His tests usually had at least one essay question. He warned us that the final would have several of the shorter essay questions similar to those we’d seen before, and one much longer one that would make up a large portion of the grade of the test. At some point before the final, he gave us a list of sample questions for that large final one, telling us the question on the test would be either one of those, or a variant. When the day of the final arrived, the test at the end was along the lines of, “Of the technological advancements made in the 20th Century, what is the one which poses the greatest threat to the future of humanity. Explain why you think this is so.”
Which was, indeed, one of the questions that had been on the sample list. And I knew, because of things he had said many times in class, that he believed there was one, and only one correct answer: strategic nuclear weapons and the threat of all-out nuclear war.
And I had disagreed in class.
I could have written the essay he wanted. I felt, however, that I needed to maintain my own integrity, so instead I wrote about communications and data technology, and how as those technologies converged, they would create tools which could take propaganda to a point that could indeed send humans to extinction. I don’t remember all of the specific arguments I made in the essay.
As I expected, he didn’t give me very many points for it, and even wrote a derisive comment about how newspapers and television could never wipe out the human race.
You don’t know how tempted I have been of late to email him (he is still alive, though no longer teaching at SPU where I took classes from him—he is semi-retired teaching part time at a small college in Oregon, now), point him to the current series of fascistic, racist movements boiling over in many countries around the world, all fueled by misinformation driven by algorithms and ask him if he wants to reconsider that grade.
I should mention that I was taking this class in 1986 or 1987, at a time before most people owned personal computers, the protocols that would make World Wide Web possible were just being invented, and if you had cable television at all, you probably only had access to about a dozen channels. It is understandable that someone wouldn’t see where telecommunications was going. I can’t take complete credit for being prescient in that essay. It’s true that my minor was Communications, and being a mathematics and data guy by nature, I had an understanding of how tiny incremental changes could propagate out to create vast systemic disruptions.
But I also had the help of having been an avid science fiction fan for as long as I could remember. What most people think of as cyberpunk had only been around for a few years at that point, but the precursors had been percolating through science fiction works for a couple of decades. So I had some help in imagining what ubiquitous telecommunications technology might turn into.
Which leads us to the here and now. There are large segments of the population in live in information bubbles that allow them to believe (and receive daily confirmation) the most outlandish and provably false ideas. Ideas that inspire them to arm themselves and invade capitol buildings and kill public servants, all while thinking that these aren’t crimes and that they will be lauded as heroes who saved humanity afterward.
Way back in 1975 U.S. Secretary of Defense James R. Schlesinger said, “Everybody is entitled to his own views. Everybody is not entitled to his own facts.” A slightly different version of this statement is often attributed to U.S Senator Daniel Patrick Moynihan. In any case, between the various siloed news sources, social media algorithms, and ubiquitous stream of data to devices many of us carry with us constantly, we’ve entered a world where a lot of people are forming opinions and making decisions based on their own “facts.” It’s not just that they are immersed in misinformation and lies, they are immersed in complex constructs of alternate realities built on misinformation and lies, but so reinforced (with the help of technology), that they might as well be physically living in a parallel universe from other people.
It’s not a new phenomenon, but the layering of misinformation, misinterpretation, misrepresentation, and misdirection has been accelerating and compounding to a point that it is becoming nearly impossible for people to reach across bubbles and have meaningful conversations—let alone the level of mutual understanding and empathy necessary to have good faith discussions of how to solve our problems.
We’re at the point where a bunch of loosely aligned sub-cultures have been (and are still) plotting the violent overthrow of governments as well as the literal destruction of people who disagree with them. The murder mob which invaded the U.S. Capitol building just last week is only one example of this problem.
And while it appears that the coup has halted because the Liar-in-Chief is so devastated at all his social media accounts being taken off-line (leaving him, by reliable counts, sulking in the residence portion of the White House and not just ignoring his job and duties, but ignoring even his most sycophantic aides), the truth is that his angry supporters and the allied neo-Nazis/alt-right extremists are simply doing their planning in slightly more obscure portions of the network. There will most certainly be more violent “protests” and threats in the coming days.
Which is not to say that I think Twitter and Facebook and the other tech companies were wrong to take the (long overdue) actions that they have to shut down the various accounts. Nor am I saying that Congress shouldn’t be proceeding with at least the effort to re-Impeach and so forth. The truth is that these mostly white supremacist haters and malcontents have been angry and raging for years, and they are going to continue to riot and cause trouble no matter what we do.
It is precisely because they will rage and riot no matter what we do, that all of us should do the right thing. We should continue to speak out against the lies and hate. We should encourage those with the power to de-platform violence to do so. We should continue to seek out and arrest the lawbreakers and prosecute them to the fullest extent of the law.
I’ve seen people on the progressive end of the political spectrum bemoan that fact that private companies such as Twitter and Amazon Web Services and the like have so much power to silence people. Specifically I’ve seen the assertion made that this “just moves us closer to the cyberpunk dystopia where corporations have more power than governments.” I have some news for you: we are already in that dystopia, and have been for a bit longer than you probably imagine.
But that’s just another layer of the problem. A problem we can only solve if we stay engaged and find ways to hold each other accountable.
Edited to Add:
Camestros Feloptan has a somewhat related post that I missed yesterday: Further Annals of Libertarians Discovering Capitalism Sucks.
And if I’m going to talk about Cyberpunk, even in passing as I did, I should include this song, from Billy Idol’s most underrated album, Cyberpunk – NEUROMANCER:
(If embedding doesn’t work, click here.)
Elseweb I was asked which sci fi stories helped paint this picture. This is not a definitive list, just ones that come to mind:
Shockwave Rider by John Brunner
The Computer Connection by Alfred Bester
The Dueling Machine by Ben Bova
Do Androids Dream of Electric Sheep by Phillip K. Dick
On Wings of Song by Thomas M. Disch
Bladerunner the motion picture directed by Ridley Scott
“The Girl Who Was Plugged In” by James Tiptree, Jr
The Müller-Fokker Effect by John Sladek
I love the movie. Spoiler warning: I can’t talk about why I think this movie is worthwhile without giving away a key part of the ending, so if you don’t want to be spoiled, go stream the movie now!
In case you aren’t familiar: the movie begins on October 31, 1693 in Salem, Massachusetts, where the notorious (and elderly) Sanderson sisters, widely believed to be witches, have lured a young girl into their cottage. They brew a magic potion which they force the child to drink, and proceed to leech her life away, making themselves young again.
The girl’s older brother, Thackery Binx, tries to interrupt the ritual and save his sister, but he fails. He is transformed into a black cat by the sisters and cursed to live forever with his guilt.
The townspeople of Salem storm the cottage and find the dead body of the girl. The witches refuse to say what has happened to her brother. The witch sisters are sentenced to be hanged, but before they are executed, the eldest with, Winifred, casts a spell which she claims will allow them to rise from the grave again—one an All Hallow’s Eve with a full moon, if a virgin lights the Black Flame Candle.
