous day, until they are re-purposed or put away in storage. For the visitors’ safety, hosts are unable to harm any other living life forms, allowing visitors nearly unlimited freedom to engage in whatever activities they want without retribution. A staff oversees the park, develops new narratives, and performs repairs on hosts as necessary.  The series begins when a routine update in the hosts’ programming causes unusual deviations in their behavior that allows some of the hosts to understand the truth about themselves and their world…

Though there was some behind-the-scenes drama that postponed the premier of the show from 2015 to 2016, the finished product has been, according to nearly everyone, sensational.  The debut of the series garnered one the HBO’s highest viewership ratings and remains one of the most-watched series on HBO (which, given some HBO series’ devoted followings, is saying quite a lot).  And there are plenty of reasons why it’s continued to be such a talked-about and intriguing show.  First off, the sets, costumes, and scenic details are sensational (hats off to costume director Ane Crabtree, whose historic research paid dividends).  But beneath the stunning veneers, the story of the show itself is a deeply unsettling, curiously arresting consideration of what it means to be human, and what lengths humans are actually capable of going in order to feed their appetites, and what consciousness really means.  As The USA Today wrote, “The reward, beyond the visual splendors you’ve come to expect from big-budget HBO productions, is a set of characters who grow ever more complex.”  Mary McNamara of Los Angeles Times wrote that Westworld “…isn’t just great television, it’s vivid, thought-provoking television that entertains even as it examines the darker side of entertainment.”

So, for those of you looking for a new binge-watching treat, Westworld might very well be the series for which your searching, especially as one series isn’t, comparatively speaking, a huge amount to watch before the Season Two premier on April 22.  But for those of you who are already long-time visitors to Westworld, fear not!  We have a wealth of suggestions to keep your imagination spinning and your gears gyrating until the next episode airs!  Check out some of our top picks below:

Silver on the Road: Readers who are taken with scenes of the ‘Wild West’ in Westworld, and intrigued by the idea of women finding their identity while traversing it, look no further than Laura Anne Gilman’s sensational Devil’s West series.  The series is set in a fantasy west, ruled by The Boss…some might call him the Devil…and full of spirits, stories, and other things too terrible to name.  On her sixteenth birthday, Isobel decides that her true calling is in working for The Boss.  In turn, she is made his Left Hand–but what that title truly means is a mystery.  Rather than explain, The Boss places Isobel in the company of a man named Gabriel, and sent to explore the territory that is now hers.  The story that unfolds is a gently-paced, deeply emotional, and utterly vivid one, that will have you trying to brush the dust from your coattails after every scene.  Isobel’s comradeship with Gabriel is fascinating, unexpected, and stunningly equitable, the lessons she learns about herself and her role along the road are unforgettable, and the best part is that this is just the first book of an outstanding series.  So anyone looking for a Wild West that is just as weird as Westworld, but with a lot more occult and feminism thrown in, look no farther that this book.

Karen MemoryElizabeth Bear takes inspiration from the very real Seattle Underground to create a story about airships, gold miners…and, most importantly, Karen, and her fellow “soiled doves” working at  Madame Damnable’s high-quality bordello.  When a badly injured young woman arrives on their doorstep, pursued by the man who holds her indenture, Karen realizes that trouble has fixed its eye on Madame Damnable’s.  But when a body is soon left on their rubbish heap, all hell seems near to breaking loose around them.  While the steampunk genre deals less with robots than automatons (the distinction can be found in the power keeping the machines working and, often, the level of autonomy and consciousness afforded to them), there is a lot of the same high-tech, Wild West skull-duggery going on in this sensational story as in Westworld.  Best of all, once again, we get a feminist perspective on violence, history, and tech, that is heartily welcome.

Utopia: Lincoln Child has terrific fun with the tech-thriller genre, and this book, set in a futuristic theme park, deals with many of the same themes as Westworld, including huge conspiracies, techno-wizards and techno-pocalyspes, and elaborate sabotage schemes going on behind the idyllic scene.  Utopia is a technologically advanced, family-friendly theme park off the Las Vegas strip.  Not only do people flock there for a day of fun, they come to see the system known as the Metanet, a highly secretive and enormously ingenious robotics system designed by Dr. Andrew Warne–a system that essentially runs the park on its own.  But when Andrew is brought in to consult on the possible expansion of the park, he soon uncovers evidence of tampering with the system–from the inside.  His worst fears are realized when one of the rides is sabotaged–and park officials are unable to turn off the rest of the park due to threats of further violence.  Full of fancy techno-details that will appeal to those who love programming potential in Westworld, and told in a thrill-a-minute, breakneck pace, this story is sure to feed your need for danger until Westworld surges back onto the screen.

