Conservative vs. Liberal in the SFF Community

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Following up on the last blog, why do liberals/progressives feel like they have to force change? Why does N.K. Jemisin, for example, feel like she has to stand up in front of the WorldCon audience and accuse the SFF community of grudging acceptance of minorities (i.e. racism)? Is she right? And once she’s been privately called “graceless” because of this, why do some members of the community feel they have to leap to her defense?

I’d like to suggest this is because liberals remain in a distinct minority within the community, and the fact that liberals remain a minority means they have to try harder to be heard. Minority status for liberals in the SFF community somewhat defies conventional wisdom. There’s been quite a split in the community in recent years along political lines. I’ve seen a ton of articles about how the community is now more progressive because it’s inclusive of minorities and women. Supposedly there has been a big swing in publishing toward works these members read and write. Meanwhile, the big seller this year was classed as hard SF, Andy Weir won the Dragon Award, and I met an engineer last night who asked me for a list of authors who wrote books he might like.

So, have the demographics actually changed that much? Since there aren’t a lot of studies about readership in the SFF community, I’ll have to look at general demographics. In the US Gallup says conservatives and moderates heavily outnumber liberals; about 42% of the population identify as conservative, 35% as moderate and 20% as liberal, with 3% other. If you assume the SFF community also breaks out this way, then liberals are actually a huge minority. Even if the community has a much bigger liberal faction than the general population, this still likely leaves this group well into minority status. The Daily Dot recently identified WorldCom as a conservative organization. Because of all noise about diversity in the Hugo Awards, this may seem a little surprising, but maybe it’s not, after all.

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WorldCon’s Voting Problem

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WorldCon has considered itself a bastion of the progressive in the face of the recent Sad/Rabid Puppy traditionalist siege, so the recent programming crisis has blindsided a lot of people. For anyone who’s missed it, some of the high points played out on Twitter like this:

  • Bogi Takács complains about errors representing their name and gender in the WorldCon bio.
  • After responses from the WorldCon team, the staff is accused of lying about the errors.
  • Some guests complain about bios and photos being taken from their private accounts.
  • The programming schedule is issued and several Hugo Award nominees are not represented, although some members of the staff are listed on multiple panels.
  • WorldCon issues an explanation about programming as follows: “There’s a generation of new Hugo finalists who are exciting to the nominators but completely unfamiliar to attendees.”
  • JY Yang calls out WorldCon staff for not providing program space for #ownvoices (later amended to not a good enough space).
  • Management continues to apologize and promises to rework the schedule.

A lot of this likely has to do with standard inefficiency and delegating the work to clueless but enthusiastic volunteers way down the food chain. Dealing with the nominees and panel applicants also looks like a matter of herding cats, where potential guests, in time-honored fashion, totally fail to RSVP. However, there are a couple of interesting issues that showed up in the discussion about this at File 770.

The first is the revelation that out of 4630 attendees to the con, 2000 of them applied for positions on the program. This is 43%, or almost half. This suggests that these 2000 are either industry professionals with something to promote, or else they consider themselves professional fans with an opinion worth listening to. Of course, this means the staff in charge of programming have a huge pile of applications to wade through, trying to sort out who might be interesting to the larger body of attendees.

The real mind-bender from the above, of course, is that comment: “There’s a generation of new Hugo finalists who are exciting to the nominators but completely unfamiliar to attendees.” Since this comment was not well considered, I think we can assume it represents an unfiltered assessment of the situation from someone on the programming staff who is struggling to sort out those 2000 applicants. The reason it’s not well considered, of course, is that it strongly implies the WorldCon attendees either haven’t read or don’t much care about the work of the Hugo finalists.

This is a huge crisis of faith. At File 770, it led to questions about the reliability of the new EPH voting system installed last year, which was meant to ensure “diversity” by reducing the impact of slate voting. But actually, this isn’t a problem in reliability of the nomination and voting system, or even a question of cheating. I talked to a WorldCon member who told me what she does. Because she’s very busy, she doesn’t really have time to read ahead of the vote, so she just checks lists of recommendations and chooses prominent minorities and women for the ballot. I’d like to suggest this is why the WorldCon membership isn’t really excited about the work of this years’ finalists. They were chosen for who they are rather than for what they wrote.

