Congrats to the 2018 Nebula Finalists


Interestingly, more than one of the names repeat this year. Vina Jie-Min Prasad and Sarah Pinsker both appear in more than one category. This year, the Nebula Recommended Reading List did pretty much accurately predict that the top recommended stories would end up as finalists.

As is usual recently, the list leans heavily female. Here’s a quick diversity count, as well as I can figure it:
Best novel – 6 women, 1 man, 1 African American, 1 Asian
Best novella – 4 women, 1 man, 1 non-binary, 1 Asian, 1 Jewish
Best novelette – 2 women, 2 men, 1 trans, 2 LGBT, 1 Asian
Best short story – 4 women, 2 men, 2 Asian, 1 Native American, 2 Jewish

Four of 7 of the Best novel finalists come from Orbit, and 4 of 6 of the Best novella category come from, plus one of the novelettes and one of the short stories.

For those who have been keeping up with my blog, you’ll know I’m happy to see a Native American writer represented this year. Many congrats to all! Reviews to follow soon.

Best Novel

Amberlough by Lara Elena Donnelly (Tor)
The Strange Case of the Alchemist’s Daughter by Theodora Goss (Saga)
Spoonbenders by Daryl Gregory (Knopf; riverrun)
The Stone Sky by N.K. Jemisin (Orbit US; Orbit UK)
Six Wakes by Mur Lafferty (Orbit US)
Jade City by Fonda Lee (Orbit US; Orbit UK)
Autonomous by Annalee Newitz (Tor; Orbit UK 2018)

Best Novella

River of Teeth by Sarah Gailey ( Publishing)
Passing Strange by Ellen Klages ( Publishing)
And Then There Were (N-One) by Sarah Pinsker (Uncanny 3-4/17)
Barry’s Deal by Lawrence M. Schoen (NobleFusion Press)
All Systems Red by Martha Wells ( Publishing)
The Black Tides of Heaven by JY Yang ( Publishing)

Best Novelette

“Dirty Old Town” by Richard Bowes (F&SF 5-6/17)
“Weaponized Math” by Jonathan P. Brazee (The Expanding Universe, Vol. 3)
“Wind Will Rove” by Sarah Pinsker (Asimov’s 9-10/17)
“A Series of Steaks” by Vina Jie-Min Prasad (Clarkesworld 1/17)
“A Human Stain” by Kelly Robson ( 1/4/17)
“Small Changes Over Long Periods of Time” by K.M. Szpara (Uncanny 5-6/17)

Best Short Story

“Fandom for Robots” by Vina Jie-Min Prasad (Uncanny 9-10/17)
“Welcome to Your Authentic Indian Experience™” by Rebecca Roanhorse (Apex 8/17)
“Utopia, LOL?” by Jamie Wahls (Strange Horizons 6/5/17)
“Clearly Lettered in a Mostly Steady Hand” by Fran Wilde (Uncanny 9-10/17)
“The Last Novelist (or A Dead Lizard in the Yard)” by Matthew Kressel ( 3/15/17)
“Carnival Nine” by Caroline M. Yoachim (Beneath Ceaseless Skies 5/11/17)


Review of The Shape of Water by Guillermo del Toro


I know, I know. I’m late again with the film review. I hadn’t really noticed this one as it went by, but since there’s a big Oscar buzz, I figured I needed to get out there and see what the fuss was about. The film was written by Guillermo del Toro and Vanessa Taylor and directed by Guillermo del Toro. It has 13 Oscar nominations, another 84 award wins and 244 other award nominations.

Elisa Esposito is a cleaning woman at a secret Baltimore government facility in the early 1960s. She was a foundling with damaged vocal chords and is mute, plain and devastatingly lonely. Her only two friends are her neighbor Giles, an aging gay man, and Zelda, who looks after her at work. Colonel Richard Strickland brings a specimen to the lab—an amphibious humanoid creature captured in South America. He keeps the creature chained and uses a cattle prod to control it, leading to a violent encounter where he loses fingers. Called to clean up the mess, Elisa and Zelda find out about the creature. Elisa leaves food and makes friends with it, and when she hears the plan is vivisection, she enlists Giles and Zelda to help her free the captive. They successfully get it to Elisa’s apartment, and she plans to set it free when the canal gates open later in the month. While the creature is there, the two of them develop a closer relationship, including sex. Will Elisa be able to set the creature free? Will Strickland catch up to them?

