Arthur C Clarke Award Winner, 2011

Congratulations to Lauren Beukes, whose Zoo City yesterday won the juried Arthur C Clarke Award for the best work of science fiction published in the UK in 2010!

<strike>Twelve</strike> Eleven people correctly guessed the winner from the shortlist of six books. Next week, we will find out which of those twelve is the lucky winner of two short story collections, Fables from the Fountain, NewCon Press’ homage to Arthur C. Clarke’s Tales from the White Hart; and Celebration, an anthology published in honour of the BSFA’s fiftieth anniversary.

P.S. Abigail rounded up reviews of the shortlist, pre-award announcement.
After the award announcement: Alison Flood at the Guardian; Paul Graham Raven at CultureLab; Niall at Strange Horizons

Vector #266

3 • Torque Control • editorial by Shana Worthen
4 • A Year in Review: Looking Back at 2010 • essay by Martin Lewis
5 • 2010: Books in Review • essay by Graham Andrews and Lynne Bispham and Mark Connorton and Gary Dalkin and Alan Fraser and Niall Harrison and David Hebblethwaite and Tony Keen and Paul Kincaid and Jonathan McCalmont and Martin McGrath and Anthony Nanson and Martin Potts and Paul Graham Raven and Ian Sales and Jim Steel and Martyn Taylor and Sandra Unnerman and Anne Wilson
15 • 2010: Television in Review • essay by Alison Page
20 • 2010 in Film: Not My Kind of Genre • essay by Jonathan McCalmont
24 • Strip Club: A Fanciful Flight • essay by Terry Martin
26 • The Promises and Pitfalls of a Christian Agenda in Stephen Lawhead’s Pendragon Cycle • essay by Anthony Nanson
30 • Scholars and Soldiers • [Foundation Favourites • 12] • essay by Andy Sawyer
32 • Alpha Centauri • [Resonances • 61] • essay by Stephen Baxter
34 • Kincaid in Short • [Kincaid in Short] • essay by Paul Kincaid
37 • Review: Finch by Jeff VanderMeer • review by Paul Graham Raven
38 • Review: Lightborn by Tricia Sullivan • review by Jonathan McCalmont
39 • Review: Surface Detail by Iain M. Banks • review by Marcus Flavin
40 • Review: The Technician by Neal Asher • review by Stuart Carter
40 • Review: Version 43 by Philip Palmer • review by David Hebblethwaite
41 • Review: How to Live Safely in a Science Fictional Universe by Charles Yu • review by Martin McGrath
41 • Review: Galileo’s Dream by Kim Stanley Robinson • review by Anthony Nanson
42 • Review: Music for Another World by Mark Harding • review by Dave M. Roberts
42 • Review: The Immersion Book of SF by Carmelo Rafala • review by Maureen Kincaid Speller
43 • Review: Zombie: An Anthology of the Undead by Christopher Golden • review by Colin B. Harvey [as by C. B. Harvey]
43 • Review: The Loving Dead by Amelia Beamer • review by Niall Harrison
44 • Review: Feed by Mira Grant • review by Alex Williams
44 • Review: Tomes of the Dead: Anno Mortis by Rebecca Levene • review by Shaun Green
45 • Review: Songs of the Dying Earth by Gardner Dozois and George R. R. Martin • review by L. J. Hurst
46 • Review: The Black Prism by Brent Weeks • review by Donna Scott
46 • Review: The Fallen Blade by Jon Courtenay Grimwood • review by Anne F. Wilson
47 • Review: Animal Alterity: Science Fiction and the Question of the Animal by Sherryl Vint • review by Gwyneth Jones


[Mary] Gentle’s prose is sharp, her powers of invention brilliant, her characters real, especially the greasy, obese Casaubon with his pet rat. They are not necessarily likeable. Casaubon is a Lord, and not on Our Side (there’s a neat scene where he’s confronted with the woman who does his laundry who has to live on far less than the cost of one single garment), and when Valentine re-appears a couple of novels down the line she does a dreadful and unforgivable thing. But, in the best tradition of the malcontents in the Jacobean drama, boy, are they vivid! This was a new thing.

