With awards season picking up, we try to avoid talking about them and pretty much fail. There is other stuff: on reading Heinlein today and the new bio that’s coming out, who would make the Big 5 in SF now etc.
I have mixed feeling about posthumous recognition. There is no doubt in my mind that acknowledging a person and their work, and acknowledging them and it fulsomely, during the person’s lifetime is the best and most appropriate approach when it comes to presenting awards, prizes and so on. There’s a feeling though, which I share to some extent, that if the person being acknowledged isn’t able to enjoy that recognition, it is somehow unnecessary or pandering or flawed.
This overlooks or undervalues a context for recognition that has value. Awards, especially career awards, are intended for their recipients, but they also act as part of our cultural memory. The recipients of lifetime achievement awards are admitted to a hall of fame where they join the company of their peers, so that they are counted when we look back our shared history.
This is very much why I welcome the recognition of Samuel R. Delany with the SFWA Grand Master Nebula, and why I continue to call for that recognition to be extended to C.J. Cherryh (both happily very much with us to enjoy the honour). But it is also why I continue to consider allowing posthumous recognition for some of these awards to be an idea that has merit.
The reason I am raising this now is that, very sadly, Lucius Shepard died recently at the age of 70. A Hugo, Nebula, and World Fantasy Award winner, Shepard for more than 30 years wrote some of the most incendiary and memorable fiction the field has ever seen. Classics like “R&R”, “The Jaguar Hunter”, “Delta Sly Honey”, “The Man Who Painted the Dragon Graiule”, “The Scalehunter’s Beautiful Daughter”, and many, many more. Were he still alive he would, in my opinion, be an obvious choice for the World Fantasy Lifetime Achievement Award. That award, however, can only go to living recipients, or to recipients that have died during the year of nomination (in other words, 2014 is the final year Shepard could be recognised with the award).
And so I am curious, oh readers, what your thoughts are. I probably will nominate Shepard for the award, but do you think it’s an idea that has merit?
On the eve of the publication of her new adult science fiction novel, Lagoon, the wonderful Nnedi Okorafor joins our intrepid podcasts to discuss the evolution of the book, what she’s been working on since we last spoke in April 2012, Nigerian literature, and much more.
As always, our thanks to Nnedi and we hope you all enjoy the podcast.
Other books mentioned in the podcast:
NB: This post was retitled from Nnedi Okorafor, Lagoon and Nigerian Fiction to more correctly reflect the content of the podcast.
It would seem that I have been incredibly fortunate and been presented with the Aurealis Awards’ Peter McNamara’s Convenor’s Award for Excellence. I’m incredibly honoured and would like to thank everyone involved, especially my dear friends Cat Sparks (who presented the award) and Sean Williams (who accepted the award on my behalf). I’d also like to thank everyone for their kind words and congratulations. I feel deeply honoured tonight.
I had been asked to provide a few words, and this is what I sent Sean to say on my behalf:
I have only attended one Aurealis Awards ceremony, a small affair held in a Melbourne book store what seems like a hundred years ago. I hear they’ve grown and become something very swish and special. My friend Cat Sparks is always telling me they are wonderful and that I should come and enjoy the champagne and glamour. Sadly timing and other mundane things mean I can’t be there, but I wish I could be, especially tonight.
I am deeply honoured to be presented with the Peter McNamara Convenor’s Award. As I look back through the list of previous recipients I see dear friends, respected colleagues, and even a book that I helped to publish way back when. This award bears the name of one of my oldest colleagues and friends: Peter McNamara. He was a great editor and publisher, a passionate supporter of Australian science fiction and fantasy, and a wonderful person. It pleases me more than I can say that this award is linked to him.
I’d like to thank the judges and everyone at the Aurealis Awards, Sean Wlliams (who is reading this for me and who has been a dear, dear friend since the very beginning), everyone in the Australian SF community who has worked with me or helped me over the past 25 years, and my family, who allow me the time to do this.
The Aurealis Awards have been very kind to me and I’m deeply grateful to everyone there, especially Tehani Wessely who works incredibly hard each year on them.
I’d also like to repeat my sincere congratulations to all of the winners, the nominees and the judges at tonights awards. What a night it seems to have been!
I have been editing best of the year annuals since 1996, with a break between 1998 and 2002, and consistently since then. For one brief period I even edited or co-edited three different annual series at the same time. I was the butt of good-natured jokes on Locus Online, I did it so often. My 20th annual is about to hit bookstores, in fact.
I preface with this because the quick thought I want to express needs to be considered against this background. I clearly love short fiction and over the past eighteen or so years I have read a lot of it. It’s entirely possible that my thoughts are product of this and nothing more. But still…
Way back in 1996 when I started editing annuals Locus estimated there were 2,000 or so short stories published in professional markets that year. It’s a goodly number, and in truth was probably something of an underestimation. It also palls beside the likely numbers published during the heady days of the Pulps in the 1940s, but things have gone crazy lately. I don’t think Locus published an estimate on the number of stories in professional markets this year, but I’d bet there was many more published than that. In fact, given changes to how we regard ‘professional’ and other markets, I’d suggest that there were far, far more than that: tens of thousands of new stories published every where from Twitter to Facebook, website to online store, print zine to web zine, anthology to collection, and far more than that.
This outpouring of fiction is not a bad thing – don’t think that. It is wonderful to see the increasing diversity in the range of writers being published from all over the world. We are immeasurably enriched by their involvement. And it really doesn’t matter any more if the stories are self-published or not. They are published, and so they are part of our potential reading experience.
That fact is simultaneously exhilarating and exhausting. I have been wondering if, in fact, SF itself is finding the flood of new fiction more exhausting than anything else. There is no way to keep up with the torrent, no ready way to find and know about so much. On one hand this makes me happy: my best of the year books have never been more useful. On the other, though, I can’t help wonder if SF itself could do with a little bit of surcease….