Jump forward 300 years, and Max (who will be our protagonist) is a teen-ager unhappy that his parents have moved the family to Salem. Max has an encounter with a pair of local bullies, which doesn’t make him like the new home any better. He is also not fond of the town’s local folklore about the Sanderson sisters and witches in general. He is really unhappy when his parents saddle him with the job of taking his younger sister, Dani, trick-or-treating. But early in the evening they meet a classmate Max has a crush on, Allison.
Because Allison thinks that Max’s skepticism is a bit too cynical, and because Max is anxious to impress Allison, they wind up in the old Sanderson Cottage (which has been preserved as a museum). When Max announces he is going to light the so-called Black Flame Candle and prove that witches are myths, a black cat attempts to stop him. Max manages to light the candle, anyway and the witches rise from the dead.
What follows is horror-comedy romp with some elements of musical theatre thrown in. The black cat is the cursed Thackery (who answers to Binx for the rest of the movie), who has lurked around the cottage for 300 years trying to prevent anyone lighting that candle. He can speak to the three kids, though know one else apparently can understand him. The kids flee, unsuccessfully try to warn the adults that the witches are back. The witches, meanwhile, have perform their life-stealing ritual on some children before sunrise or they go back to being dead, so there is a bit of a race.
At several points the witches capture one or more of the kids. At at least two points the kids appear to defeat the witches. Along the one a long dead lover of two of the sisters is raised as a kind of zombie/revenant who assists the witches in chasing the kids.
Eventually there is a dramatic stand-off in a cemetery, and with a bit of cleverness, bravery, and self-sacrifice, evil is thwarted.
The three witches are played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker. It wouldn’t be fair to say that Midler steals the show, because all of the show’s comedy and menace are built around her character. The director, Kenny Ortega, said in later interviews that he told the three of them to play it as over the top and campy as if they were drag queens, and it certainly worked.
I’ve seen reviews that Max doesn’t really have a character arc, and I don’t understand how people can be that blind. In the early part of the film, the bullies are absolutely correct that Max looks down his nose at what he sees as the provinciality of the Salem natives. And when Allison scoffs at his scoffing, it’s clear that she sees his skepticism as performative. He doesn’t believe because it isn’t cool to be credulous. Just as he pretends not to care about his younger sister because, again, it would be uncool to feel warmth or affection for his kid sister. By the end of the film, that pretense is gone, and he doesn’t just take a risk to save his little sister, but he gulps down the potion and forces the witches to kill him in her stead.
It’s not bravado or a clever trick. He doesn’t reveal afterward that he only pretended to swallow it. He swallows it, the witches perform the next part of the ritual. We see his life force literally being taken from him.
Once the witches are defeated, we also get a nice pair of parallel scenes, one in which Max and Dani share a moment, and then because Binx fulfilled his mission, we see a similar scene between his ghost and the spirt of his little sister, who has been waiting for him to join her in the afterlife for 300 years.
Unlike the last campy & spooky two movies I’ve written about, this one came out after I was well and truly out of the closet. So I felt freer to revel in the camp vibe and all it implied. A few times when I’ve found myself in conversation with other queer fans of the show discussing it, I’ve found out that a lot of them like to ask the question: so which Sanderson sister are you? For the record, Ray was definitely and enthusiastically a Sarah. I had to admit that I want to be Winifred, but I’m really a Mary.
The film is funny. It has many nice spooky moments. If you haven’t seen it, give it a try. Maybe it will cast a spell on you, too.
When the original Fright Night came out in August of 1985, I was in my mid-twenties and preparing to move to Seattle to finish my college degree. It was a time when I had virtually no disposable income, so I very seldom saw movies in the theatre. Combine that with the fact that horror movies often give me nightmares (and I’m a sleepwalker, so I would get up in a panic during the dream and find whoever I can in the house, shake them awake and frantically try to convince them there is a killer in the house), I did not see Fright Night that summer. One of my friends did go see it, and his description just convinced me even more that I shouldn’t see it.
Over a year later, I and some friends in Seattle were going to have a movie night. Which at that time involved us pooling some money to go to a video store and rent a both a video player and one or more movies, which we would take back (usually to Club Chaos, which was an apartment share by two of those friends that had an enormous living room) and watch while eating a bunch of junk food. It was often the case that only a subset of the gang would go get the movie, so you were never quite certain what we might be watching.
One of those nights Fright Night was in the mix. At least one of my friends who had seen it before assured me that it was more of a comedy like Ghostbusters than a scary slasher film like Nightmare on Elm Street, so I figured it would be fun.
In the opening minutes, it does indeed seem to be more of a cheesy romp than a serious horror picture… but that’s because the movie begins with a movie within the movie. A cheesy vampire film which are main character is watching on television. The protagonist of the film is Charley Brewster, a teen-ager who loves horror movies, and faithfully watching a weekly show hosted by an actor named Peter Vincent who used to star in a series of vampire hunter movies himself.
Charley lives with his mom in what seems to be a typical 80s movie suburb. And someone has recently moved into the empty house next door. Charley hears strange noises and even a scream coming from the old house, and becomes convinced that the new neighbor, Jerry Dandridge, is a vampire who is luring women to his home before feasting on their blood.
Charley’s best friend is “Evil Ed” who loves those horror movies even more than Charley does. But he doesn’t believe the neighbor is a vampire. Charley’s girlfriend, Amy, breaks up with him because of his obsession with the neighbor. And, of course, Charley’s mom and the police also all fail to believe him.
So Charley tracks down the actor, Peter Vincent (who hosts the aforementioned weekly horror show at one of the local stations, so lives in the same city), and tries to get him to help prove that the neighbor is a vampire. The actor doesn’t believe him either, and points out that he’s just an actor—the vampire hunter he played was fictitious.
Amy, meanwhile, has become concerned about Charley’s mental health, and she hires Vincent to pretend to test the neighbor and then prove to Charley that the neighbor isn’t a vampire. And so the actor (who thinks this is some easy money) puts on his costume and grabs his character’s equipment bag and visits the neighbor. In the course of the discussion, just as he’s leaving, Vincent pulls out his pocket mirror while getting something else out of the pocket, and realizes that Dandridge, standing behind him, has no reflection.While there had been a lot of humor in the movie at this point, and not much in the way of gore, the tone was paranoid rather than a laughfest. And that tension ramps up from this point, as the vampire starts stalking Charley, Charley’s mom, and Amy threatening to do terrible things if Charley keeps telling people about him.
This is also where we start getting more of the transformations and start seeing more of the death scenes explicitly.
Dandridge kills and turns Evil Ed and sends Ed to kill Peter Vincent and then Charley. The scene where Dandridge stalks and corners Evil Ed in what has to be the most labyrinthine alleys to ever appear in a movie, is remarkably chilling, even though we never see a hint of blood.