For a time I used the word scholarpunk for this fusion of erudition and bad-ass attitude. Fortunately no-one noticed.

Andy Sawyer

Nowhere was this tiredness more evident than in the lugubriously self-indulgent Iron Man 2. Jon Favreau’s Iron Man (2008) was something of an unexpected hit; its combination of clever casting and pseudo-political posturing caught the public’s imagination while its lighter tone and aspirational Californian setting served as a useful counterpoint to the doom and gloom of Christopher Nolan’s The Dark Knight (2008). However, the second Robert Downey Jr.’s Tony Stark steps on stage in the sequel, it is obvious that something is terribly wrong. The film’s onanistic triumphalism and bare-faced declaration that social ills are best confronted by private sector moral entrepreneurs feels astonishingly ugly and politically insensitive at a time when private sector entrepreneurs are having their companies propped-up at the expense of the poor and the hungry. The decision to cast Mickey Rourke as a shambling Russian baddy is laughably pretentious in a film that ultimately boils down to a bunch of computer-generated robots punching each other in the face for about an hour.

Jonathan McCalmont

I found a Darwin site where a respondent asked “who else thinks Beatrix Potter may have developed her stories, about animals with increasingly human characteristics, from acquaintance with Darwin’s theory?” The idea that Beatrix Potter had to wait for The Origin Of Species before she thought of writing about reprobate foxes, trusting piglets, thieving magpies and insolent rats may seem ridiculous but this internetgeneration query is revealing. Our animal folklore is no longer refreshed by experience. In my own lifetime, here in the UK, the estrangement that began as soon as agriculture was established, has accelerated almost to vanishing point. We see animals as pets; as entertainment products we consume through the screen (where their fate, nowadays, holds a tragic fascination). We see them, perhaps, as an increasingly problematic food source. We no longer ‘meet their gaze’ as independent neighbours. The neo-Darwinists have even been doing their damnedest to break the link that Charles Darwin forged, when he transformed our deep intuition of continuity with the animal world into ‘scientific fact’.

Gwyneth Jones

And was Karel Čapek really writing about newts?

Gwyneth Jones

On the whole, however, Vint does a good job of disentangling “the animal” from the mix and Animal Alterity is an impressive achievement. A study of this kind isn’t meant to offer solutions and there are none (beyond a rather vague promise that post-humanism will blur the line between human and animal). Instead there’s a mass of evidence identifying sf as a resource: a treasury for Animal Studies academics; a rich means of bringing those moral arguments to life —drawn from an overlooked genre that has (always, already) developed sophisticated ways of thinking about looming problems that have only just occurred to the mainstream.

To the general reader, Animal Alterity offers food for thought and a quirky compendium of offbeat and classic titles. Could a “related book” on this topic become widely popular? I don’t know. In my day, sf fans tended to be petrol-headed meat-munchers, their concern for our stewardship of the ecosphere constrained by a passion for beer, mayhem and go-faster starships. Times have changed. The younger generation may feel very differently: I hope so.

Gwyneth Jones

The 2011 Arthur C Clarke Award Shortlist

The shortlist for the Arthur C Clarke Award is, gratifyingly, never quite what anyone thinks it will be in advance. I doubt even any given juror could have correctly guessed what their consensus would determine when they met to collectively choose the shortlist for the twenty-fifth anniversary of the award.


Here is what they chose:

  • Zoo City – Lauren Beukes (Angry Robot)
  • The Dervish House – Ian McDonald (Gollancz)
  • Monsters of Men – Patrick Ness (Walker Books)
  • Generosity – Richard Powers (Atlantic Books)
  • Declare – Tim Powers (Corvus)
  • Lightborn – Tricia Sullivan (Orbit)

The Arthur C Clarke Award is a juried award for the best work of science fiction published in Britain in the previous year. It’s judged from the works submitted by publishers so it’s theoretically possible for the award to miss out on options they would have liked to consider had they only been submitted. The “published in Britain in the previous year” is why an award-winning novel published in 2000 made it onto the shortlist this year: Tim Powers’s Declare only had its first UK publication in 2010.

