Review of Catfish Lullaby by A.C. Wise

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This horror novella is a finalist for the 2019 Nebula Awards. It was published by Broken Eye on September 3, 2019, and runs 118 pages. This review contains spoilers.

Caleb is the biracial son of the Lewis town sheriff, and his grandparents’ house is just through the woods from the Royce property. There are rumors that Archie Royce coerces women into some kind of weird religious cult. The house burns one night, and Caleb goes with his dad to try to help out. It seems too late to save anyone but a girl named Cere. While they’re waiting to find her a foster family, Caleb’s dad takes her in. She becomes like a sister to Caleb, and he learns that her evil father taught her magic and expected her to end the world. A woman is murdered, and it starts to look like Cere might not be the only survivor of the fire. Years later when Caleb becomes town sheriff himself, the murders start up again. Is there any way he and Cere can stop Archie’s plan?

On the positive side, this includes some good imagery and manages to capture a faint flavor of the South. It’s based on a legendary figure called Catfish John, a sort of gator bigfoot of the swamp, and the creature makes several appearances, both in dreams and in real life. There’s also a faint flavor of cults, and how charismatic men can twist reality for their followers. On the diversity side, it features a biracial, gay sheriff, someone you wouldn’t exactly expect in a small Southern town.

On the less positive side, this has a disjointed feel, and fails to produce much in the way of plot, theme or meaning. It’s clear early on that Cere is a powerful witch, but we don’t see much of the battle she carries on against her father and brothers. Instead, we get confused dreams from Caleb, unsolved murders and cases of rot that are never explained. There’s no description of the town or any feel for town life, only a few ugly bullies that plague Caleb when he’s a kid. Nobody seems to have any plan to deal with the Royces’ evil cult except to call on Catfish John.

Two and a half stars.

Review of Little Darlings by Melanie Golding

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This novel is a dark fantasy/psychological thriller and won the 2019 Dragon Award for Best Horror Novel. Golding is a UK based author, and this looks to be her first novel. I also notice it’s soon to be a major motion picture. It was published by Crooked Lane Books in April, 2019, and runs 315 pages. This review contains spoilers.

After a difficult delivery, Lauren Tranter is the new mother of twin boys, Morgan and Riley. A crazy woman in the hospital ward tries to take Lauren’s babies and substitute her own. Lauren hides in the bathroom and calls the emergency number for help, but when the police arrive, there’s no sign of anyone there. The doctors suspect mental health issues. The Tranters take the boys home to the Peak District, and after his brief paternity leave is over, Lauren’s unsupportive husband Patrick moves into the guest room, leaving her to care for the boys both day and night. Lauren struggles with exhaustion, but with encouragement from her friends and a shove from Patrick, she finally gets it together and takes the boys out for a walk along the river. The babies are kidnapped–quickly found in the brush. But, the creatures now looking out of their eyes aren’t Lauren’s babies any longer. What does she need to do?

This is the classic changeling story, placed into a modern setting. Best points are the depth of the characterizations, the details of Lauren’s postpartum struggle, and the uncertainty throughout the whole thing about whether Lauren is suffering from postpartum psychosis or whether the crazy woman who wants the babies really is fay. There are some other themes here, too, including how women struggle with the heavy responsibilities of motherhood and how bonding can so easily turn to an unhealthy anxiety. Police investigator Joanna Harper follows up with research on historical events that suggest the problem is a recurring issue in this locale, and the narrative dips into some real horror as Lauren falls into the clutches of the mental health establishment.

It’s hard to find something to say on the less positive side of this. Maybe Joanna’s background seems slightly contrived. The author is trying to give us reasons why she’s so obsessed by the case, but she comes off more rebellious than conscientious, and not always a clear thinker. Patrick is something of a stereotype, too, put through some unflattering motions.

Regardless of little niggles, this story really delivers the goods. It’s no surprise it’s won the Dragon and been picked up for a film.

Five stars.