Ed doesn’t succeed in killing Vincent, who burns him with a cross and forces him to flee by leaping out of the apartment’s window. Ed beats Vincent to Charley’s house (Vincent is on his way to warn Charley), and they have a fight during which Evil Ed transforms into a wolf, but he still winds up impaled through the chest with a broken table leg.
Dandridge has, meanwhile, lured Amy to his house and has started the process of turning her into a vampire, trapping Charley in a room with her slumbering body so that she can feed on Charley when she rises. Vincent manages to help Charley escape, and then the two of them have a protracted fight with Dandridge, before eventually killing him and, since Dandridge died before Amy ever drank the blood of another, she reverts to human and all is well (or as well as it can be, given that a number of people have died on screen by this point).
The special effects are all practical effects, this is before the era of CGI, and some of them haven’t aged quite as well as others. Some of the creature effects looked cheesy even in 1986. I don’t think the effects are the reason this movie never gave me serious nightmares.
No, I think that’s because I spent a lot of the movie trying to decide if all the gay subtext was going to come out in the open. And also not feeling free to comment on any of said subtext because, while it is true that two of the people in that friend group were part of a very tiny number of friends who I had come out to only a few months before (though come out is a strong word, since it began with, “I think I’m gay” and quickly morphed into, “Or I’m bi—yeah, that’s it. Not completely gay after all!” which was so not true).
It was clear to me that Charley wasn’t into Amy or even the idea of making out with her as Amy was interested in him. There’s even a moment before Amy breaks up with him where she is angrily trying to get him to stop looking through the binoculars at the neighbor and come have sex with her, for goodness sake.
It was also clear that Evil Ed had the hots for Charley. I’m sorry, totally straight teen-age boys don’t joke about giving their male best friend hickeys and so forth as often as Evil Ed did.
The scene where Dandridge corners Ed in the alley and talks him into giving in without a fight is very much written and acted as a seduction. They never make it completely clear what the difference is, but just being killed by a vampire isn’t enough to make the corpse rise later as undead. The vampire has to choose to do it, and given how he talks Ed into surrendering, it seemed to imply that the other person’s consent was part of the situation. Though the later seduction of Amy seems to involve some sort of vampiric mesmerism, so maybe consent isn’t exactly the right word.
The movie ended with Charley and Amy back together, in Charley’s bedroom, where he looks out the window at the once again deserted house next door. He turns to Amy just as we see a pair of glowing red eyes appear in one of the windows of the house. And as the movie fades to black, the last line of dialogue is spoken in Evil Ed’s voice: “You’re so cool, Brewster!”
Vampires often are metaphors for sex, so it isn’t surprising that scenes where a male vampire is stalking a male victim will be homoerotic. But some of the earlier stuff between Evil Ed and Charley are a bit different.
Most of Fright Night isn’t played for laughs. My friend’s assurance that it wouldn’t be nightmare inducing wasn’t completely wrong… though I personally think that on a scale of Ghostbusters to Nightmare on Elm Street that Fright Night lands smack dab in the middle. It is one of the spooky movies that fairly regularly figures in my Halloween movie marathons, and I have to admit in no small part because I keep thinking how much better things would have gone if Ed had simply declared his love for Charley early on.
Just as I’m sure that the sequel wouldn’t have been the awful mess it was if Evil Ed had been the villain, as been planned. Alas, Stephen Geoffreys, who played Evil Ed, turned down the chance to be in the second movie in order to play the lead in another horror movie that flopped even worse than Fright Night part 2 did. Geoffreys appeared in a couple more movies that didn’t do well, then he spent the next dozen years or so appearing in gay porn films under a couple stage names. Since 2007 he’s been getting work in various horror and action films.
Anyway, with its 80s hair styles, sometimes cheesy effects, and the unresolved gay sub-text, Fright Night makes for a good popcorn movie, and not just at Halloween.
A few years later, one of the few disputes that I had with (at the time my soon-to-be-ex-wife) Julie while we were splitting assets was who would get to keep the VHS of Elvira: Mistress of the Dark. Of all the things to argue over it was one of the dumbest, I admit… I’m just happy that we got through all that and now, 29 years later, we’re good friends and can laugh together about such things.
As it happened, my first husband, Ray, loved the movie, and we owned it on VHS and upgraded to DVD before he died. And my husband Michael thinks the movie is funny and is more than willing to watch it with me about every other Halloween, so, yay!
But, let’s get to the actual movie. Outside of the movie, Elvira is a horror host (played by Peterson) who had a syndicated sci fi/fantasy/horror movie show on various cables for years. The movie proceeds on the conceit that Elvira is a real person, not just a character which Peterson plays, and when the local California station she appears on gets a new owner who sexually harasses her, she gets fired. But she isn’t upset because she’s about to open a show in Las Vegas… except her agent informs her that the show in Vegas will only go forward if she can put up $50,000 of the production cost.
Right after she says she doesn’t have that kind of money, a studio intern knocks on her dressing room door to tell her she has a telegram. According to the telegram, her Great-Aunt Morgana Talbot, has died and that Elvira is a named as a beneficiary in the will (“I didn’t know I had a good aunt, let alone a great one.”). So Elvira drives across country to the quaint town of Falwell, Massachusetts for the reading of the will.What follows is a parody of several old horror movies (and a few Lovecraft stories), but even more a parody of all those movies about small minded small town people being against outsiders, et cetera. While there is one scene that is a direct take-off on Flashdance, the majority of the movie is a retelling of Footloose with Elvira in the Kevin Bacon role.
And the movie is funny. I mean, Edie McClurg should have gotten an award for her hilarious turn as Chastity Pariah, hypocritical council member.
Elvira’s great-aunt doesn’t leave her any money, just her house, her book of “recipes”, and her pet poodle named Algonquin.
The kicker is that Morgana was a powerful witch, the book is actually a very old and potent grimoire, and the poodle is actually a familiar. Elvira spends much of the rest of the movie figuring this out, and slowly learning the Morgana’s brother, Vincent, is the evil warlock who killed Elvira’s mother, Divana, and that possession of the book is going to decide the balance of supernatural powers for the next century.
In between, Elvira tries to iniiate a romance with the very hunky but virginal owner of the local movie theatre, becomes a hero for the town’s teen-agers who wish the town was less backwards, and has various misadventures trying to use the mystical book. I know the movie is set in Massachusetts, but some of the more jokes in the sequence where she mistakes a potion to conjure a demon for a casserole recipe resonated extremely deeply with my southern Missouri/Oklahoma soul, okay?
Part of the meta of the movie is that Elvira, despite being played by a cisgendered woman, is essentially a drag queen. And while what little other queer subtext is very, very sub, that 80s drag queen/queer camp vibe is extremely strong in the movie. All of the villains are either defenders of the old Traditional Family Values notions or the even more ancient Toxic Masculinity tropes, while Elvira and her supporters are champions of Everyone Is Valid, and Being True To Your Self is More Important Than Pleasing Societal Expectations.