At this point, I hope this isn’t a surprise to anybody. After all, isn’t that why people put up those biographies that describe their minority status in such detail?

Identity politics bullies versus SFF Con management 2018

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At the end of July, WorldCon became another in the list of SFF conventions that experienced partisan conflict this year about programming, guests or treatment of guests. Special interest groups have apparently moved on from insisting on strict Codes of Conduct for the conventions to insisting on excluding certain guests and demanding particular programming as part of the same agenda. The complaints flying around are the same ones honed for use in the Code of Conduct campaign, words like “unsafe,” “disrespected” and “harassment.” These loaded words are apparently based on such ordinary things as fiction releases and errors in biographies. It seems mostly a problem on the progressive left, but after conservative author Jon Del Arroz didn’t get what he wanted from a kerfluffle at BayCon, he filed suit for defamation—an indication of how far people will go to get their way.

Most of this problem is just victim/identity politics, where people maneuver for advantage through bullying tactics. If you’re a minority and want recognition, then the best way to do it these days is to make noise about being victimized and disrespected and otherwise causing a stink. Progressives are trained to respond with abject apologies and to jump to make adjustments that give you what you want. Because the cons have limited resources and can’t afford massive disturbances and bad press, most have folded to demands. This has led to complaints from other groups harmed by the changes, such as conservatives or older writers. This must have been a particularly aggressive group of activist bullies at WorldCon. See Mary Robinette Kowal comments on trying to work with them. The only failure of this strategy so far seems to have been DragonCon, which ignored guest withdrawals and fired agitators from their positions on staff.

Whatever, WorldCon management busily tried to accommodate the complaints and save their reputation as progressive. There was quite a scramble going on in the last weeks before the con, where the staff completely tore apart the programming and started over. Sensitive guests withdrew to make room for minorities. Teams were called in to help. But, the truth is, they can’t satisfy the demands because it’s not just about appearing on a panel. The progressive ground has moved out from WorldCon members’ feet. An article in the Daily Dot actually classifies their standard demographic as “overlapping” with the Sad Puppies. Who would have thought?

Next, interesting questions about the Hugo voting that emerged in the crisis.

Review of “Wind Will Rove” by Sarah Pinsker

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This novelette is a finalist for the 2017 Nebula Award. It’s science fiction and was published in Asimov’s September/October 2017 issue. This review contains spoilers.

Rosie Clay is a resident on a generation ship who teaches history and plays traditional fiddle in a weekly OldTime gathering. Rosie is third generation and never saw Earth, but she tries hard to maintain the history the ship has left. A few years out, a disgruntled programmer erased the databases of art, literature and history the ship carried, leaving the residents with nothing but memory to use in recreating them. Now the younger generations are starting to question why they’re required to learn and maintain this history when it is in no way useful to their own way of life. One group totally withdraws to form an artistic enclave and produce only new works. Is there any reason to save the past?

This isn’t just a question that people on a generation ship are asking. When should people expend resources trying to preserve the past and when should it all go in the trashcan? It’s a conflict between conservatives who want to preserve tradition and progressives who want to create a totally new future, all of it framed in music within this story. When Rosie accidentally creates a new song, she decides to document it carefully, creating a middle path. In the current political climate, this is a radical statement.

The music and efforts to recreate the past become the major players in the work. The story rambles, with Rosie’s narration moving from memories of her Grandmother Windy to music to events on the ship to encounters with students in her classroom. The author’s love of music comes through clearly, and anyone who has played in this kind of traditional group will share in her experience.

Not so good points: Because the narration centers so heavily around the music, generally the world building and the characters are poorly developed. We hear a lot about Windy and how she became a legend to the ship’s musicians, but know almost nothing about Rosie’s current family, the organization of the ship, the technology that runs it, etc. The conflict here is weak, too. The programmer’s act and the effort at recreation are both in the past, and at the point of the story, there’s nothing for Rosie to fight against except a minor rebellion in her classroom.

Three and a half stars.

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?

What If? Attacks on Rocket Stack Rank

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A furor erupted this week in SFF cyberspace about pronouns and how reviewer Greg Hullender of Rocket Stack Rank has made light of them. For anyone just tuning in, Rocket Stack Rank (RSR) is a review site run by Hullender and Eric Wong that provides brief reviews of stories eligible for the major SFF awards, including the Nebula, the Hugo, and presumably the Bram Stoker and other awards.