Review of Black Helicopters by Caitlin R. Kiernan

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This is a science fiction/fantasy/horror novella published by Tor in May of 2018. According to the description it’s “the expanded and completed version of the World Fantasy Award-nominated original,” and leaning to Lovecraftian horror. The original chapbook was published in 2013 by Subterranean Press, and this version runs 208 pages. This review contains spoilers.

Near Deer Isle, off the coast of New England, a fallen star has poisoned the sea. Authorities evacuate everyone they can, blow up the bridge and fire rockets from Black Hawk helicopters, but still fail to stop the Great Old Ones from rising out of the sea. The agent Ptolema waits at a pub in Dublin for agents from the other side, who have maybe turned, but maybe not. When they arrive, she plays a recording that alarms them. In a later meeting, one of the agents identifies the important characters in the recording as psychiatrist Dr. Twisby and albino twins. The twins, Bête and Ivorie, are the result of sadistic experiments, lovers, and maybe entangled quantum particles on the run in a chaotic universe. Ptolema later assassinates the two agents she spoke with. Twisby has Ivorie killed, collapsing the twin souls into Bête. Years later, the White Woman drops the vial that poisons the sea.

On the positive side, this seems to have a theme. The agents apparently represent chaos versus order, playing a symbolic chess game with butterfly effects through the years. There are layers of post-modern symbolism where we encounter various literary allusions, a chess game, quantum entanglements and a time loop. The characters are very well developed, and given a recognizable conflict to work with, might actually be likable. The author provides chapter headings that describe place and time—somewhat helpful to track the way this skips around.

On the not so positive side, this has serious readability issues. The story gets off to a promising start with Ptolema and the two agents in Dublin, but after that, it pretty much collapses into chaos. Although there are a couple of linear threads that weave through it, most of the chapters seem nonsensical and unrelated; put together, they achieve no apparent meaning. Be prepared to break out your French language; one chapter is written almost entirely in French. There’s some gratuitous sickness here, too, where a production company streams seppuku type suicides. (The victim hesitates, maybe not sedated enough…) Ick.

Two stars.

Wrap up of the 2018 World Fantasy Reviews

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That’s all the World Fantasy reviews, so now I’ll attempt an analysis of the list. When you look through these, a few interesting patterns emerge.

First, the diversity breakdown. Apologies if I miss anybody here:
BEST NOVEL: 1 man, 4 women, 1 Asian, 1 African American and 1 Native/African American. 1 LGBTQ
BEST NOVELLA: 1 non-binary, 1 man, 3 women, 1 African American, 1 Asian, 2 LGBTQ
SHORT FICTION: 1 man, 4 women, 3 Jewish, 1 Hispanic, 2 LGBTQ.
The totals add up to: 3/15 men (20%), 11/15 women (73%), 1/15 non-binary (7%), 2/15 Asian (13%), 1/15 Native American (7%), 1/15 Hispanic (7%), 3/15 Jewish (20%), 2/15 African American (13%), 5/15 LGBTQ (33%). Roanhorse complicates this calculation, but I’ve listed her as only Native America.

This year’s ballot continues the apparently universal trend toward mostly female writers, with only one token male nominated in each category. The system for nomination has done well in featuring at least one non-binary, Hispanic and Native American writer. Asian writers are, as usual, over-represented considering their 5% US population demographic, as are Jewish writers with a 1.5% US population demographic. The overrepresentation of Jewish writers this year follows the same pattern I found in the Nebula and Hugo Awards. The LGBTQ component here is also overrepresented, as the self-identifying gay and lesbian US population demographic for 2018 was 4.5%. Hispanic writers, as usual, remain hugely underrepresented with a US population demographic of 18%.