Which is very queer. So even though the vast majority of the sex and innuendo in the film is quite hetero, there is simultaneously an extremely strong non-hetero message being promulgated throughout.
At the time when the movie came out, I was still trying to pretend I was bisexual, which I very dysfunctionally saw as being half-heterosexual. I was trying to walk an extremely difficult tightrope. And this movie seemed to walk a similar tightrope… but when I re-watched it, I began seeing that the tightrope was as false as Chastity Pariah’s moral superiority.
Eventually, the camp sensibilities and the sex-positive subtext of this movie was one of the many examples that helped convince me to stop trying to compromise my true self.
And years later, it’s just an extremely funny movie to watch during Halloween season. And what more could you ask for?
I’ve mentioned before that because of my father’s work in the petroleum industry my childhood included 10 elementary schools across four states. Toward the end of my elementary school years, my dad got promoted to what was essentially a regional manager type position, and we were able to move back to the tiny town where I was born (And at the time where my paternal grandparents and maternal great-grandparents lived).
In the first week of seventh grade I tried to explore the school library, and found that it was open during limited hours (the librarian worked at the elementary school and the high school as well as the middle school, so was in on only certain days). I also found out that the school library only let you check out one book at a time unless a teacher signed a request that you needed additional books for a class project. The first time I was able to go in and check out a book, I did what I always did when finding a new library: I went looking for my favorite authors. I found an anthology of Ray Bradbury stories.
Which I read all the way through before the next day, but I think I had to wait two days to check it back in and get another. It was while I was checking it in that the librarian asked me how I liked the stories in the book. And then she asked about some other authors I liked, and during the course of the conversation asked if I had ever read anything by Fritz Leiber. I said I thought I had read some of his stories, but wasn’t sure. She led me to a shelf and pulled out a collection of stories about Fafhrd and the Gray Mouser. I think it was the volume Swords Against Death, but I’m not certain.
When I brought back the Fafhrd and Gray Mouser book, she recommended the anthology, Warlocks and Warriors edited by L. Sprague de Camp, which contained one of the Fafhrd and Gray Mouser stories I’d already read, but also contained “The Black God’s Kiss” by C.L. Moore, which introduced me to another great sword & sorcery protagnist, Jirel of Joiry.
Over the course of the next few months, with that librarian’s help, I read every single science fiction and fantasy book in the school library. Which would have left me sad, except that the town had a much more well-stocked public library.
The first visit to that library had been with my mother and younger sister, and Mom had commented on how much bigger and modern looking it was than the same town’s library had been when I was a baby. The library that Mom had checked out all of those Heinlein, Bradbury, Norton, and Christie (mom was a mystery fan as well as a sci fi fan) that she read to me as an infant.
Anyway, the public library had a much larger collection and they acquired books much more often than the school library had. And they allowed you to check out more than one book at a time and were open a lot more hours (having multiple full-time librarians, unlike the school district). That library had a lot to do with the fact that I read at least one book every day throughout seventh and eighth grade.
It was from that library that I read a rather large number of books by Madeleine L’Engle. I’d been a L’Engle fan since I had gotten a copy of A Wrinkle in Time from the Scholastic Book Club in about third grade. But hadn’t found many other books by her until that public library.
One day I came into the library to drop off books I had read intending to browse for new ones, but the librarian at the desk said (with a twinkle in her eye), “You should go check out the new acquisitions display.” They periodically put up the dust covers of recently acquired books along with some extra information about the author or if it was part of a series typed up on an index card. There would also frequently be bright pink cards next to the index card saying, “Currently checked out — ask to be put on the reserve list!”
Anyway, I got to the display and started scanning the books when Madeleine L’Engle’s name jumped out at me. And the title was one I didn’t recognize, A Wind in the Door. The little index card said something like, “The long awaited sequel to -A Wrinkle in Time-!” Joy started to bubble up in me… and then I saw that dreaded pink card.
“Someone’s checked it out already?” I don’t think I actually wailed, but you know, I was only 12 or 13 (I don’t know which month of 1973 the book came out, and now if you didn’t know how much of an old man I am, now you do) and a book I didn’t even know I’d been waiting for had just come out but I couldn’t read it yet!
The librarian didn’t scold me for being too loud. Instead she said, “Oh, yes! One of our best customers has already checked it out!” She made a dramatic show of looking through some papers… and then she read out my name.
The Head Librarian had already checked it out in my name, and she and the other librarians had cooked up the idea of sending me to the display and so forth. I found out later there had been a bet as to which one of them would get to spring that act on me.
So there it was, behind the counter, and I got to be the first one to read it.
Many other librarians helped me discover fabulous science fiction and fantasy works, not just the ones mentioned above. And I owe all of them a ton of gratitude.
I was a teen-ager when I attended my very first sf/f convention. It was the late 1970s, and a couple of my slightly older friends let me tag along with them when they drove to a city about an hour form the town we lived in on a Saturday, where we bought day passes and I tried to figure out what there was to actually do once there.
Until just a couple years before, I had never lived anywhere that was within driving distance of a sci fi con. I’d read about them in the pages of a fanzine (memeographed pages stapled together that came in the mail irregulalarly) that I had received for awhile, and in the intra-story comments of a couple of different anthologies I’d read.
I don’t know what I expected, but after sitting through a couple of panels, I wound up spending the rest of my day in the dealer’s room. Most of that time in a couple of the bookseller booths.
I was browsing in one such booth with several paperbacks in my hand which I intended to buy. A guy (who seemed to be about 40 years old) commented on my selection thus far, saying I had good taste. He asked me about my favorite authors and books, and we talked for a couple of minutes.
Then he asked me if I had ever read Slan. I admitted that I wasn’t familiar with it. He then asked if I had read any of the other works of A. E. van Vogt. I said that the name was familiar, and added that I owned a lot of anthologies of short stories, and may have read something of his there, but wasn’t sure.
He proceeded to lecture me, in very a condescending tone, about what a great author van Vogt was and how Slan wasn’t just great, but was a pivotal work in defining fandom itself. He then sort of tch-ed at me, turned his back on me and walked away, clearly indicating that I was not worth talking to (and probably that the time he had spent on me was a waste of time).
It wasn’t traumatizing, but I definitely felt unwelcome. I continued with my browsing and bought my books.
This was not the last time I would encounter that sort of attitude from another fan. Or from pros. And full disclosure, I’m quite certain that when I have reacted with shock upon learning that someone hasn’t read or seen something I think is fantastic (or they dislike a book or series or author that I love) I have come across like this guy.
I was reminded of this incident while I was reading a post about the topic of canon in science fiction/fantasy and someone expressed skepticism that there were any people out there trying to enforce a canon on other fans. So I put a shorter version of this anecdote (and some other examples) in a comment there. But I have more thoughts, and the comment section of another person’s blog isn’t the place to pontificate.
Now, I should pause to define what we mean by canon. The dictionary definitions that come closest to how we’re using it are: “a list of literary works considered to be permanently established as being of the highest quality” or “an authoritative list of books accepted as holy or sacred.”
