Solidarity Statement

Vector would like to express our solidarity with the anti-racism protests currently occurring in the USA, UK, and around the world. The BSFA Chair will be doing the same, in the newsletter this week, on behalf of the BSFA.

For those of us in the UK who would like to find out more ways of offering practical support, but don’t know where to start, a few useful resources relating to anti-racism, policing, courts, and prisons are:

See also: #BlackOutTuesday

 

A review of Stanisław Lem: Philosopher of the Future

By Bruce A. Beatie

Peter Swirski, Stanisław Lem: Philosopher of the Future. Liverpool University Press, 2015 (Liverpool Science Fiction Texts and Studies, 51). ISBN 978-1-789620-54-2. Paperback, $35.41 / £19.95.

Stanislaw Lem: Philosopher of the Future

Memory tells me that I started reading science fiction in the late 1940s in the form of Heinlein stories that had appeared in Boys Life, which I subscribed to as a boy scout. When I started college at Berkeley in 1952, I discovered the Elves, Gnomes, and Little Men’s Science Fiction, Chowder and Marching Society. By the time I’d spent four years in the Air Force and finished my graduate studies at Harvard, I had collected a large SF library,  including an almost complete run of Astounding. The point of this narrative is that my deepest knowledge of SF was the so-called Golden Age. Though I’ve continued reading SF and fantasy, and have published over fifty reviews of SF and fantasy books in the last twenty years, the renowned Polish writer Stanisław Lem has remained on the borderline of my reading.

When Vector (the journal of the British Science Fiction Association) solicited reviewers for this book, I offered because I wanted to learn about Lem. For readers who share my previous ignorance, Lem was born in 1921 in Lwów, Poland (now Lviv in the Ukraine), and died in Krakaw in 2008. According to Swirski’s bibliography, Lem’s first published science fiction story appeared in 1946 (Man from Mars—translated title); his first collection of SF stories appeared in 1957 (translated in 1977 as The Star Dairies). Fiasco, his final SF publication, appeared in 1987, translated with the same title in 1988.

Peter Swirski himself was born in Canada in 1966 but has spent most of his professional life elsewhere; presently a distinguished visiting professor in China, he has also taught in Finland and Hong Kong. His preoccupation with Stanisław Lem began with a 1992 article in Science Fiction Studies; the monograph reviewed here is the latest of Swirski’s six book publications on Lem. His other publications are on aspects of American literature and culture. Continue reading “A review of Stanisław Lem: Philosopher of the Future”

I Went Looking for AfroSF 

In this article, Eugen Bacon reflects on her journey of discovery into AfroSF. Meanwhile, Ivor W. Hartmann’s groundbreaking AfroSF anthologies are currently included in the African Speculative Fiction bundle from Story Bundle.

By Eugen Bacon

It was a love and hate relationship with M. The brusque and direct nature of this editorial colleague of mine every so often came across as pomposity, and I knee-jerked. So much that I nearly fell in wonder when M approached me asking for a favour. 

“How about a pitch?” he said. “I’ve seen this AfroSF thing on Amazon a couple of times, it would be great to write an article.” 

M was offering an olive branch. He wanted me to write for his nonfiction section of a popular magazine. And I had just the title for this piece: “What is AfroSF?” To put it in context, this was a few years ago. 

It was a journey of discovery that led me to a community. The African Australian in me was curious to unearth AfroSF, an inquisitive quest to decipher this literary movement, this subgenre of science fiction—what was it exactly? Yes, I anticipated that it had some derivation from hard or soft science fiction, cyberpunk, mutant fiction, dystopian or utopian fiction, pulp, space opera, and the like, and that it had something to do with Africa. What else would I discover?

An online search steered me to a 406-paged anthology published in December 2012 by StoryTime, a micro African press dedicated to publishing short fiction by emerging and established African writers. The StoryTime magazine was formed in 2007 in response to a deficit of African literary magazines.

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Some readers described it as a ‘ground-breaking anthology’ of diversity and hope, an ‘African Genesis’ that was intense and varied in its fresh viewpoints. Editor and publisher Ivor W. Hartmann spoke of his dream for an anthology of science fiction by African writers, and his realisation of this vision in a call for submissions that birthed original stories published as AfroSF. Illuminating his fascination with the collection, Hartmann said, ‘SciFi is the only genre that enables African writers to envision a future from our African perspective.’

Bravo, I thought of this Zimbabwean writer, editor, publisher, visual artist and author of Mr Goop (2010)—an award-winning post-apocalyptic short story of a boy who struggles with coming-of-age concerns like bullies and scholarly performance, in a science fiction society called the United States of Africa, guarded by robots and chaperoned by humanoid genoforms.