I can see why this is in line for an Oscar. It’s a play on Creature from the Black Lagoon. It’s a beautifully made film, and the Academy seems to really like tributes to Hollywood’s past. Old film footage plays on the TV. There is a song and dance sequence where Elisa imagines herself a star. There’s sex. It has something of the feel of old fifties scifi where alien creatures wreak mayhem. There are Russian spies sneaking around. It’s also very inclusive, with disabled, gay, Hispanic and black characters.

Still, I don’t think this translates well. The script seems forced, and I can’t pull any meaning out of it that feels important. Elisa and Hoffstetler, the Russian spy, are sensitively played, and Del Toro makes an effort to develop Giles and Zelda as characters, but others are cardboard. Plus, it just doesn’t work for me. If Elisa can run away with her love, what kind of life would she have?

One thing the film does do successfully is display the attitude that “might makes right” in a glaring light. This used to be widely accepted, but is less so now, for good reason (think Nazi medical experiments). There is a lot of violence and abuse here. There is no appreciation from the military that the creature is intelligent. Everyone is caught in a cultural trap with no hope of salvation.

I don’t know what to think about this. Is it supposed to be postmodern? Kitsch?

Two stars for the logical failures. I almost left half way.

Thoughts on the 2017 World Fantasy Awards


I’ve pretty much finished all the reviews of the World Fantasy Awards fiction nominees. I’m not going to look at the collections, so it’s time for a wrap up of what I thought.

What really jumps out is the considerable overlap this list has with other major SFF awards, especially the Hugos. In order to complete reviews of the whole World Fantasy list, I had to read 2 novels out of 5 nominees, 1 long fiction out of 5 and 3 short stories out of 5. All the others I had already reviewed as part of either the Nebula or the Hugo Awards. This makes my reviewing job easier, but again, it points out the inbred nature of the SFF awards and the lack of diversity in sources the works are drawn from.

Speaking of diversity, this list is notable for leaning heavily to black and white nominees and totally shutting out both Asian and Hispanic/LatinX/Native American authors. Counting up the ethnicity, it looks like there were three black authors out of fifteen or 20% of the nominees, which well beats the approximately 12% African American population demographic in the US. The list gets extra diversity points for having one nominee of Arab descent, but Arabs are currently designated white in the US.

There are a couple of folks who are LGBTQ and advertize disability diagnoses. Again, the absence of Asian and Hispanic/LatinX/Native Americans could have to do with the lack of diversity in sources the fantasy audience draws from. Gender breakdown was 4 women to one man in the novel category, 2 women to 3 men in the long fiction category and 5 women to 0 men in the short fiction category. This adds up to 10 women to 5 men, following the current trend to strongly favor women writers in the awards nominations. There was also fair diversity of publishers except in the long-fiction category, where published 4 out of 5 of the nominees.

I’ve already reviewed each of the works for quality, content and logical coherence. All of these were well written, with a few real standouts. I don’t have any complaints about the winners. They were first class in all categories. I did note some strong political messages in some of the works. This is a troubling issue. Doesn’t it affect readability when the author’s political views are so obviously promoted that they take over the story?

Again, many congratulations to the World Fantasy Winners!

Review of Roadsouls by Betsy James


This novel was a finalist for the World Fantasy Award and reads like young adult. It’s published by Aqueduct and runs 338 pages. The following may include spoilers.

Duuni is betrothed to a man who has previously abused her and already taken her mother to wife. She rebels and is sentenced to public beating. She escapes and is taken by the Roadsouls. Raim is a hunter and weaver blinded in an accident of overconfidence. In is anger, he refuses anyone’s help and runs away from his family. He is taken by the Roadsouls. The caravan travels from place to place, picking up abandoned children, and supports itself by performing at country fairs while Duuni and Raim face hazards along the road. Can they accept one another and find sanctuary?