After reviewing the Nebula and Hugo Award finalists, I only had to read three short stories, one novella and two novels to finish out the set. There are a couple of possible implications to this. First, it suggests the Nebula and Hugo Awards might be trending to fantasy, and second, it indicates a convergence in the US fiction awards to particular works in any given year. The three awards work differently: the Nebula is awarded by the professional membership of the SFWA; the Hugo is awarded by members of WorldCon: and the World Fantasy Award is partially juried. Members of the current WFA convention and the previous two vote two nominations onto the final ballot, and the other three are named by a panel of judges. For the 2018 awards, the judges are Nancy Holder, Kathleen Jennings, Stephen Graham Jones, Garry Douglas Kilworth, and Tod McCoy.

Of course, there is the argument that particular works are elected by all three awards because they really are the best, or the more circular argument that these become the best because they’re elected. However, this kind of convergence in the major US awards remains troubling. It suggests a lack of diversity in either the marketplace or in the US awards systems. If more Native Americans were published, for example, all three awards might not elect the same writer, or if more African Americans were published, all three awards might not elect the same work.

Plus, there are also other possible explanations for convergence, such as a preference for certain content within the awards system. Of the three major US awards, the World Fantasy Award has the reputation for being the most literary, which suggests a definite preference in that direction. There is also evidence that the WFA system rewards creativity and artistic effect over standard story structures. Some of these works had little or nothing in the way of plot, and some might have qualified for a creative essay category instead. Others had serious suspension of disbelief issues. I notice there are some differences of opinion on quality out there in the readership audience. In checking out the authors, I encountered a few blogs that actually challenged the suitability of some works based on their content or execution. I personally think the Locus List has a big effect on convergence in the US awards, but interestingly, 4/15 writers (27%) of shorter works beat the odds and made it to the WFA ballot with entries that did not appear this year’s Locus List (although three of the four did appear for other works).

There was a reasonable diversity of publishers. Print magazines are clearly a failing paradigm where the awards are concerned—all the shorter finalists came from online magazines. As usual, Tor.com stood out, mostly because of the novella category, with 4/15 entries or 27%.

In the Night Wood by Dale Bailey

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This novel is dark fantasy/horror and a finalist for the 2019 World Fantasy Award. It was published October 9, 2018, by John Joseph Adams/Houghton Mifflin Harcourt and runs 214 pages. This review contains spoilers.

As a boy, Charles Hayden steals a copy of the Victorian children’s book In the Night Wood. He later marries Erin, whose relative Caedmon Hollow wrote the book. The couple’s marriage is strained by an affair and the death of their daughter, and neither is recovered when word comes that Erin has inherited the Hollow estate. The two leave their jobs and move to the house in Yorkshire, where Charles hopes to complete a biography of Caedmon Hollow that will put his personal and professional life back on track. In the days that follow, Charles struggles with his project, and Erin sketches obsessively, turns to pills and alcohol to get her through the days. Meanwhile, the murky Eorl Wood with its hidden depths and evil king presses ever closer around them.

There’s not a lot that happens here. It’s an archetype. The prose leans to the literary, and there’s a lot of allusion to classics. Charles pursues his research, turning up details of how the estate is run and what events led Caedmon Hollow to write the book. He talks to the locals, goes through boxes in the basement. What stands out is the slowly gathering evil. Charles and Erin start to see apparitions in the trees, and the estate’s manager Cillian Harris is likewise afflicted. The Wood is hungry, the time for a tithe is coming, and there are little girls at risk.

On the less positive side, this is mostly a downer. It’s about death, depression and the viciousness of the real world, where invisible forces try to suck you down into darkness. Though the story does lighten a little bit at the end, it’s mostly about two people bent on self-destruction. Also, I didn’t think the main line of symbolism quite worked. Bailey seems to be going for a scenario where this is about inner darkness, but involving Harris destroys that effect. That means there’s no reason to dress Charles up as the dark king who steals children. This would work if he were going off the deep end, but Charles is just an observer, and it’s his wife’s family that’s cursed. On the other hand, the part about trading your children for earthly success does work. There is still a major loose end at the close: The king didn’t get his little girl, so what happens then?

Four stars.

The Mere Wife by Maria Dahvana Headley

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This novel dark fantasy/horror and is a finalist for the 2019 World Fantasy Award. It was published by MCD/Farrar, Straus & Giroux. This review contains spoilers.

