
Torque Control
2019 BSFA Award winners
Best Novel
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WINNER: Children of Ruin, Adrian Tchaikovsky (Tor)
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The Green Man’s Foe, Juliet E. McKenna (Wizard’s Tower)
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Atlas Alone, Emma Newman (Gollancz)
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Fleet of Knives, Gareth L. Powell (Titan)
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The Rosewater Insurrection, Tade Thompson (Orbit)
Best Shorter Fiction
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WINNER: This is How You Lose the Time War, Amal El-Mohtar & Max Gladstone (Jo Fletcher)
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To Be Taught, If Fortunate, Becky Chambers (Hodder & Stoughton)
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“Jolene”, Fiona Moore (Interzone 9-10/19)
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Ragged Alice, Gareth L. Powell (Tor.com Publishing)
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The Survival of Molly Southbourne, Tade Thompson (Tor.com Publishing)
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“For Your Own Good”, Ian Whates (Wourism and Other Stories)
Best Non-Fiction
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WINNER: The Pleasant Profession of Robert A. Heinlein, Farah Mendlesohn (Unbound)
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Sideways in Time: Critical Essays on Alternate History Fiction, Glyn Morgan & C. Palmer-Patel (eds) (Liverpool University Press)
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About Writing, Gareth L. Powell (Luna)
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HG Wells: A Literary Life, Adam Roberts (Palgrave Macmillan)
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“Away Day: Star Trek and the Utopia of Merit”, Jo Lindsay Walton (Big Echo)
Best Artwork
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WINNER: Cover of Wourism and Other Stories by Ian Whates, Chris Baker (Luna)
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Cover of Deeplight by Frances Hardinge, Aitch & Rachel Vale (Macmillan)
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Cover of Fleet of Knives by Gareth L. Powell, Julia Lloyd (Titan)
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Cover of The Rosewater Redemption by Tade Thompson, Charlotte Stroomer (Orbit)
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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:
Science Fiction’s big digital pivot
Over the past month or so, the British Science Fiction Association (BSFA) has been hosting a series of livestream readings from SFF authors in the UK and beyond. We’re calling them the Lockdown Solidarity Salons or, if you prefer, Very Extremely Casual Tales of Optimism and Resilience (VECTOR). Authors, you are all such charmers!
You can find out more about the series on the Facebook page or YouTube channel. We hope you’ll join us this Thursday (8.15pm UK time) for Chinelo Onwualu, Fiona Moore, and on later dates for Naomi Foyle, Lauren Beukes, Temi Oh, Ian R. MacLeod, and more. Here’s Adam Roberts:
See below for Foz Meadows, Stew Hotston, Valerie Valdes, Adrian Tchaikovsky, Malka Older, Tiffani Angus, Stephen Oram, Geoff Ryman, Wole Talabi, and Andrew Wallace. This Sunday, the BSFA will be holding our annual BSFA Awards ceremony (usually held at Eastercon, the UK’s annual national SF convention) on YouTube at 7pm BST.
And of course, we’re not the only ones.
The BSFA Awards 17th of May 2020
The Awards Are Coming!

The BSFA would like to invite everyone to attend our award ceremony for works published in 2019. Join us on Youtube at https://tinyurl.com/BSFAawards on Sunday 17th May. We will be announcing the winners of Best Novel, Best Shorter Fiction, Best Non-Fiction, and Best Artwork from 7pm BST. Come along to hear about – and from – the winners.
Becoming Visible: The Rise of Black Speculative Fiction
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.
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?
Deconstructing the King of the Katz
By David John Beesley

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.

“The big idea”: An interview with Wole Talabi
Back in August, Louisa Egbunike caught up with award-winning SFF author Wole Talabi to chat about his work. This interview was first published in Vector 289.
Earlier you mentioned feeling like you were outside of literary circles, and being dragged in. By who? Who’s dragging you?
I don’t know. For a long time, my writing was just about blogging, writing stories from random ideas, and selling to these obscure science fiction magazines. Well, not obscure … but still, I never had any sense of belonging to a generation of writers, you know? The “it” people, or should I say “lit” people right now, are all people I hadn’t met before, hadn’t heard of, and probably hadn’t read much of. Until maybe last year, when I started meeting them after the whole Caine Prize nomination.
So I guess maybe the Caine Prize dragged me into the whole literary circle thing. Before that, I was just like, “I have an interesting idea, there’s some cool robots, and what if the world was like this? Okay, that’s it.” Now, it’s like I have actual fans, and other writers are saying, “There’s all these layers, meanings, and themes in your work.” I was like, “Okay, cool. I mostly thought the robot was cool, but that’s it.”
They see things in your work you didn’t see yourself?
It’s not like I ignore themes or whatever. It’s just, for me, they’re kind of secondary – which is almost the opposite of most writers I know. Most writers I know focus on character and theme. But for me, the idea comes first, and everything else is secondary. A lot of my stories come from just studying things. I see some interesting science thing, and I’m like, “Oh, OK. How would that really work?”
Like what? Continue reading ““The big idea”: An interview with Wole Talabi”
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) is appearing more and more in near-future (and far-future) science fiction. It’s even becoming a kind of mark of futurity. Not in a “starships and androids” way, exactly: more like something incidental to the plot, a box that SF writers tick, to ensure their stories won’t date too rapidly.
In other words: science fiction writers think it’s happening.
This isn’t surprising: UBI is also prevalent in political discourse. It’s not just campaigners who are talking about it any more, but policymakers and politicians too. Smaller pilots and trials are everywhere. 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 does UBI mean? UBI means that everybody gets some kind regular, guaranteed payment to support basic living expenses. 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 other terms like ‘Basic Income’ get used instead. Here we’ll stick with term ‘UBI.’
At first glance, UBI may seem a pretty naturally left-wing idea, and indeed UBI has lots of supporters on the left. But look closer, and things aren’t quite so simple …
Beyond left and right?
The thing is, UBI also has plenty of support on the right. For example, UBI appeals to right libertarians who despise ‘Big Government,’ and want 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 could even be a step toward a right libertarian utopia / dystopia: first abolish the welfare state in favor of UBI, then abolish UBI. UBI also appeals to some conservatives, who see it 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.
By and large, 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:
- Elizabeth Bear, ‘Deriving Life’
- Adeline Knapp, 1000 Dollars a Day
- 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‘
- Tade Thompson, ‘Elegba’s Valley’
- Lee Konstantinou, ‘Burned Over Territory’
- Matthew Binder, The Absolved
- E. Lily Yu, ‘The Doing and Undoing of Jacob E. Mwangi’
- Marshall Brain, Manna
- Rachel Swirsky, January Fifteenth
- ‘Basic’ in The Expanse
Please suggest more in the comments below! Continue reading “Universal Basic Income in Science Fiction”

