Discrimination in the SFF community?

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A while back I made the comment that the major SFF awards seem to be discriminating against Hispanic/LatinX/Native American authors. In the past few years, it’s been easy to run down the list of nominees and see a good representation of African American, Asian and LGBTQ authors, with a sprinkling of Arabs, Pacific Islanders, etc. However, there’s been a consistent shortage of Hispanic/LatinX/Native American names in the nominations and in the Locus reviews and other reading lists that feed into the awards. This is in spite of the fact that Hispanics are the largest US minority, and combined with Native Americans, come in at about 1/3 of the population. Comments on the blog suggested that the issue was that the people who vote for the awards just don’t like the type of fiction those people write.

The lack of representation is no surprise. Despite the large numbers of Hispanics/Native Americans in the US population, they’re still highly marginalized and discriminated against in jobs, education, housing, immigration and lots of other areas. There’s really no shortage of accomplished writers within this group, so it makes you wonder what’s been going on in the publishing and awards systems to keep the Hispanic/LatinX/Native America authors so unrecognized. Now, we have a clear case of discrimination within the SFF community that suggests what might be going on.

Jon Del Arroz is Latino and, as such, falls clearly into the marginalized minority brown author-of-color category. Like many Hispanics, he apparently also falls on the moderate to conservative side of the political spectrum. His current publisher is Superversive Press, known for pulp type fiction, but also a publisher of fairly right leaning works.

Del Arroz posted a blog here about his experiences back in the spring. According to Del Arroz, he was initially promoted at local Bay area cons as a minority author, but found himself placed in panel discussions that were political and left-leaning, rather than about SFF or promoting books. Once his politics became known, says Del Arroz, then the discrimination started, based more on his ideas than his race.

In the late summer, Del Arroz was lumped with those “middle aged white dudes” after his nomination for the Dragon Awards. This was followed by a campaign in December 2017 to try to get the SFWA management to reject his application for membership. He’s also been banned from WorldCon.

So, are Hispanics/LatinX/Native Americans being excluded from the SFF community mainly because of their political views? Clearly Del Arroz thinks politics is currently trumping his marginalized minority status as a Latino. How does a socially conscious community reconcile this kind of behavior?

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Review of “Bloodybones” by Paul F. Olson

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This novella was a finalist for the World Fantasy Award. It was published for the first time in the author’s collection Whispered Echoes.

David’s friend Amy disappears from her property at Vassey Point during a violent storm. David helps her father close up her home in the old lighthouse, but six months later, he’s drawn to return. He meets Amy’s sister Karen wandering on the property, and the two of them strike up an acquaintance. They begin reading through Amy’s journals, finding creepy things. Can they solve the mystery of what happened to her?

Good points: This is a psychological horror, a ghost story that takes shape as the supernatural closes down slowly but surely on the two protagonists. It’s very smooth and offhand, so I gather Olson is very practiced at this. It includes a lot of information from David (as the narrator) that gives us local color and background on Amy, Karen and the history of the point that’s led to its haunting. Also, I can see the film in my head. This is very cinematic.

Not so good points: The narrator’s casual, matter-of-fact tone keeps the events here from becoming really scary. It’s very white bread and traditional. The techniques for generating horror are fairly standard—enclosed spaces, violent storms, ghostly presences, etc. I appreciate Olson’s technique and subtlety, but this just shivered my nerves a little. It didn’t really scare me.

Four stars.

More on Virtue Signaling vs. Independent Thinking

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In the last blog about social issues, I commented on David Gerrold’s essay ”Humanity’s R&D Department: Science Fiction.” where he discusses the requirement to virtue signal in order to preserve your reputation in the SFF community. My response was that this prevents independent thinking, or even any kind of reasonable discussion about the current direction of the publishing community. I also mentioned that it was an example of “groupthink” where a desire for conformity leads to dysfunctional outcomes. I’m sure a lot of people will disagree about this, so let’s look at some examples:

  • Readers recently complained on the Tor website about K. Arsenault Rivera appropriating Asian culture in her recently published novel The Tiger’s Daughter. This fell into silence when some more perceptive individuals pointed out that Rivera isn’t white. I gather that means it’s an attack that should be reserved for white people.
  • Writer Jenny Trout led a child rape and racism campaign against Fionna Man for writing a fantasy novel titled Thomas Jefferson’s Mistress about Thomas Jefferson and Sally Hemmings. The campaign succeeded in getting the book removed from book shelves, but then it turned out that Man is an activist African American woman writing about her own cultural history.
  • Speaking about the results, author N.K. Jemisin complained about the 2013 SFWA election in her Guest of Honor speech at the convention Continuum in Australia, “Imagine if ten percent of this country’s population was busy making active efforts to take away not mere privileges,” she said, “not even dignity, but your most basic rights. Imagine if ten percent of the people you interacted with, on a daily basis, did not regard you as human.” This seems like a stretch as an attack on the SFWA, but other people piled on regardless.
  • Generally virtue signaling provokes an avalanche of “me, too” responses, some of which can turn into vicious attacks like the one against Fionna Man. This is where the conformity problem comes into play. Everyone knows they need to publicly express certain views (as Gerrold pointed out), so once an issue is suggested, they pile on the opportunity to show their conformity. This is regardless of whether they have put any thought into whether the attack is justified or what effect it might really have in the long term. Some people really don’t care.