Soldier Dana Mills was captured by the enemy and video of her beheading circulates. Somehow not dead, she is recovered, scarred but alive, and pregnant. She returns to her ancestral family home, now replaced by a subdivision called Herot Hall, and takes shelter in caves under the mountain. She delivers a son she names Grendel, and the two of them continue to live on the fringe, outside the bounds of the estates below. Willa Herot is the carefully groomed wife of Roger Herot, a doctor and heir to the property. She resents the way her mother has orchestrated her life and despises her husband and son Dylan. Grendel is attracted by the sound of the child Dylan playing the piano, and the two become secret friends. Mills is horrified when she finds out. What will the Herots do when they discover her son at the house?

In case the names don’t ring a bell, this story is a retelling of the Scandinavia epic Beowulf. Headley has modernized the tale and made some symbolic substitutions, a scarred soldier for Grendel’s mother, a police hero for Beowulf, a philandering doctor for the king, a bored socialite for his wife, and a watch and/or train for the dragon. Headley also name-checks the Beowulf Nowell Codex, making Nowell into Willa’s maiden name. The symbolism in the story is fairly postmodern (a.k.a. inconsistent) but various clues lead me to think this is about 1) the monsters that live inside us all, and 2) how the rich make monsters of the disenfranchised (a.k.a. from Beowulf, the children of Cain). There’s a lot of social commentary here. Reading this, I got a really strong feeling that Headley comes from a small town with a full quota of mean girls—she’s characterized them very well here, as well as the men they use as pawns in their machination. In a modern twist, it’s Mills who lives to get her revenge in the end, something that feels satisfying.

On the not so positive side, this was really hard to read. First, it is seriously depressing. There’s a lot of darkness in the original Beowulf, and Headley has magnified it here. We know how this story goes. The creation of monsters is a cloud that hangs over the whole narrative, and we’re not disappointed—the characters go down one by one to a bloody end at the hands of their creations. The somewhat satisfying ending didn’t do much to lighten things up. And next, as is usual these days, this was hugely padded. Heatley winds a plot that would have supported a short story out to 300 pages with fairly nonsensical ruminations that, as far as I can tell, are mostly used to create mood.

This is another case where I have to give points for the cynical look at society and the artistic effect, but it’s one of those “read at your own risk” books. Big trigger warnings.

Four stars.

Congrats to the 2019 Hugo Winners!

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Best Novel
The Calculating Stars, by Mary Robinette Kowal (Tor)
Record of a Spaceborn Few, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
Revenant Gun, by Yoon Ha Lee (Solaris)
Space Opera, by Catherynne M. Valente (Saga)
Spinning Silver, by Naomi Novik (Del Rey / Macmillan)
Trail of Lightning, by Rebecca Roanhorse (Saga)

Best Novella
Artificial Condition, by Martha Wells (Tor.com publishing)
Beneath the Sugar Sky, by Seanan McGuire (Tor.com publishing)
Binti: The Night Masquerade, by Nnedi Okorafor (Tor.com publishing)
The Black God’s Drums, by P. Djèlí Clark (Tor.com publishing)
Gods, Monsters, and the Lucky Peach, by Kelly Robson (Tor.com publishing)
The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)

Best Novelette
“If at First You Don’t Succeed, Try, Try Again,” by Zen Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
“The Last Banquet of Temporal Confections,” by Tina Connolly (Tor.com, 11 July 2018)
“Nine Last Days on Planet Earth,” by Daryl Gregory (Tor.com, 19 September 2018)
The Only Harmless Great Thing, by Brooke Bolander (Tor.com publishing)
“The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny Magazine 25, November-December 2018)
“When We Were Starless,” by Simone Heller (Clarkesworld 145, October 2018)