FantasticLand: This one is a bit of an outlier, but for those of you drawn to the premise of an amusement park from hell, look no further than Mick Bockoven’s vivid, violent novel about an abandoned theme park–and the people who were abandoned inside it.  When the (fictional) Hurricane Sadie threatened Florida with inevitable destruction, the decision was made to evacuate visitors from FantasticLand, but to leave park staff behind with some supplies in order to hold down the fort, so to speak.  But when help finally arrives five week later, they find gruesome and visceral evidence (literally) that something went terribly wrong at FantasticLand.  This book is presented as a dossier of testimony from survivors about what precisely happened during those weeks, when the staff broke into tribes–complete with names and mottoes–and began hunting each other.  There are a number of echoes of Lord of the Flies in this book, and though there is a lot of Milennial-bashing in Bockoven’s work, this is just the thing for a reader whose looking for another dystopian theme park full of menace to tide them over until Westworld‘s gates re-open.

Love What You Love

Conversations about books are some of my favorite conversations.

Via https://3appleskdk.wikispaces.com/

recent discussions among some book-minded companions led to a fascinating discussion the other day regarding “books that you love but that are in some way objectionable to others.”  It’s a tricky subject, and one with which a lot of readers tend to grapple, especially as they grow up, and realize that the books they loved at one stage of their development might not fit them and their world view now.

Let’s use my own experience as an example: It’s something of an open secret that I love Jane Eyre.  It’s a book that enchanted me as a fourteen-year-old first discovering early Victorian literature, and one that sustained me in high school amidst all those books I had to read.   But, as an older reader, out of high school and navigating what we usually call “the real world,” I began to realize how whiny, self-centered, and, let’s be honest here, how reckless and dangerous his behavior was.  Secrets aren’t sexy, Edward.  Especially when they involve fire, bleeding, and/or locking people up in towers.  (To be fair, I would argue a great deal of the Rochester mystique is a product of more recent times, but still…).  But, after some soul searching, I realized that I could, and still did, love Jane Eyre.  Because, as I grew older, I began to really appreciate just how strong, how self-reliant, and how confident Jane had to be in herself to survive in the world she did, and to protect herself from Rochester’s more harmful tendencies.  Jane Eyre herself became one of my favorite characters all over again as a grew up, even as I got more and more fed up with Rochester’s fragile ego and his ceaseless emoting.

Similarly, a friend related that they had grown up adoring Stephen King’s Dark Tower series, and that they still turned to it when life was being difficult and they needed something familiar to love.  Stephen King is a sensational author and a super guy, but, as my friend noted, Stephen King doesn’t do very well writing about people of color.  They tend to fall pretty hard into the character trope known as the “Magical Negro” trope (Note: the word ‘negro’ is used to denote the archaic view of Black people that this trope embodies).  Briefly put, “Magical Negroes” are characters (created by white authors) who are generally (though not always) outwardly or inwardly disabled as a result  of discrimination, disability or social constraint, and who appear to save the white protagonist through magic.  In other words, they are not human in the same ways that white characters are human.   In the Dark Tower series, Odetta Susannah Holmes is a”Magical Negro”; she is disfigured by a subway train after a white man pushes her onto the tracks.  She suffers from a magical kind of personality disorder in which she embodies two people (each figured and disfigured by American racism) and she is repeatedly victimized to save Roland, who is a white male in the novel.

This is not in any way, shape, or form to imply that Stephen King is a racist.  Far from it.  But it does indicate that he might not be the expert on creating realistic, thoughtful characters of color.

But sometimes, it can be an issue with the author.  Another book brought up in this discussion was Orson Scott Card’s classic sci-fi novel Ender’s Game.  This is a novel that shaped the childhoods of many, and is still beloved by readers around the world.  However, it’s very difficult for many readers to reconcile their love of this book with the knowledge that Orson Scott Card himself holds very public, anti-gay and xenophobic views.  For those who find these views troubling, spending money on purchasing an author’s work can be difficult. It can also be difficult to separate the author’s views from one’s love of the books they write.

So what is a reader to do?

First and foremost, love what you love.  If a book or a film or a song has personal meaning for you, helps you to grow, or guides you through a dark time, or makes you a better person, then you deserve that thing in your life.  As The Velveteen Rabbit taught us, the things we love become real, and become a part of us and who we are.  I became a stronger person by reading Jane Eyre, even as I learned not to put up with whiners like Rochester.  My friends learned fortitude and strength and insight from the books they loved, above and apart from the problematic aspects of their construction and their authorship.  This does not mean to be blind to their faults or shortcomings, but, instead, to love the thing for how it helps you.

Secondly, as in so many other matters, the library can help you in these circumstances.  For example: do you love an author, like Stephen King, who may not be the best at portraying people of color (…or women? …or another group of people?)?  Why not come to the Library and learn about some authors who do?!  Use your favorite author or series as a jumping-off point to explore other works of literature than can become new favorites.  In the case of the Dark Tower series, we might recommend books by N. K. Jemisin, or Nnedi Okorafor, for example.