    Last year there was an argument at File770 where posters discussed freedom of expression and how it should be used to dictate morality. Posters apparently supported the idea that it’s fine to attack people regardless of the accuracy of your claims because this publicizes you own views (virtue signaling) and also indicates what views should be considered morally wrong and unacceptable to the public. This also assumes any injury done by the attack is socially advantageous because it will intimidate others who might be tempted to express the “wrong” views. There was no concern about what kind of personal damage this does to individuals who are erroneously attacked.

    Meanwhile, Ray Dalio, founder of Bridgewater Associates, says in his new book Principles: Life and Work that independent thinking is the most important principle for an “idea meritocracy” to rebuild our society in a better way. What should we do about that?

Follow-up on “Little Widow,” et al.

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Since I’ve been discussing David Gerrold’s take on the requirement for virtue signaling that indicates your affiliation in the SFF community, it occurs to me that the recent spate of stories with a social/political bent are a form of virtue signaling. The writers use them to signal their political stance, and the publishers signal their own virtue by supporting the views through publication. This means that the current marketplace is heavily politicized, with no sign of the extremism letting up.

Writers seeking publication would do well to take a look at the political stances of the magazines and anthologies currently in the market and pick those that match their own philosophy and steer clear of those that don’t. From what Gerrold says, this will seriously impact both writer and publisher’s reputations, and it will be difficult to stay neutral in the culture war. For one thing, neutral stores don’t advance the publisher’s agenda, and according to Gerrold’s analysis, remaining silent on the issues just gets you lumped with the opposing side. Plus, unpublished.

Is there any room here for real freedom of expression?

Still more shameless self-promotion!

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Afromyth

A while back I sold a story to Afromyth, an anthology from Afrocentric Books edited by J.S. Emuakpor. It looks like the e-book became available on December 9, and the paperback will soon follow. You can pick up a copy here. My story is “Death in Nairobi” about a Miami detective on holiday roped into investigating a local crime. Have fun reading!

Review of “Little Widow” by Maria Dahvana Headley

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This short story was a finalist for the 2017 World Fantasy Award. It was originally published by Nightmare.

Natalie is the Littlest Wife of the Preacher, a cult leader in Miracle. She’s at a sleepover when the cult suicides and the compound goes up in flames. Along with her surviving widows Reese and Scarlet, she is adopted by the Stuart family, and starts school. When the carnival comes to town, the girls go to what looks like a strip show, but the woman in the skimpy costume turns out to be Valerie, an angel from heaven who has come to contact them. Valerie has the Preacher in a cage and the girls confront him. She has also brought a shipment of T-Rexs from heaven that she lets loose to take care of some mistakes on the Earth. The four of them escape in a crop duster.

Good points: This story takes on a serious subject, which is how girls and women are often mistreated in patriarchal religious cults. It also takes a jaundiced view of miracles in general that fuel this kind of cult. It’s features good characterization, as we get background on the girls. They’re immigrant children, which suggests the problem with human trafficking.

Not so good points: This has a touch of surrealism, as the story moves from what could be reality to clear unreality when the girls meet Valerie. At this point, it’s actually less interesting. I was hoping it would follow through on the dramatic opening. Instead, this looks like another attack on the patriarchy. There are no male characters that don’t leer, and all the women are avengers. Even the dinosaurs are all female. Also, I’m not sure what the pterodactyl is about.

Three stars.

Review of “The Fall Shall Further the Flight In Me” by Rachael K. Jones

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This short story was a finalist for the World Fantasy Award. It was originally published in Clockwork Phoenix 5. The title (and maybe the idea) is taken from a George Herbert poem titled “Easter Wings.”

Ananda is an earthbound holy woman, attempting to rise through repentance and self-denial so she can carry prayers upward to the heavens. She eats only seed cakes and works in her thorny garden. In this way, she expects to eventually become thin enough, and light enough, to step into the air like her grandmother. One day one of the winged sky people falls into the garden, bringing a message. Ananda rescues the creature Sano and tends her wounds. Sano kisses her, and Ananda locks her in the hut. It takes a week to purge the defilement. It took Ananda’s grandmother 40 years to rise, and her mother failed in flight, but Ananda is already so light that she puts rocks in her pockets to keep herself grounded. Her mother discovers this, and then Sano in the hut. Can Ananda and Sano escape?

Good points: The best thing about this story is the creative idea. It seems to be surreal fiction about the clash of conflicting worldviews, as the sky people think earth is heaven and the earthbound think the sky is heaven. Neither can answer the prayers of the other. The imagery is excellent. I can’t find any overt political message here (as has been popular lately), but maybe this is a vote for harmony.

Not so good points: The surrealism thing makes this pretty nebulous. There’s not much plot–it’s mostly philosophy–and the little glimpse I got through the imagery seems to be about the extent of the world-building and characterization. Ananda’s grandmother has risen skyward, and somehow this has invoked an impending war? Hm. I ended up with a lot of questions.

I’ll give it extra points for the creativity. Four stars.

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