So, for instance, if an sf/f professional on a panel or other official event at a convention insists that particular books, authors, or other works are absolute must reads, that’s pushing the notion of canon. If an author dismissively admits he hasn’t read any recent books (even award-winning ones) because based on his understanding of the summary, it’s already been done by so-and-so, that’s another form of pushing the notion of canon. Every time someone publishes a list of “The 100 Most Significant SF/F Books of All Time” or “The 25 Most Influential Books That Every SF/F Fan Must Read” that’s also pushing the canon. Particularly since most of those lists focus on a very narrow time in the history of the genre (40-70 years ago) and a particular set of authors—and usually has no more than 1 or 2 token authors who aren’t white men.
And when the host of the premiere sf/f awards ceremony spends an hour and a half telling anecdotes from that same narrow part of history and only involving a subset of that particular set of dead white male authors, that’s pushing the notion of canon. Especially when he says afterwards the reason he inflated the ceremony with all of that is because he thought modern fans didn’t know but needed to know about that group of dead white guys. Similarly, when someone asks the supposedly rhetorical question regarding the Retro Hugos, “Who else other than Campbell could anyone vote for?” that’s also pushing that canon.
Camestros Felapton recently wrote a couple of excellent posts about different concepts and meaning of canon within the genre:
One of the many excellent points he makes in there is that while it’s appropriate to acknowledge that a particular work or creator had influence on the genre, conflating that influence with timeless quality and relevance isn’t wise. Influence can be good or it can be bad. And stories that were groundbreaking and thought-provoking 90 years ago will probably not have that some effect today—in part because thousands of stories have been written since, many of which were influenced by that work.
Some of the newer works have expanded on the old ideas. Some have interrogated and revised the old ideas. Some have been written in opposition to the old ideas. While it can be interesting to know some of the older works that have influenced the newer ones, we can comprehend, understand, and love the new works without having read the older works. Sometimes reading some of the older stuff might make us appreciate or understand parts of the newer work better, but not always.
I don’t have to learn how to press cuneiform marks into wet clay tablets in order to write stories in my native language today. Just as a person doesn’t have to learn how to steer and manage a team of horses on a horse-drawn carriage in order to drive a modern car or use a modern bus.
No one has to have read the golden oldies to be a fan of (or create your own) great stories today.
Edited to add: A bunch of people wrote on this topic, including:
Cora Buhlert writes much more informatively and nicely than I do on a fannish subject: Some Thoughts on the 1945 Retro Hugo Winners.
Camestros Felaptan also commented: Canon and Campbell.
Aidan Moher has a good perspective Personal Canons: There Is No Universal Canon.
Cora later wrote more eloquantly on the same topic and included a lot links to other people writing on the same topic: Why the Retro Hugos Have Value.
I linked previously to Cora Buhlert’s excellent account from the viewpoint of a finalist nervously waiting to find out if they had to give an acceptance speech while George R.R. Martin went on and on. There are many other excellent posts about what it was like to sit through it: GEORGE R.R. MARTIN CAN FUCK OFF INTO THE SUN, OR: THE 2020 HUGO AWARDS CEREMONY (RAGEBLOG EDITION) is pretty cathartic. When Dinosaurs Roamed The Earth goes with sarcasm rather than rage, but also includes an excellent list (with sources) of why the people George wanted to talk about instead of the actual nominees (and also the full text of the Rebecca F. Kuang’s acceptance speech for the Astounding Award). Then there’s Jason Sanford’s post on Patreon (but available to non-supporters) in which he explains why he’s tired of modern SF/F and its creators being endlessly compared unfavorably to what the genre was like 50 years ago. He also has links to several good twitter threads on the topic. Robert J. Sawyer raises another issue about Martin’s remarks in the ceremony. Meanwhile, Doris V. Sutherland puts the issue in context with the themes of the winning works. And let’s not forget the every pithy and point Ursula Vernon managing to chastise him while remaining as respectful as can be.
And, of course, there’s Martin’s non-apology apology. Which he posted in the comments of someone else’s sci fi blog (File 770 is a fanzine/news site and I rely on it for news about the genre, yes, but it is still technically Mike Glyer’s blog). He hasn’t posted it on his one platform or anything.
I collected many, many, many more links to other people writing about their experiences as a nominee waiting to find out whether they won or lost, or from some of the presents, or as a former nominee watching, et cetera. But I think the collection above covers the majority of the issues (and lots of the linked posts include more links to other posts, so…)
I wanted to write about this not to repeat what others have said, but to comment on a couple aspects of it that I found personally astonishing. I listened to the livestream as it happened. I unfortunately was stuck in an interminable work day, so had the livestream playing on my personal laptop and listening on my airpods while I was working and occasionally looking over at the feed. So it took me at least 45 minutes before I thought, “My god, George, shut up!” because he hadn’t announced any nominees or any winners, yet!
In his non-apology Martin first justifies the extremely long walks down a very specific part of memory lane because New Zealand had never hosted a WorldCon before, therefore most of the local fans probably knew nothing about WorldCons, their history, of the history of the Hugo Awards.
My eyes bugged out. WorldCon didn’t come to New Zealand on its own like an alien invasion! Fans who live in New Zealand and host their own local science fiction conventions organized a bid committee, doing the years of work necessary to make a bid to host a WorldCon. They made a compelling enough case to garner enough votes and got it. They would not have organized a bid committee to try to host WorldCon if they didn’t bloody already know what WorldCon is! And even if somehow they didn’t know, I’m pretty sure all the sci fi fans in New Zealand know how to do a Google search.
What a baffling, patronizing, and condescending thing to say! But if he really thinks that way, that says more about his own hubris and lack of awareness than anything.
Moving on. He also says that all those anecdotes he told are tried and true stories that have always previously managed to get a laugh. I have a few issues with that…
Before I can explain my first objection, I need to give a little background. The purpose of this background is not to pile on GRRM even more, but to provide context. There have been a few times over the course of my life where I have decided that I wanted to have nothing to do with George or his writing. The first was in the mid-80s when I washed my hands of the Wild Cards series. A bit over a decade later some friends tried to get me to read A Song of Ice and Fire, and enough time had passed that I had actually forgotten the name of the guy who organized Wild Cards… but very quickly the same issues that had bounced me out before came up, and I noped-out again. Then there was last year’s Hugo Losers Party and his very tone deaf, whiny, defensive non-apology. The point is, that for 35 years I have actively avoided him. If he’s at conventions I’m attending, I don’t go to his panels. I only ever read his blog if someone I trust links to a specific entry and says it’s worth looking at, and so forth. Not because I hate him, but because I don’t care for his writing or his use of particularly objectionable tropes (and what that says about his personal values).
For 35 years I have actively avoided him, and yet, I have heard nearly every one of the anecdotes he shared at this ceremony several times. I’ve heard the one that includes his head being covered with whipped cream so many times, that I think I could recite it from memory—including all of his pauses and the points where for whatever reason he puts the emphasis on a different syllable than normal.