Finally, the library is a super-terrific place to access material that you might not otherwise want to contribute your hard-earned dollars.  As we discussed in our post on Fire and Fury, you can have your literary cake and eat it took by borrowing the book from us.

Ultimately, it’s a win-win-win situation when you come to the Library and learn to love the things inside it.  And we are here to help you find the books and films and music that you can and will love, and that will help you be better.  Just keep loving what you love, and we’ll be here for the rest of it.

 

Announcing the winners of the 2017 Hugo Awards!

Last night, the winners of the 2017 Hugo Awards were announced at Worldcon 75, in Helsinki, Finland.  We talked a good deal about the Hugo Awards a few months ago, covering the really troubling “Puppies” and their attempt to hijack the awards (which are voted on at the Con itself), as well as the need to celebrate diverse books of all kinds, genres, and forms.

So it’s a delight to present this list of award winners, which highlights the diversity of the science fiction genre, and, hopefully, will provide you with plenty of ideas for your To Be Read pile!

In total, 2464 valid nominating ballots (2458 electronic and 6 paper) were received and counted from the members of the 2016, 2017 and 2018 World Science Fiction Conventions, and 3319 members of the 2017 Worldcon cast vote on the final ballot.

And the (literary) awards go to:*

Best Novel: The Obelisk Gate, by N. K. Jemisin (her second win in a row!)

Best Novella: Every Heart a Doorway, by Seanan McGuire

Best Novelette: “The Tomato Thief”, by Ursula Vernon (Apex Magazine, January 2016)

Best Short Story: “Seasons of Glass and Iron”, by Amal El-Mohtar (The Starlit Wood: New Fairy Tales)

Best Related Work: Words Are My Matter: Writings About Life and Books, 2000-2016, by Ursula K. Le Guin

Best Graphic Story: Monstress, Volume 1: Awakening, written by Marjorie Liu, illustrated by Sana Takeda

Best Dramatic Presentation, Long Form: Arrival, screenplay by Eric Heisserer based on a short story by Ted Chiang, directed by Denis Villeneuve 

Best Dramatic Presentation, Short Form: The Expanse: “Leviathan Wakes”, written by Mark Fergus and Hawk Ostby, directed by Terry McDonough

Best Editor, Short Form: Ellen Datlow

Best Editor, Long Form: Liz Gorinsky (editor with Tor Books and Tor.com)

A big, Free-For-All Congratulations to all the winners!

 

*A number of Hugos are awarded for materials that the Library does not stock, such as fan fiction, fanzines, and visual arts.  We nevertheless support and celebrate their achievements, and you can read the whole list of winners here. 

The Hugo Awards and Puppies

The nominations for the 2017 Hugo Awards were announced in April, dear readers, and anticipation is steadily building over which  novels will win.

The Hugo Award is the the longest running prize for science fiction or fantasy works, having been established in 1953.  Up until 1992, the award was known simply as the Science Fiction Achievement Awards, but was subsequently named after Hugo Gernsback, the founder of the pioneering science fiction magazine Amazing Stories.  Gernsback was also responsible for creating the idea of a ‘fandom’.   When readers wrote into Amazing Stories, their addresses were published along with their letters.  As a result readers began to become aware of themselves as fans, and to recognize their collective identity as devotees of the science fiction genre–not bad for 1926.

But “fandom” has its downsides, as well, as few institutions know this better than the Hugo.  See, the Hugo Award nominees and winners are chosen by supporting or attending members of the annual World Science Fiction Convention, or Worldcon, with attendees providing nominees, and then the whole group voting in a runoff vote with five nominees per category (unless there is a tie).  For each category of Hugo, the voter may rank “No Award” as one of their choices. Voters are instructed that they should do so if they feel that none of the nominees are worthy of the award, or if they feel the category should be abolished entirely.

If Jeopardy! recognizes a Thing, it is a Thing.

Anyway, back in 2013, author Larry Correia began speaking with other sci-fi writers (all of whom had been nominated for Hugos, but hadn’t won), and saying wouldn’t it be great if Correia’s novels were nominated for the Hugo Award in order to “poke the establishment in the eye” by nominating “unabashed pulp action that isn’t heavy handed message fic[tion]”.  That led to the beginning of a not-so-covert voting bloc that attempted to get Correia’s work Monster Hunter Legion nominated.  The bloc called themselves the “Sad Puppies” after a commercial for the American Society for the Prevention of Cruelty to Animal, showing, you guessed it, Sad Puppies, after a blog comment that equated puppy sadness with “boring message-fic winning awards”.  And just so we’re clear here, Correia explained what he meant by “boring message-fic winning awards” in an interview with Wired:

He felt that the Hugos had become overly dominated by what he and others call “Social Justice Warriors,” who value politics over plot development. Particular targets of Puppy derision include two 2014 Hugo winners: John Chu’s short story, “The Water That Falls on You From Nowhere,” in which a gay man decides to come out to his traditional Chinese family after the world is beset by a new phenomenon: whenever a person lies, water inexplicably falls on them; and Ann Leckie’s debut novel Ancillary Justice, whose protagonists do not see gender.