Continue reading “I Went Looking for AfroSF “

2019 BSFA Award winners

Best Novel

  • WINNER: Children of Ruin, Adrian Tchaikovsky (Tor)

  • The Green Man’s Foe, Juliet E. McKenna (Wizard’s Tower)

  • Atlas Alone, Emma Newman (Gollancz)

  • Fleet of Knives, Gareth L. Powell (Titan)

  • The Rosewater Insurrection, Tade Thompson (Orbit)

Best Shorter Fiction

  • WINNER: This is How You Lose the Time War, Amal El-Mohtar & Max Gladstone (Jo Fletcher)

  • To Be Taught, If Fortunate, Becky Chambers (Hodder & Stoughton)

  • “Jolene”, Fiona Moore (Interzone 9-10/19)

  • Ragged Alice, Gareth L. Powell (Tor.com Publishing)

  • The Survival of Molly Southbourne, Tade Thompson (Tor.com Publishing)

  • “For Your Own Good”, Ian Whates (Wourism and Other Stories)

Best Non-Fiction

  • WINNER: The Pleasant Profession of Robert A. Heinlein, Farah Mendlesohn (Unbound)

  • Sideways in Time: Critical Essays on Alternate History Fiction, Glyn Morgan & C. Palmer-Patel (eds) (Liverpool University Press)

  • About Writing, Gareth L. Powell (Luna)

  • HG Wells: A Literary Life, Adam Roberts (Palgrave Macmillan)

  • “Away Day: Star Trek and the Utopia of Merit”, Jo Lindsay Walton (Big Echo)

Best Artwork

  • WINNER: Cover of Wourism and Other Stories by Ian Whates, Chris Baker (Luna)

  • Cover of Deeplight by Frances Hardinge, Aitch & Rachel Vale (Macmillan)

  • Cover of Fleet of Knives by Gareth L. Powell, Julia Lloyd (Titan)

  • Cover of The Rosewater Redemption by Tade Thompson, Charlotte Stroomer (Orbit)

  • Cover of Interzone 11-12/19, Richard Wagner

The awards were voted on by members of BSFA and the British Annual Science Fiction Convention (Eastercon). Congratulations to all the winners and all the shortlistees.

The BSFA Awards were administered by Awards Administrator Clare Boothby, with help from Allen Stroud, Luke Nicklin, Karen Fishwick, and others.

Earlier / Elsewhere:

Becoming Visible: The Rise of Black Speculative Fiction

Screenshot 2020-05-11 at 20.30.21

Eugen Bacon is an award-winning writer of speculative fiction and non-fiction. Her works include Claiming T-Mo (Meerkat Press 2019), Writing Speculative Fiction: Critical and Creative Approaches (Macmillan 2020), Inside the Dreaming (NewCon Press, 2020) and Hadithi and The State of Black Speculative Fiction, a forthcoming collaboration with Milton Davies (Luna Press, 2020). In this essay, she reflects on some of her favourite black speculative fiction.

 As an African Australian who’s grappled with matters of identity, writing black speculative fiction is like coming out of the closet. It’s a recognition that I’m Australian and African, and it’s okay—the two are not mutually exclusive. I am many, betwixt, a sum of cultures. I am the self and ‘other’, a story of inhabitation, a multiple embodiment and my multiplicities render themselves in cross-genre writing. As a reader, writer and an editor, I’m increasingly noticing black speculative fiction, and it’s on the rise.

Continue reading “Becoming Visible: The Rise of Black Speculative Fiction”

Productive Futures: A report

Conference Report

Productive Futures: The Political Economy of Science Fiction

12- 14 September 2019

Bloomsbury, London

By Jasmine Sharma 

“The history of science fiction (SF) is the history of unreal economics: from asteroid mining to interstellar trade, from the sex work of replicants to the domestic labour of housewives of galactic suburbia, from the abolition of money and property to techno- capitalist tragedies of the near future.”

The opening statement of the Call for Papers caught the attention of researchers, scholars, artists and authors engaged with the central theme of the conference: science fiction. The connection between science fiction and economics broadened the dynamics of multidisciplinary interaction, encouraging presentations not only from literary studies, but also from architecture, arts and aesthetics, cultural studies, film studies, law, history, politics and international relations, media studies, philosophy, science and technology studies, social anthropology and many more. 

Organized by the London Science Fiction Research Community (LSFRC), and held within the heart of the city, that is the School of Arts Building, Birkbeck, the conference witnessed an exciting exchange of ideas and an orientation to global participation. UK delegates were joined by those from other European countries like Denmark, Germany, Finland and Netherlands, from Canada and the USA, and finally from institutes as distant as The University of Wollongong, Australia, The Chinese University of Hong Kong, and The Indian Institute of Technology, India. It was suggested at the end of the conference, only half-jokingly, that LSFRC now stood for Large Science Fiction Research Community.

Continue reading “Productive Futures: A report”

Sideways in Time: A review

Sideways in Time: Critical Essays on Alternate History Fiction, edited by Glyn Morgan and C. Palmer-Patel

Reviewed by Nick Hubble

On Friday 19 February 2016, Boris Johnson, wrote two drafts of an article intended for publication in the following Monday’s Daily Telegraph. The first argued in favour of Britain leaving the European Union; the second argued in favour of Britain remaining in the European Union (see Shipman 2016: 170-3, 609-18). As we know, Johnson opted to publish a redrafted version of the original, went on to become the figurehead of the successful Leave campaign and, in 2019, became Prime Minister of the United Kingdom and then won a General Election by a landslide. But what if he’d published a polished version of the second article instead and decided to support Remain in the European referendum?