Good points: This starts off to be really promising. I love stories about people who are down and out and overcome their disabilities through courage and determination, and this had that feel. The characters and the world are very well drawn with the countryside laid out around a central holy mountain. It’s settled by diverse people with different languages and beliefs, and there’s at least a suggestion of how the economy works. This includes what is likely a good description of a factory at the turn of the 20th century—a reminder of why we have unions and child labor laws. Many people are also going to like this because it’s about rape culture and finding safe spaces in a dangerous world.

Not so good points: It’s a long list. First, there’s not really any fantasy here. There’s no magic other than maybe an imaginary lion that Duuni thinks follows her around. Then it turns out to be about victims and predators. Although warned against it, Duuni and Raim repeatedly go off by themselves, act like victims and get captured and mistreated by bad people. The plot is forced and there are logical failings, especially toward the end, where Amu comes back to the factory where he has sold Raim as a laborer, allowing himself to be killed. He really didn’t need Raim for what he was planning. Miraculously, there’s no pursuit after Raim and Ratling escape and are rescued again by the Roadsouls. This feels anti-capitalist, as factories and “paidmen” are bad elements, while the sanctuaries are communes of artisans and wild children with not much visible means of support. I also gather this is about consent, as Duuni repeatedly makes love with Raim and then says no at the last minute. He waits patiently while she overcomes her fears because he loves her. At the end of the book, he’s still waiting. Everybody robs the dead here. There’s no respect on either side.

Two and a half stars because of the logical failings.

Are Conservatism and Progressivism inborn?


Following up on my comments about Jon Del Arroz being discriminated against for his conservative politics (regardless that he’s a marginalized minority), here’s some interesting research about political views. Wait for it—these may be inborn. That means discrimination on the basis of political views may eventually be classified the same way as discriminating against individuals for other inborn traits like sexual orientation or skin color.

In recent years, researchers have started looking at what personality and emotional responses have to do with politics. In one study Kevin Smith et al. looked for emotional responses that they could use to identify conservatives and liberals. Conservatives, on the one hand, turned out to be more easily grossed out by pictures and tended to get emotional over people they disliked. Liberals, on the other hand, were less grossed out and tended to get more emotional over people they liked. Next, James Fowler et al. identified DRD4-7R, a variant of the gene that linked to novelty-seeking behavior as being linked to liberal views when combined with early socialization. Fowler made the point that political views can’t be tied to just one gene, but it does suggest how inborn personality can affect political viewpoints. Michele Vecchione et al. conducted a study in Italy that looked at people who voted conservative or liberal and classified them according to the “big five” personality traits. The results showed that people who rated high in the “openness” trait tended to vote liberal, while those so rated high in the “conscientiousness” trait tended to vote conservative. Another study of twins by John Alford et al. found that genetics clearly had a more significant influence on politics than socialization. Because people tend to marry spouses with similar political views, the researchers surmised, these traits tend to run very strongly in families.

Another interesting support for this viewpoint is the interpretation of personality tests. The DISC system, for example, breaks personalities down into four types: dominant, inspiring, supportive and cautious. People who lean to dominant and inspiring personality traits tend to be movers and shapers of change, while the supportive and cautious people, on the other hand, tend to be conservative, valuing security and stability. Besides this, the Myers Briggs test identifies 16 personality types, some of which actually include the descriptors “conservative” and “novelty seeking.” These personality types tend to be remarkably stable over time. They’re identifiable as early as kindergarten, and don’t change much after young-adulthood.

Enjoy classifying yourself through these links. As I recall, I tested out as a dominant and an INTJ.

Virtue Signaling: Weaponizing the System


Recently I’ve been blogging about virtue signaling, which is publicly stating your opinions on moral issues in order to show your support. Social pressure to conform leads to “MeToo” reactions, and something worse called “groupthink.” In groupthink, no one really thinks critically about issues, but instead responds to the social pressures with knee-jerk, mindless reactions.

This makes virtue signaling a powerful tool in the political arena. In fact, the dependability of the reaction it provokes makes it easily weaponized. All you have to do right now to take someone down is to call them a racist or a sexual harasser. This trend has gotten so obvious in broader US politics that I can almost see powerful and manipulative Puppetmasters pulling the strings—a war back and forth—with attacks taking down Hollywood political donors, artists, senators, members of the press, anybody who influential and on the wrong side of issues. I’m sure these Puppetmasters are laughing all the while, as mindless groupthink lemmings attack one another, doing their work for them. Anybody who questions the process gets a dose of the same.