The movement was taken over in 2015 by Brad Torgerson, who explained, in the same Wired interview about

“…what he called “the cognitive dissonance of people saying, ‘No, the Hugos are about quality,’ and then at the same time they’re like: ‘Ooh, we can vote for this author because they’re gay, or for this story because it’s got gay characters,’ or, ‘Ooh, we’re going to vote for this author because they’re not white.’ As soon as that becomes the criteria, well, quality goes out the window.”

So the Sad Puppies coordinated, and tried to influence the Hugo nominations by presenting a whole slate of books en masse.  They weren’t terribly successful.  Seven of the twelve 2014 nominees made it to the final ballot, one nominee each in seven categories, including Correia’s Warbound.

Then, in 2015, the “Rabid Puppies” emerged.  And this where things went from generally xenophobic and unwelcoming to flat out virulence.  The “Rabid Puppies”, were led by a man named Theodore Beale, but who goes by the name Vox Day, which is a bad attempt as “Vox Dei”, or “Voice of God”.  Day is the only person to have been kicked out of the Science Fiction and Fantasy Writers of America in its nearly fifty year history for horrid, racist remarks he made, and posted, directed at N.K. Jemisin (you are welcome to look them up yourself, should you wish).  He delights in being known as “the most despised man in science fiction”.   Anyways, in both 2015 and 2016, Beale published a slate of nominees, mostly conservative writers and people from his own publishing house, and told his followers to vote them. In 2016, they nabbed over 60 nominations, with four categories dominated by Beale’s picks.

Just to give you an idea of how significant this was

And authors responded.  In 2015, “No Award” was given in five categories, meaning that a majority of voters decided that not giving out an award was better than awarding a Puppy pick.  Some categories did award Hugo’s to authors that Puppies had selected, ut they were authors like Neil Gaiman, who was popular enough to win anyway.  In 2016, a number of authors declined their nominations, including Brian Sanderson who wrote a blog post regarding the issue.  In part, Sanderson said:

I didn’t like the way many of the Puppies talked. They could be belligerent and argumentative, using tactics that felt more likely to silence opposition instead of provoke discussion. In addition, they associated with people even worse…Some leaders in the movement verbally attacked people I respect and love…These awards are supposed to be about the best of sf/f. We are not supposed to vote or nominate simply for our favorite writers, nor choose things just because they advance our viewpoint. (Though things we nominate and vote for can indeed do both things.) We are to examine pieces outside of authorship and pick ones that represent the best of the community…I felt that the slate the Puppies were advocating was dangerous for the award, and against its spirit.

Seriously…

Connie Willis pulled out of presenting a prize, saying her presence would “lend cover and credibility to winners who got the award through bullying and extortion”.

But instead of giving up, or giving in, the majority of science fiction writers voted…and in the end, all four categories for works of fiction went to women, three of whom were women of color, which is pretty terrific, considering that in 2007, there was only one woman nominated at all.

It’s truly disheartening that, rather than supporting the evolution of the genre, or welcoming new authors…or publicly addressing perceived issues with the nominations process in a manner that would allow debate and discussion, a small group of disaffected people would not only attack a valued and deeply significant institution, but would take such delight in it.  Correia’s original argument was that the Hugo had become classist, discriminating against perceived ‘low-brow’ authors (we’re going to tackle this tomorrow), and while there is a very valid discussion to be had about class and ‘literature’, there is no call to punish other authors–to insult other authors, to attack other authors–because the market around you is changing.  The fact is, it’s no longer 1926, and the kind of privileged literature that could use science fiction as a vehicle for racist, sexist, and generally xenophobic messages has long passed, and the genre has grown and developed too much to go back.   And why would we want to, when there are so many other incredible worlds, fascinating ideas, and strange new futures awaiting us in the pens of new authors who are, and will continue, to bring a new worldview to the page?

After the 2016 season, the rules for the Hugo were changed in an attempt to prevent the Puppies from “breaking” the Hugo any further (George R.R. Martin claimed the award had been “broken” by Beale and his pack).  And this year’s nominations seem to be pretty straightforward, with the Sad Puppies not mounting a recognizable campaign, and the Rabid Puppies succeeding in securing only one ludicrous nomination among a spectrum of titles that have been both commercially successful, and diverse in terms of content and their author’s identities.

So maybe this year, there is hope for the Hugo.  I sincerely hope so.  You can read the full list of nominees here.