Continue reading “Sideways in Time: A review”

Deconstructing the King of the Katz

By David John Beesley

King of the Katz Title shot

Making art can follow many differing paths: allowing the subconscious to do its thing; waiting for inspiration to strike alongside the time to realise craft, developing pleasure in process and deeper understandings of the self. The Neo Liberal market’s force for establishing one’s own name as a brand is a powerful psychological vortex, and for some, it is also imperative to follow the academic establishment’s call for deep research and being precise in defining one’s conceptual intentions. For myself, a commitment to the process of assemblage seems appropriate in an age of polarised economical ideologies; I see this as a way of presenting stratified social critiques –  an ethical choice. 

My favourite indulgence in developing ideas is a long walk or deep soak in the tub – establishing time for reflection. I came up with a draft for my film in about two or three hours… I was twitchingly excited, as I’d conceived an idea to make a Cli Fi Western. 

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Continue reading “Deconstructing the King of the Katz”

Universal Basic Income in Science Fiction

This is an expanded version of an article that appeared in Vector 288.

UBI SF

Universal Basic Income (UBI) seems to be appearing more and more in near-future (and far-future) science fiction. Perhaps it’s even becoming a kind of mark of futurity. Not exactly in a “starships and androids” way: UBI often seems to be fairly incidental to the plot, just something writers feel they should probably include to avoid their work dating rapidly.

This isn’t surprising: UBI is also appearing more and more in political discourse. It’s not just campaigners who are talking about it any more, it’s policymakers and politicians too. There have been smaller pilots and trials ongoing for some time. Major economies such as Spain are now rolling out UBI at scale on a temporary basis (presumably) to help cope with the Coronavirus crisis. There is increasing pressure for other countries to do the same. In the UK, one recent policy briefing argues:

Universal Basic Income (UBI) could provide faster and more effective income support during the COVID-19 crisis than that offered under existing UK Government schemes.

Although it also cautions:

More interventionist and state-entrepreneurial approaches – including investments in Universal Basic Services (UBS), place-based industrial strategy, technological innovation and skills training – could deliver much more effectively many of the benefits often claimed for UBI for a similarly significant level of public expenditure.

So what is UBI? Well, it’s a regular, guaranteed payment that goes to everybody. That’s a key thing about Universal Basic Income: it should really go to everybody, not just to “those in need.” This part is controversial, so sometimes the term Basic Income is used instead. But for this article, we’ll stick with the term UBI.

Beyond left and right?

It may feel like UBI is a naturally pretty left-wing idea, and indeed UBI has a lot of supporters on the left. But it has a lot of supporters on the right too. For example, UBI appeals to many of those libertarians who despise ‘Big Government,’ and want to find innovative ways of rolling back the state: why not just ensure everybody has cash to spend, and let the market figure out the rest? UBI also appeals to some conservatives, who see UBI as something deserved by all the decent, upright citizens of this proud nation, as a way of tidying up and reinforcing hierarchies, rather than disturbing them.

All in all, UBI has attracted fans as diverse as Martin Luther King Jr. and Milton Friedman. Tech celebs such as Mark Zuckerberg and Elon Musk like it, as do social democrats and progressives like AOC and Ilhan Omar (at least during plague times), as do lefty political theorists like Kathi Weeks, Nick Srnicek and Alex Williams.

UBI-fi

The truth is, there are a huge range of very different possible policies (very different possible societies, even) that get lumped together under the umbrella term “UBI.” Science fiction has a role to play in exploring the variousness of UBI, the many ways it could be implemented, and the many possible second- and third-order ramifications. Overall, science fiction treats UBI as something whose social and moral significance is yet to be determined. There is good UBI and bad UBI. UBI is witches.

Some works of science fiction (or adjacent) that feature UBI (or adjacent) include:

  • Robert Heinlein’s For Us, The Living: A Comedy of Customs
  • Zoë Fairbairns, Benefits
  • Mack Reynolds, Police Patrol: 2000 AD
  • Philip José Farmer, Riders of the Purple Wage
  • Robert Anton Wilson and L. Wayne Benner’s RICH economy
  • Carl Hoffman, 2037 NZ: One Hell of a Paradise
  • Adam Roberts, By Light Alone
  • Efe Okogu, ‘Proposition 23’
  • Tim Maugan, ‘Flyover Country’
  • William Squirrel, ‘They Built the New Jerusalem on the Ruins of the Old
  • Lee Konstantinou, ‘Burned Over Territory’
  • Matthew Binder, The Absolved
  • E. Lily Yu, ‘The Doing and Undoing of Jacob E. Mwangi’
  • Marshall Brain, Manna
  • ‘Basic’ in The Expanse

Please suggest more in the comments below! Continue reading “Universal Basic Income in Science Fiction”