Best Short Story
“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)
“The Court Magician,” by Sarah Pinsker (Lightspeed, January 2018)
“The Rose MacGregor Drinking and Admiration Society,” by T. Kingfisher (Uncanny Magazine 25, November-December 2018)
“The Secret Lives of the Nine Negro Teeth of George Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
“STET,” by Sarah Gailey (Fireside Magazine, October 2018)
“The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23, July-August 2018)

Best Series
Wayfarers, by Becky Chambers (Hodder & Stoughton / Harper Voyager)
The Centenal Cycle, by Malka Older (Tor.com publishing)
The Laundry Files, by Charles Stross (most recently Tor.com publishing/Orbit)
Machineries of Empire, by Yoon Ha Lee (Solaris)
The October Daye Series, by Seanan McGuire (most recently DAW)
The Universe of Xuya, by Aliette de Bodard (most recently Subterranean Press)

Best Related Work
Archive of Our Own, a project of the Organization for Transformative Works
Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction, by Alec Nevala-Lee (Dey Street Books)

The Hobbit Duology (documentary in three parts), written and edited by Lindsay Ellis and Angelina Meehan (YouTube)
An Informal History of the Hugos: A Personal Look Back at the Hugo Awards, 1953-2000, by Jo Walton (Tor)
http://www.mexicanxinitiative.com: The Mexicanx Initiative Experience at Worldcon 76 (Julia Rios, Libia Brenda, Pablo Defendini, John Picacio)
Ursula K. Le Guin: Conversations on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)

Best Graphic Story
Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
Abbott, written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters by Jim Campbell (BOOM! Studios)
Black Panther: Long Live the King, written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario Del Pennino and Tana Ford (Marvel)
On a Sunbeam, by Tillie Walden (First Second)
Paper Girls, Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt Wilson, letters by Jared K. Fletcher (Image Comics)
Saga, Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)

Best Dramatic Presentation, Long Form
Spider-Man: Into the Spider-Verse, screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter Ramsey and Rodney Rothman (Sony)
Annihilation, directed and written for the screen by Alex Garland, based on the novel by Jeff VanderMeer (Paramount Pictures / Skydance)
Avengers: Infinity War, screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo and Joe Russo (Marvel Studios)
Black Panther, written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel Studios)
A Quiet Place, screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John Krasinski (Platinum Dunes / Sunday Night)
Sorry to Bother You, written and directed by Boots Riley (Annapurna Pictures)

Best Dramatic Presentation, Short Form
The Good Place: “Janet(s),” written by Josh Siegal & Dylan Morgan, directed by Morgan Sackett (NBC)
The Expanse: “Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon Entertainment)
Doctor Who: “Demons of the Punjab,” written by Vinay Patel, directed by Jamie Childs (BBC)
Dirty Computer, written by Janelle Monáe and Chuck Lightning, directed by Andrew Donoho and Chuck Lightning (Wondaland Arts Society / Bad Boy Records / Atlantic Records)
The Good Place: “Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell (NBC)
Doctor Who: “Rosa,” written by Malorie Blackman and Chris Chibnall, directed by Mark Tonderai (BBC)

Best Editor, Short Form
Gardner Dozois
Neil Clarke
Lee Harris
Julia Rios
Lynne M. Thomas and Michael Damian Thomas
E. Catherine Tobler

Best Editor, Long Form
Navah Wolfe
Sheila E. Gilbert
Anne Lesley Groell
Beth Meacham
Diana Pho
Gillian Redfearn

Best Professional Artist
Charles Vess
Galen Dara
Jaime Jones
Victo Ngai
John Picacio
Yuko Shimizu

Best Semiprozine
Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien
Beneath Ceaseless Skies, editor-in-chief and publisher Scott H. Andrews
Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, copyeditor Chelle Parker, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
FIYAH Magazine of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and Brent Lambert
Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff

Best Fanzine
Lady Business, editors Ira, Jodie, KJ, Renay & Susan
Galactic Journey, founder Gideon Marcus, editor Janice Marcus
Journey Planet, edited by Team Journey Planet
nerds of a feather, flock together, editors Joe Sherry, Vance Kotrla and The G
Quick Sip Reviews, editor Charles Payseur
Rocket Stack Rank, editors Greg Hullender and Eric Wong