These are six books from six different publishers (out of the twenty-two which submitted books this year), by four men and two women, one culmination of a trilogy, and five standalones. As more than one has already commented, the list features four authors of American origin (although some of them have lived in the UK for years) and one South African, Lauren Beukes. Only one of them, Ian McDonald, has been British and lived in Britain for the majority of his life. This is a point worth mentioning because the Clarke Award is specifically a British award, albeit for what’s published in the country rather than where those authors come from. In more trivial statistics: one-word titles make up 50% of the shortlist, but that’s not too disproportionate – they made up 27% of the list of eligible submissions. It was also a good year to have the last name “Powers”.

The shortlist was chosen by this year’s judging panel: Jon Courtenay Grimwood and Martin Lewis for the BSFA, Phil Nanson and Liz Williams for the Science Fiction Foundation, and Paul Skevington for SF Crowsnest.com. Paul Billinger chaired the judges on behalf of the award. They will all be busy re-reading the shortlist in the coming weeks, in preparation for the jury’s final meeting to choose the winner.

I’m looking forward to reading this list too; from the reviews I’ve read and initial reactions to the shortlist, it looks like quite a good one. I’ve only read Lightborn so far, although conveniently, I started Zoo City yesterday and have The Dervish House handy since I’m reading the BSFA novel shortlist, and those three books (but no others) overlap with the Clarke shortlist.

In the weeks between now and the 27th of April, when the jurors, having reread the shortlist, will meet again to decide on the winner, and the award will be given at the SCI-FI London Film Festival, I look forward to reading all the discussion, speculation, and guesswork about just which of these books will take the prize and why it’s worthy of doing so.

See also comments on the shortlist from:

David Hebblethwaite at Follow the Thread
Cheryl Morgan at Cheryl’s Mewsings
Graham Sleight at Locus Roundtable
Nic Clarke at Eve’s Alexandria
Amanda Rutter at Floor to Ceiling Books
Niall Harrison at Strange Horizons

2010 BSFA Awards Shortlists

The BSFA is pleased to announce the shortlisted nominees for the 2010 BSFA Awards.

The nominees are:

Best Novel

2010 BSFA Awards Best Novel Nominees

Paolo Bacigalupi – The Windup Girl (Orbit)
Lauren Beukes – Zoo City (Angry Robot)
Ken Macleod – The Restoration Game (Orbit)
Ian McDonald – The Dervish House (Gollancz)
Tricia Sullivan – Lightborn (Orbit)

Best Short Fiction

Nina Allan – ‘Flying in the Face of God’ – Interzone 227, TTA Press.
Aliette de Bodard – ‘The Shipmaker’– Interzone 231, TTA Press.
Peter Watts – ‘The Things’ – Clarkesworld 40
Neil Williamson – ‘Arrhythmia’ – Music for Another World, Mutation Press

Best Non-Fiction

Paul Kincaid – Blogging the Hugos: Decline, Big Other
Abigail Nussbaum – Review, With Both Feet in the Clouds, Asking the Wrong Questions Blogspot
Adam Roberts – Review, Wheel of Time, Punkadiddle
Francis Spufford – Red Plenty (Faber and Faber)
Jonathan Strahan and Gary K. Wolfe – the Notes from Coode Street Podcast

Best Art

Andy Bigwood – cover for Conflicts (Newcon Press)
Charlie Harbour – cover for Fun With Rainbows by Gareth Owens (Immersion Press)
Dominic Harman – cover for The Cat’s Cradle by Kurt Vonnegut (Gollancz)
Joey Hi-Fi – cover for Zoo City, by Lauren Beukes (Angry Robot)
Ben Greene – ‘A Deafened Plea for Peace’, cover for Crossed Genres 21
Adam Tredowski – cover for Finch, by Jeff Vandermeer (Corvus)

The BSFA Awards Administrator will shortly make a voting form available for members of the BSFA and this year’s Eastercon, who will be able to send advance votes based on the above shortlists. Advance votes must be received by Monday 18th April. After this date, ballot boxes will be made available at Illustrious – the Eastercon Convention taking place at the Hilton Metropole in Birmingham. The ballots will close at Midday on Saturday April 23rd and the winners will be announced at a ceremony hosted that evening at the convention.

Congratulations to all of the nominees!

P.S. Voting details are here.