If I (who tries to avoid him) have heard most of these before, then I can’t help but think a lot of other people in sf/f circles have heard them before, too.
These anecdotes do contain interesting nuggets of information, and they would be appropriate in a panel about the history of sci fi fandom (or at least the part of fandom that attended WorldCons) in the 1970s and 1980s. The anecdotes about the earlier years of the Hugos and the banquet and such would be fine as part of a panel about the history of the awards. But they shouldn’t all be shared during an awards ceremony!
For my third objection, I need to mention that in college I competed in debate and speech competitions, and several times I won trophies in the Toastmaster/After Dinner Speaking Category. One year I was the Western U.S. Regional Champion in that category.
So as someone with some experience in this area, I have to say that all of Martin’s anecdotes are too long and plodding. There is a lot of filler material, so that the punchline, when it arrives, feels more like a band-aid being painfully and torturously peeled off a partially healed wound instead of a sharp delightful surprise. I’m not saying they aren’t completely unfunny at all, it’s just that they could really do with a bit of workshopping and trimming, okay?
The period of WorldCon and sf/f and fandom history he focused on was a fraction—less than 30 years out of the 81 years since the very first WorldCon. And the people he focuses on in those years were a very specific subset of all the authors, artists, and editors contributing to the genre during those years. Yes, he name-checked a couple of women of that era, but there were no stories that any of them figured in. How many times did he refer to Heinlein as the Dean of Science Fiction? Did he even once mention the Queen of Space Opera, Leigh Brackett?
No. He did not. Based on who appears in his anecdotes—and which of the past greats of the genre he feels compelled to lionize—we can safely infer that he thinks they are the only ones who mattered. It’s a very small circle that (to paraphrase Jeanette Ng) was mostly sterile, white, male, and heterosexual.
I’m only 11 years younger that George. I grew up reading all of those same stories by those very writers. They are what made me a fan. They are an important part of why I went on to write sf/f myself, to publish a zine, and to continue writing now. But they weren’t the only ones making science fiction and fantasy at the time, nor were they the only ones reading it.
And we are long past the time when we should be pretending they are the only ones that matter.
The Reading Outlaw has done a super-cut of the ceremony, removing the long rambling stories and including all of the wonderful, heartfelt acceptance speeches. You should take a look: When The Toastmaster Talks Less:
(If embedding doesn’t work, click here.)
I have a long rambling rant about all of the horrible things that happened during the ceremony (nothing at all to do with any of nominees or winners), which I will condense down with links to other more coherent rants for posting later. More important than that, the winners of the 2020 Hugo Awards, which are nominated by and voted upon by the members of the World Science Fiction Society (aka, people who have a supporting or attending membership to WorldCon, this year held virtually but hosted in New Zealand). As I’ve mentioned before, the Hugo Awards are something I’ve followed since I was a teenage, when I got hold of an anthology called The Hugo Winners.
Since it is an award that is voted on by fans, for a lot of us (particularly those of us who aren’t just fans, but also creators of science fiction and fantasy works), the award carries a lot of emotional weight. If you’ve read my earlier posts about them, you know that once the ballot comes out, I spend a lot of time reading, viewing, or listening to the things nominated, and usually agonize over my ballot until the last minute.
The last two years it wasn’t exactly the last minute — I submitted my final ballot a bit over 24 hours before the deadline.
Anyway, here’s the full list, winners and runners-up. I’ll have comments below.
WINNER: A Memory Called Empire, Arkady Martine (Tor; Tor UK)
The City in the Middle of the Night, Charlie Jane Anders (Tor; Titan)
The Ten Thousand Doors of January, Alix E. Harrow (Redhook; Orbit UK)
The Light Brigade, Kameron Hurley (Saga; Angry Robot UK)
Middlegame, Seanan McGuire (Tor.com Publishing)
Gideon the Ninth, Tamsyn Muir (Tor.com Publishing)
WINNER: This Is How You Lose the Time War, Amal El-Mohtar & Max Gladstone (Saga)
To Be Taught, If Fortunate, Becky Chambers (Harper Voyager; Hodder & Stoughton)
“Anxiety Is the Dizziness of Freedom”, Ted Chiang (Exhalation)
The Haunting of Tram Car 015, P. Djèlí Clark (Tor.com Publishing)
In an Absent Dream, Seanan McGuire (Tor.com Publishing)
The Deep, Rivers Solomon, with Daveed Diggs, William Hutson & Jonathan Snipes (Saga)
WINNER: “Emergency Skin”, N.K. Jemisin (Forward)
“For He Can Creep”, Siobhan Carroll (Tor.com 7/10/19)
“Omphalos”, Ted Chiang (Exhalation)
“Away with the Wolves”, Sarah Gailey (Uncanny 9-10/19)
“The Blur in the Corner of Your Eye”, Sarah Pinsker (Uncanny 7-8/19)
“The Archronology of Love”, Caroline M. Yoachim (Lightspeed 4/19)
Best Short Story
WINNER: “As the Last I May Know”, S.L. Huang (Tor.com 10/23/19)
“Do Not Look Back, My Lion”, Alix E. Harrow (Beneath Ceaseless Skies 1/31/19)
“And Now His Lordship Is Laughing”, Shiv Ramdas (Strange Horizons 9/9/19)
“Ten Excerpts from an Annotated Bibliography on the Cannibal Women of Ratnabar Island”, Nibedita Sen (Nightmare 5/19)
“Blood Is Another Word for Hunger”, Rivers Solomon (Tor.com 7/24/19)
“A Catalog of Storms”, Fran Wilde (Uncanny 1-2/19)
WINNER: The Expanse, James S.A. Corey (Orbit US; Orbit UK)
Winternight, Katherine Arden (Del Rey; Del Rey UK)
Luna, Ian McDonald (Tor; Gollancz)
InCryptid, Seanan McGuire (DAW)
Planetfall, Emma Newman (Ace; Gollancz)
The Wormwood Trilogy, Tade Thompson (Orbit US; Orbit UK)
Best Related Work
WINNER: “2019 John W. Campbell Award Acceptance Speech”, Jeannette Ng (Dublin 2019 — An Irish Worldcon)
Joanna Russ, Gwyneth Jones (University of Illinois Press)
The Pleasant Profession of Robert A Heinlein, Farah Mendlesohn (Unbound)
The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick, Mallory O’Meara (Hanover Square)
Becoming Superman: My Journey From Poverty to Hollywood, J. Michael Straczynski (Harper Voyager US)
Worlds of Ursula K. Le Guin
Best Graphic Story or Comic
WINNER: LaGuardia, Nnedi Okorafor, illustrated by Tana Ford, colours by James Devlin (Berger Books/Dark Horse)
Die, Volume 1: Fantasy Heartbreaker, Kieron Gillen, illustrated by Stephanie Hans (Image)
The Wicked + The Divine, Volume 9: “Okay”, Kieron Gillen, illustrated by Jamie McKelvie & Matt Wilson (Image Comics)
Monstress, Volume 4: The Chosen, Marjorie Liu, illustrated by Sana Takeda (Image)
Paper Girls, Volume 6, Brian K. Vaughan, illustrated by Cliff Chiang & Matt Wilson (Image)
Mooncakes, Wendy Xu & Suzanne Walker (Oni Press; Lion Forge)
Best Dramatic Presentation, Long Form
WINNER: Good Omens
Russian Doll, Season One