Best Fancast
Our Opinions Are Correct, hosted by Annalee Newitz and Charlie Jane Anders
Be the Serpent, presented by Alexandra Rowland, Freya Marske and Jennifer Mace
The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
Fangirl Happy Hour, hosted by Ana Grilo and Renay Williams
Galactic Suburbia, hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts, produced by Andrew Finch
The Skiffy and Fanty Show, produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew

Best Fan Writer
Foz Meadows
James Davis Nicoll
Charles Payseur
Elsa Sjunneson-Henry
Alasdair Stuart
Bogi Takács

Best Fan Artist
Likhain (Mia Sereno)
Sara Felix
Grace P. Fong
Meg Frank
Ariela Housman
Spring Schoenhuth

Best Art Book
The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. Le Guin (Saga Press /Gollancz)
Daydreamer’s Journey: The Art of Julie Dillon, by Julie Dillon (self-published)
Dungeons & Dragons Art & Arcana: A Visual History, by Michael Witwer, Kyle Newman, Jon Peterson, Sam Witwer (Ten Speed Press)
Spectrum 25: The Best in Contemporary Fantastic Art, ed. John Fleskes (Flesk Publications)
Spider-Man: Into the Spider-Verse – The Art of the Movie, by Ramin Zahed (Titan Books)
Tolkien: Maker of Middle-earth, ed. Catherine McIlwaine (Bodleian Library)
There are two other Awards administered by Worldcon 76 that are not Hugo Awards:

Lodestar Award for Best Young Adult Book
Children of Blood and Bone, by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
The Belles, by Dhonielle Clayton (Freeform / Gollancz)
The Cruel Prince, by Holly Black (Little, Brown / Hot Key Books)
Dread Nation, by Justina Ireland (Balzer + Bray)
The Invasion, by Peadar O’Guilin (David Fickling Books / Scholastic)
Tess of the Road, by Rachel Hartman (Random House / Penguin Teen)

John W. Campbell Award for Best New Writer
Jeannette Ng
Katherine Arden
S.A. Chakraborty
R.F. Kuang
Vina Jie-Min Prasad
Rivers Solomon

And the 1944 retro Hugos:

Best Novel
Conjure Wife, by Fritz Leiber, Jr. (Unknown Worlds, April 1943)
Earth’s Last Citadel, by C.L. Moore and Henry Kuttner (Argosy, April 1943)
Gather, Darkness!, by Fritz Leiber, Jr. (Astounding Science-Fiction, May-July 1943)
Das Glasperlenspiel [The Glass Bead Game], by Hermann Hesse (Fretz & Wasmuth)
Perelandra, by C.S. Lewis (John Lane, The Bodley Head)
The Weapon Makers, by A.E. van Vogt (Astounding Science-Fiction, February-April 1943)

Best Novella
The Little Prince, by Antoine de Saint-Exupéry (Reynal & Hitchcock)
“Attitude,” by Hal Clement (Astounding Science-Fiction, September 1943)
“Clash by Night,” by Lawrence O’Donnell (Henry Kuttner & C.L. Moore) (Astounding Science-Fiction, March 1943)
“The Dream-Quest of Unknown Kadath,” by H.P. Lovecraft, (Beyond the Wall of Sleep, Arkham House)
The Magic Bed-Knob; or, How to Become a Witch in Ten Easy Lessons, by Mary Norton (Hyperion Press)
“We Print the Truth,” by Anthony Boucher (Astounding Science-Fiction, December 1943)

Best Novelette
“Mimsy Were the Borogoves,” by Lewis Padgett (C.L. Moore & Henry Kuttner) (Astounding Science-Fiction, February 1943)
“Citadel of Lost Ships,” by Leigh Brackett (Planet Stories, March 1943)
“The Halfling,” by Leigh Brackett (Astonishing Stories, February 1943)
“The Proud Robot,” by Lewis Padgett (Henry Kuttner) (Astounding Science-Fiction, October 1943)
“Symbiotica,” by Eric Frank Russell (Astounding Science-Fiction, October 1943)
“Thieves’ House,” by Fritz Leiber, Jr (Unknown Worlds, February 1943)