Roger Ailes and Bill O’Reilly were early casualties, and conspiracy theorists immediately speculated that Weinstein was payback. It’s pretty easy to dig up questionable actions over a man’s lifetime, but women are harder. Taylor Swift was attacked as a racist by someone claiming her songs contain white supremacist lyrics. Meryl Streep is currently under attack by anonymous posters that have appeared in Los Angeles, accusing her of knowing and keeping quiet about Weinstein—complicity, in other words. Morning-after remorse has produced calls for Al Franken to unresign, and led Tavis Smiley and Joe Scarborough to wonder publicly what’s behind the attacks. Meanwhile, the Trump administration deftly avoided accusations by taking down attorney Lisa Bloom.

Bringing the focus back to the SFF community, I think these same hazards have been working in the heavy polarization of relations. Don’t get me wrong. It’s definitely important to call out people who are actually sexually abusive and racist, but because of the weaponizing, it’s gotten to be important to look critically at the accuracy of the claims and question what might be behind them.

The most obvious example is Vox Day, of course. Articles and comments consistently claim he’s anti-diversity, while a look at his publications and award nominations show clearly that he likes Chinese SF and promotes minorities. Another recent attack, of course, has been on Rocket Stack Rank as racist and sexist because of their dislike of non-standard pronouns. Wasn’t it at one time questionable to attack reviewers? Another example is last year’s attack on horror writer David Riley for holding conservative political views. Still another is the attack on editor Sunil Patel (see also here) for apparently being a jerk, while accusers couldn’t come up with anything more than vague claims about sexual harassment.

There may be questionable issues at work in all these cases, of course. Anyone has the right to feel affronted and to complain, but shouldn’t we be looking at things a little more rationally?

Review of The Tiger’s Daughter by K. Arsenault Rivera


This is the debut novel for Rivera. It runs about 500 pages and was published by Tor in October 2017. Rivera is Puerto Rican and currently lives in New York City.

Qorin tribeswoman and warrior Shefali Arsalayaa writes a letter to her friend and previous lover O-Shizuka, Empress of Hokkaro. In this letter, Shefali details their childhood together beginning at age three, and follows Shizuka’s growing conviction that the two of them are divine, favored by the gods and destined for great deeds. Shizuka becomes an accomplished swordswoman while Shefali favors a bow. The two of them slay a tiger at a young age and then move on to tackle the demons that are sucking life out of the kingdom. This is a difficult and dangerous task, and they both suffer for it. They become lovers, but are separated when Shefali is exiled by Shizuka’s uncle, then Emperor of Hokkaro. Can the two of them find one another again?

Tor’s announcement bills this as Mongolian inspired, and Shefali might be, but Shizuka and her culture come across as heavily Japanese. This generated knee-jerk complaints on Tor’s website about a “white” woman appropriating Asian culture, which degenerated into something of a mess when others pointed out that Rivera isn’t white and others questioned whether non-whites can appropriate culture. Certainly Rivera hasn’t written the book about her own cultural heritage.

Good points: The Tor editor described this as “stunning,” and the prose is very well done. The imagery, especially Shefali’s descriptions of her lover, is sometimes striking. Characterization of the two main protagonists is also well-done, as the two of them have depth and substance. There’s a suggestion of power plays in the court, but the intrigues aren’t the main story.

Not so good points: I like women’s adventure, but the literary device of the letter made this primarily about the love story. It also removed all immediacy from the action and events. Who writes a 500 page letter detailing whole lives and mooning about the attributes of their lover? The result was that I got bored about 1/3 of the way through and had a hard time finishing. Despite the imagery, the world isn’t well defined, and I had a hard time integrating the steppes and the kingdom. Characters other than Shefali and Shizuka tend to be flat and don’t always ring true. There’s a huge gap of years here, and no indication of how Shizuka displaced her uncle to become Empress. Did he die childless? Did she off him in some way? Inquiring minds would like to know.

Three stars.

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