Star Wars: The Rise of Skywalker
Best Dramatic Presentation, Short Form
WINNER: The Good Place: “The Answer”
Doctor Who: “Resolution”
The Expanse: “Cibola Burn”
The Mandalorian: “Redemption”
Watchmen: “A God Walks into Abar”
Watchmen: “This Extraordinary Being”
Best Editor, Short Form
WINNER: Ellen Datlow
Lynne M. Thomas & Michael Damian Thomas
Best Editor, Long Form
WINNER: Navah Wolfe
Diana M. Pho
Best Professional Artist
WINNER: John Picacio
Beneath Ceaseless Skies
WINNER: The Book Smugglers
nerds of a feather, flock together
Quick Sip Reviews
The Rec Center
WINNER: Our Opinions Are Correct
Be the Serpent
The Coode Street Podcast
Claire Rousseau’s YouTube channel
The Skiffy and Fanty Show
Best Fan Writer
WINNER: Bogi Takács
James Davis Nicoll
Best Fan Artist
WINNER: Elise Matthesen
Grace P. Fong
Lodestar for Best Young Adult Book (Not a Hugo)
WINNER: Catfishing on CatNet, Naomi Kritzer (Tor Teen)
The Wicked King, Holly Black (Little, Brown; Hot Key)
Deeplight, Frances Hardinge (Macmillan)
Minor Mage, T. Kingfisher (Argyll)
Dragon Pearl, Yoon Ha Lee (Disney/Hyperion)
Riverland, Fran Wilde (Amulet)
Astounding Award for Best New Writer (Not a Hugo)
WINNER: R.F. Kuang
Congratulations to all of the winners!
This year, seven of the winners were entries that I put in first place on my ballot, so obviously I’ve pretty pleased with the outcome. For the fourth year in a row, the Novel that won was in second place on my ballot, again, an outcome I like.
Like last year, Best Novel was a very difficult category for me. Two of the entries were books I nominated. One of the entries I hadn’t nominated was a book which I had purchased before the short list came out, but hadn’t read before the nomination phase. Another was a book that was already on my wishlist. All six were good, but it very different ways. So it was just agony trying to decide how to rank them.
Fan Writer was similar. When the short list was announced (in an online livestream that I watched as it was happening), I literally screamed in glee. Three of the nominees were people I had nominated, and the other three were fan writers whose work I followed and were in contention for my nomination while I was working on that ballot. They are all six wonderful people who write (and in some cases podcast) really helpful and interesting things. As more than one person observed, all six of them are people who spend a lot of time and effort recommending good things for fans to check out. (And the winner, Bogi Takács, used ems acceptance speech to recommend a bunch of other writers and project fans should check out!) And… well, two of those that I nominated are people with whom I regularly interact with on line. So I was sweating bullets ranking that category. I really wanted all six to win!
Neil Gaiman gave an incredibly touching acceptance speech for Best Dramatic Presentation (Long Form) winner Good Omens—informing us that the reason, some years ago, that Terry Pratchett (his co-author of the original book, and whose deathbed request led Neil to make the series) had declined a Discworld novel’s nomination wasn’t because he didn’t want a Hugo, but rather because he knew he couldn’t lose gracefully. He won a lot of other awards, and was sometimes nominated but didn’t win them, so it wasn’t that he was afraid of losing. As Neil said, the Hugos are the Sci Fi fans award, and it was the one award that mattered too much to him. Terry was certain that Hugo voters would never vote for a funny book as Best Novel, and Terry’s novels were always funny. Anyway, Neil closed by thanking everyone for giving Terry a Hugo. Good Omens the series was at number one on my ballot, and I have enthused about it to anyone that will sit still for it for a while.
R.F. Kuang’s speech was particularly good (and since the Astounding Award was early in the ceremony, set a get tone for the night). I thought Jeannette Ng’s speech accepting the Best Related Work Award for her other acceptance speech last year was incredible. And was such a sharp contrast of the shenanigans of the M.C. and one of his cronies. But again, that’s a post for later in the week.
Amal El-Mohtar & Max Gladstone gave an incredible joint acceptance speech (in parallel zoom windows). Their story, This Is How You Lose a Time War has been at the top of my list since June, 2019. I first heard Amal read an excerpt from in at a reading at Locus Awards Weekend that year, I bought a copy the next day and started reading it. And re-read it a few times over the next months. The same story one a Nebula Award and a Locus Award earlier this year, so I’m not the only person who loved the story.
I could keep going forever. I really am extremely pleased with the winners in every category but Dramatic Presentation (Short Form), but I also know a number of people whose opinions I respect who do like it. So I highly recommend all the winners but that one (if you ask my favorite TV series that were nominated this time that didn’t win in order: Watchmen, Mandolorian, Expanse, and Doctor Who). And except for a couple of the Dramatic Presentation entries, I adored, or admired, or at least thought all of the runners-up merited being above No Award. So I would have been quite happy if they had won the award. You should look into them and see if you think they might appeal to you.
This was a great slate of nominees. The winners all deserve a round of a applause, as do the runners up!
I have a lot of links to stories and posts and threads about what went wrong at the ceremony that will be in that later post. If you don’t know but are curious, Cora Buhlert wrote a very nice explanation from the point of view of a nominee watching the ceremony with family members (and as a nominee, also being able to see the other nominees on the related zoom): Some Reflections on the 2020 Hugo Ceremony a.k.a. Reminiscing with George.
In 1994 the World Science Fiction Society approved the awarding of Retrospective Hugos for those years when there had been a WorldCon, but no Hugos. WorldCons aren’t required to award them. Also, Retro Hugos awards are allowed only for specific years: 50, 75, or 100 years before the current Worldcon, and only if another WorldCon hasn’t already awarded Retro Hugos for that year.
The original idea was that the Retro Hugos can only be given out 11 times—for the years 1939, 1940, 1941, 1946, 1947, 1948, 1949, 1950, 1951, 1952, and 1954. Because there was no WorldCon from 1942-1945, due to World War II. A recent rule change now allows for awards for those war years, as well, which is how we got to the ceremony earlier this week at CoNZealand where Retro Hugos for 1945 were handed out.
When I first heard about the idea, I thought it was a good one. People were creating and reading (or viewing) science fiction in those years, and it made sense that the organizations handing out awards for excellence in sf/f should look at award-worthy stuff during that time. It gives fans a chance to read stories with which they are unfamiliar and learn about the history of this genre we love, right? And if gives us, as a community, and opportunity to recognize some works and creators who are less famous today.