Best Short Story
“King of the Gray Spaces” (“R is for Rocket”), by Ray Bradbury (Famous Fantastic Mysteries, December 1943)
“Death Sentence,” by Isaac Asimov (Astounding Science Fiction, November 1943)
“Doorway into Time,” by C.L. Moore (Famous Fantastic Mysteries, September 1943)
“Exile,” by Edmond Hamilton (Super Science Stories, May 1943)
“Q.U.R.,” by H.H. Holmes (Anthony Boucher) (Astounding Science-Fiction, March 1943)
“Yours Truly – Jack the Ripper,” by Robert Bloch (Weird Tales, July 1943)

Best Graphic Story
Wonder Woman #5: Battle for Womanhood, written by William Moulton Marsden, art by Harry G. Peter (DC Comics)
Buck Rogers: Martians Invade Jupiter, by Philip Nowlan and Dick Calkins (National Newspaper Service)
Flash Gordon: Fiery Desert of Mongo, by Alex Raymond (King Features Syndicate)
Garth, by Steve Dowling (Daily Mirror)
Plastic Man #1: The Game of Death, by Jack Cole (Vital Publications)
Le Secret de la Licorne [The Secret of the Unicorn], by Hergé (Le Soir)

Best Dramatic Presentation, Long Form
Heaven Can Wait, written by Samson Raphaelson, directed by Ernst Lubitsch (20th Century Fox)
Batman, written by Victor McLeod, Leslie Swabacker and Harry L. Fraser, directed by Lambert Hillyer (Columbia Pictures)
Cabin in the Sky, written by Joseph Schrank, directed by Vincente Minnelli and Busby Berkeley (uncredited) (MGM)
A Guy Named Joe, written by Frederick Hazlitt Brennan and Dalton Trumbo, directed by Victor Fleming (MGM)
Münchhausen, written by Erich Kästner and Rudolph Erich Raspe, directed by Josef von Báky (UFA)
Phantom of the Opera, written by Eric Taylor, Samuel Hoffenstein and Hans Jacoby, directed by Arthur Lubin (Universal Pictures)

Best Dramatic Presentation, Short Form
Frankenstein Meets the Wolfman, written by Curt Siodmak, directed by Roy William Neill (Universal Pictures)
The Ape Man, written by Barney A. Sarecky, directed by William Beaudine (Banner Productions)
Der Fuehrer’s Face, story by Joe Grant and Dick Huemer, directed by Jack Kinney (Disney)
I Walked With a Zombie, written by Curt Siodmak and Ardel Wray, directed by Jacques Tourneur (RKO Radio Pictures)
The Seventh Victim, written by Charles O’Neal and DeWitt Bodeen, directed by Mark Robson (RKO Radio Pictures)
Super-Rabbit, written by Tedd Pierce, directed by Charles M. Jones (Warner Bros)

Best Editor, Short Form
John W. Campbell
Oscar J. Friend
Mary Gnaedinger
Dorothy McIlwraith
Raymond A. Palmer
Donald A. Wollheim

Best Professional Artist
Virgil Finlay
Hannes Bok
Margaret Brundage
Antoine de Saint-Exupéry
J. Allen St. John
William Timmins

Best Fanzine
Le Zombie, editor Wilson “Bob” Tucker
Fantasy News, editor William S. Sykora (striken from ballot July 21)
Futurian War Digest, editor J. Michael Rosenblum
Guteto, editor Morojo (Myrtle R. Douglas) (added to ballot July 21)
The Phantagraph, editor Donald A. Wollheim
Voice of the Imagi-Nation, editors Jack Erman (Forrest J Ackerman) & Morojo (Myrtle Douglas)
YHOS, editor Art Widner

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