The site has received a lot of positive notice, and recently Hullender was tapped to serve on the Locus panel that feeds the major awards. In response, a group of SFF authors posted an open letter complaining about the pronoun issue and Hullender’s take on trans and non-binary characters in the reviews, also calling him a racist for good measure. Since I’m not trans or non-binary, I’m going to refrain from commenting on this. Everybody is entitled to their own feelings. However, I just wrote the last blog on virtue signaling, so I’m looking at this dust up through that lens.

Hullender promptly posted an apology to “all readers and authors we’ve harmed and offended.” This was judged unacceptable because he also wrote a response to the charges with evidence to demonstrate how they were questionable. Of course, it’s unsupportable to discriminate against people because of their race, gender or trans status, but what if this is actually about something else?

David Gerrold recently made some interesting comments at Amazing Stories. He basically says that members of the SFF community have to stand up and take sides in the progressive/conservative fight in order to save their reputations. This is troubling because it suggests you can’t just remain neutral. Instead, you have to take sides, and then to signal your virtue through word and action in order to be accepted in the community. So why are Hullender and Wong being attacked? Have they not done this properly?

The authors of the open letter think they’re insensitive racists. Hullender seems to think they‘re thoughtful progressives. So, are they posting discriminatory reviews, or are they just posting equal opportunity bad reviews for stories they don’t like?

Trans is the current cause célèbre. Is critiquing the stories not proper virtue signaling? What are members of the community expecting instead?

Virtue Signaling vs. Independent Thinking

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On September 9, David Gerrold posted an interesting essay at the Amazing Stories website. Yeah, I know that was two months ago, but I running a little behind on my reading. What makes this interesting is that I can’t make out if it’s a warning, a complaint or an apology.

Gerrold’s title is “Humanity’s R&D Department: Science Fiction.” He starts off saying that the universe is a place of constant change and that SF is a way to investigate that. “This literature is the laboratory in which we consider the universe and our place in it,” he says. “It is the place where we ask, ‘Who are we and what is our purpose here? What does it mean to be a human being?’”

Because he’s talking about SF, I expected this would be about technology and how this impacts the human condition, but instead, he’s aiming at social issues and how it’s inevitable these concerns will be reflected in SF publishing. Then he gets to what’s really bothering him, which is the current traditional vs. progressive split in the SFF community. He calls out some people who have said things that were “ill-considered,” (apparently aiming at just the traditionalist side). He then moves into a parable about “throwing shit,” and what you should do if you’re standing next to a person who’s doing this. His answer is that you need to speak up about it because your reputation in the community is at stake. What he’s talking about is virtue signaling, where you separate yourself from the other side through criticisms, attacks and “me, too” statements that are socially prescribed.

This is now a requirement in the SFF community? That’s what he’s saying, right? So, what does he mean by this?

First possibility: A warning.
Does Gerrold mean that you’re in danger of being black-listed as an author if you don’t take sides? If you don’t clearly indicate your support for the current progressive direction of mainstream SF publishing? In this case, you don’t have to think about issues at all, you just announce your support and you’ll be fine.

Second possibility: A complaint.
Does Gerrold not like being forced to fight this battle? You have to remember that he’s been in the thick of the conflict, He was SWATted in 2015 by Lou Antonelli in response to the conflict about the Hugo Awards. Is he tired of being the figure-head for the progressive movement that crashes into things and takes all the damage?

Third possibility: An apology.
Is this explanation Gerrold’s apology to the traditionalists? Does it indicate that he feels forced into supporting the progressive movement and therefore has no choice other than to attack a lot of people who were probably his friends before this all got started?

In the current climate, I think all these possibilities are disturbing. It all comes back to that first possibility, where you’re required to say certain things and attack certain people because of social coercion. Where you don’t get to think first, or consider the issues, or look at arguments from the other side at all. Instead, you say the right things in support of the right people and you’re fine.

This is pretty much the definition of “groupthink.” According to Wikipedia, this is “a psychological phenomenon that occurs within a group of people in which the desire for harmony or conformity in the group results in an irrational or dysfunctional decision-making outcome.” In other words, the desire for conformity displaces independent thinking and criticism. Note the part about the dysfunctional outcome.

More on this later.

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