In practice, I’m not sure things have exactly worked out that way.
A lot of the Retro Hugos have gone to people who are still famous today (and who often had received plenty of awards while they were still alive). And it isn’t even because those are the best stories that made it to the ballot from that year. Several of the Retro Hugos have gone to rather mediocre stories from early in the careers of people who went on later to write much better stuff.
In other words, it seems that a lot of voters aren’t actually reading the nominated works, but rather picking works that are written by people they have heard of.
It it difficult to track down some of these old stories, I get it. Even though there are wonderful fan blogs out there publishing lists of links to where you can find these tales (since they have often fallen into the public domain many are available for free). As a voter myself, I admit that each time it has been a struggle to read everything nominated from both the regular Hugo ballot and the Retro Hugo ballot during the time between when the ballots are announced and when voting closes.
An even more difficult category is Best Editor, Short Form. Which is, in practical terms, an award for best magazine editor. So in order to do one’s due diligence this year, for instance, you would have to peruse all of the issues published in the eligibility year of the at least the magazines Astounding Stories, Weird Tales, Famous Fantastic Mysteries, Amazing Stories, Thrilling Wonder Stories, and Planet Stories.
That’s a lot of 75-year-old magazines to track down.
And if, like me, you track down scanned versions of the old zines at places like the Internet Archive, probably your first reaction will be a lot of “WTF?” because all the ‘zines from that era printed a lot of stuff which would never pass muster today. A month or so ago it shouldn’t have surprised me at how much WTF-material there was (because this is hardly my first time looking at stories and magazines from the time), yet it did a bit. It’s amazing how quickly we forget the weird stuff, the poorly written stories you couldn’t force yourself to finish, and so on. You remember the stories you thought weren’t bad (and sometimes even quite good) more than the other stuff.
If you aren’t willing to do that, you’re going to fall back (as the voters did this year), and the name you know: John f-ing Campbell, yet again.
I haven’t read every single issue of Astounding (later renamed Analog) Campbell ever edited, but I’ve read enough to draw an opinion of his skills as an editor overall. Looking at the stories he published in the year under questions, to the extent I could in the time frame, I found his selection of stories to be overall, mediocre. Yes, there was good stuff in there, but the was a lot more meh than wow.
I believe strong arguments can be made for at least two of the other nominees to be ranked above Campbell in this particular year. But if you point that out, people come back with basically three counter-arguments:
- Everyone knows that Astounding was hands-down the best sci fi ‘zine of the time so who else could anyone vote for,
- Campbell’s influence over the field dwarfs everyone else so who else could anyone vote for,
- I liked more of the stories in the Astounding issues I sampled than in the others so…
The third of those arguments is the only one with any legitimacy. But let’s deal with the first two before I tackle the third.“Everyone knows” is simply a really bad reason to make any decision. We’re talking about very subjective things here, for one. And for most people it’s all second-hand knowledge at best. Most contemporary fans weren’t alive 75 years ago, let alone comprehensibly reading everything that was published. And cultural artifacts don’t survive equally. Astounding appealed to a certain demographic who, for a variety of reasons, are much more likely to live and remain active in a particularly hobby for many years than some others. The demographic has also, historically, had its preferences elevated above other groups, whose preferences and activities are often erased from history.
Also, the Suck Fairy has had 75 years to visit those publications. You shouldn’t fall back on the received wisdom without verifying for yourself.
As to the second argument, well, Donald J. Trump’s influence over the United States right now dwarfs everyone else, but it hardly means historians should be handing him a “Best President” trophy. I know that metaphor is a stretch, but the point is that having a lot of influence isn’t the same thing as using that influence well. And again, how much of Campbell’s influence was due to him, and how much is it due to that ability of the demographic he most appealed to to have an outsized impact on how the time period is remembered?
That third argument is a reasonable reason to determine who you vote for, I agree. But at least some of the people I’ve seen making that argument don’t stop at “this is why I voted for him,” they went on and tacked on the “…so who else could anyone vote for?”
Judging the editor categories is always difficult. Most people approach it by voting for the nominee who published the stuff the individual voter liked most.
That’s not the only criteria one ought to consider, in my opinion. Full disclosure: for over twenty years I edited a very small ‘zine that printed science fiction. Our circulation was never over about 300, but we also knew we were aiming at a particular niche. Still, it means I judge editors by more than just whether I like every story they publish. I didn’t limit myself, as an editor, to publishing only stories I thought were award-worthy and would stand the test of time. I picked stories because I thought my readers would like them and were worth their time and attention. Another quality I judge editors on is how well they seem to know their audience. If I have information about how they treat the writers they work with and the staff of their publications, I let that influence me, too.
Because giving your audience things they will enjoy (which isn’t the same thing as fan service, but that’s another discussion), cultivating writers, and managing staff are all also part of the job of an editor.
If I only voted for the editors whose publications I loved (and only stories I loved, et cetera), there would have been a lot more No Awards on my Hugo ballots over the last five years. I can look at something that isn’t to my particular taste and say, “Well, I don’t like that, but I know a lot of people do, and this seems to be a competent execution/exploration of a topic I don’t care for” and go ahead and vote for it. It’ll just be lower on my ballot than other things.
None of this is to say that no one has a right to vote for Campbell in the Retros. The question I raise in the title of this blog post is about whether the Retro Hugos are actually recognizing things that are award-worthy, or merely handing out trophies to nominees based on received wisdom instead of merit.
Unfortunately, the jury is still out.
Edited to add: Not many minutes after this published, one reader pointed out a copy-and-paste blunder that ate one whole sentence and part of a word.
Then another pointed out that my question is sort rhetorical for at least the next year, since the 1946 Retros were given out at LA Con III back in 1996, so it won’t be until 2022 that the question will come up again. To which I say, an amendment to the WSF Constitution has to be passed at two WorldCons before taking effect, though we don’t need a rule change if the organizers of 2022 and later conventions can be convinced that maybe these aren’t a great idea…
ETA 2: As always, Cora Buhlert writes much more informatively and nicely than I do on a fannish subject: Some Thoughts on the 1945 Retro Hugo Winners.
ETA 3: I wrote a rebuttal to this a big later: It shouldn’t require a keymaster to have fun, or, canon and other forms of gatekeeping in sf/f.
And Cora Buhlert wrote more elequantly on the same topic and included a lot links to other people writing on the same topic: Why the Retro Hugos Have Value.
His reviews give a nice overview of what each of the fan writers produce, with helpful links to stuff the many places you can find their work. Even if you aren’t a Hugo voter, but you love sci fi/fantasy, you should check these six writers out. They are all wonderful.
Just as I’m finding it very difficult to rank the six fan writer nominees, I’m having a nearly equally hard time in the Novel category. I may have to write about that some more later.
But for now, if you’re a voter, go vote! If you’re a fan, go check out those fan writers!