Brave New Words Award 2019 Accepting Submissions

Starburst Magazine is taking submissions for its 2019 Brave New Words books prize through February 16.

The Brave New Words Award is for “someone who produces break-out literature that is new and bold,” say the organizers. “We are looking to highlight exciting work that breaks new ground in the field of Cult Entertainment.”

Editors, writers, publishers, and bloggers can be nominated. Works produced in the UK (or online) in 2018 are eligible. A shortlist will be announced early 2019.

The Award ceremony will be at Edge Lit,the UK’s premiere indie book event. Edge Lit is an annual UK based genre event. It will be held at the Derby Quad, UK, on July 13, 2019. Guest of honour is Tim Lebbon.

Last year’s award winner was Margrét Helgadóttir for her work as editor of Pacific Monsters, published by Fox Spirit Books.  Pacific Monsters brought together genre voices from that region of the world into one volume.

The panel of judges include genre critics and media professionals. The head judge is Starburst Magazine’s Literary Editor, Ed Fortune.

There is no submission fee for the Brave New Words award, nor is there a limit on the number of titles that can be submitted.

The guidelines remind entrants —

Please bear in in mind that STARBURST is a magazine grounded in the field of Cult Entertainment and we are always highlighting indie and cutting-edge media.

The award goes to an individual, not a specific work, so we are looking for examples that most define the creators output.  We want full works: a complete novel or anthology or an example of the writer’s essays. For editors, we are looking specifically at works the editor has curated. We will require one copy of the work in physical or electronic form. If the work makes it to the shortlist, we may require an up to five additional copies. We prefer electronic submissions in all cases.

The email address is (marked BNW Awards) and the address to send physical publications is: BRAVE NEW WORDS AWARD SUBMISSIONS c/o STARBURST Magazine, P.O. Box 4508, Manchester, M61 0GY, U.K.

Physical submissions must be clearly marked as intended for the award – mark the package and include a note with each copy.

Racism and Sexism

By Robert Silverberg: It’s folly to think that denials can ever catch up with falsehoods and distortions, and so up till now I have refrained from attempting to defend myself against the accusations that have been aimed at me since shortly after the San Jose Worldcon.  But now the situation has reached a new level of unreality that leads me to break my silence.

At San Jose, the Best Novel Hugo went — for the third consecutive year — to a writer who used her acceptance speech to denounce those who had placed obstacles in her path stemming from her race and sex as she built her career, culminating in her brandishing her new Hugo as a weapon aimed at someone who had been particularly egregious in his attacks on her.  Soon after the convention, I commented, in a private chat group, that I felt that her angry acceptance speech had been a graceless one, because I believe that Hugo acceptance speeches should be occasions for gratitude and pleasure, not angry statements that politicize what should be a happy ceremony.  I said nothing about her race, her sex, or the quality of her books.  My comment was aimed entirely at her use of the Hugo stage to launch a statement of anger.

I would not presume to comment on her experience of having had racist and sexist obstacles placed in her career path.  I have no doubt that she did face such challenges, and I’m sure the pain created by them still lingers.  I in no way intended to add to that pain.  However, it seemed to me that this writer, after an unprecedented three-Hugo sweep and considerable career success otherwise, had triumphed over whatever obstacles were placed in her path and need not have used the Hugo platform to protest past mistreatment.

An unscrupulous member of our chat group illicitly posted my comment on the web site of someone who has indeed devoted himself to harsh racist attacks on this and other writers, and from that moment on — guilt by association, I suppose — I was denounced on the Internet as a racist, a sexist, and perhaps a lot of other dire things.  (I do not participate in social media and all I know of what is being said about me has come from third parties.)

I am not a racist.  I am not a sexist.  In a career spanning many decades, I have generally been known among my colleagues and in fandom for my professionalism, my courtesy to people great and small, and my helpfulness.  And, though I hesitate to evoke a version of the old anti-Semitic cliche, “Some of my best friends are Jews,” I have in fact maintained warm friendships with several of the (very few) black science fiction writers of my era, and I have numerous friends of the other sex as well, who can testify that the epithets that have been hurled at me are undeserved.

Now Marta Randall, a friend of many years’ standing, has asserted in File 770** that I have a history of sexism as an editor stretching back over the years, declaring that when she and I were co-editors of the annual anthology NEW DIMENSIONS she had proposed an all-female issue of the book, and I had threatened to remove my name from it if she did.

I have no recollection of this episode.  I think that editors have the privilege of excluding any group they wish from their anthologies — men, women, Jews, Christians, Bulgarians, atheists, whatever.  I don’t think that’s a particularly good idea, though, except where the anthology’s intent is one of special pleading — as, for instance, an anthology intended to demonstrate the excellence of Canadian science fiction and therefore limited only to Canadian writers.  (But Jack Dann’s two WANDERING STARS anthologies, limited to stories on Jewish themes, included four stories by writers who were not themselves Jewish.)

NEW DIMENSIONS, which I edited for ten years, was intended to provide the best in science fiction as I understood “best.”  I had no intention of judging submissions by any standard except literary quality: I paid no attention to the race or color of the authors who sent me stories.  In fact the first issue of NEW DIMENSIONS had four stories by women in it, and most of the others had at least two or three female contributors, with the lone exception of the fourth issue, which had none.  I see no evidence here of systematic editorial discrimination against women.

Eventually I wearied of the work involved in editing NEW DIMENSIONS, and, since Marta Randall had been a frequent contributor (four stories in the ten issues) and her novels then were being published by Pocket Books, which was also the publisher of NEW DIMENSIONS, I suggested to Marta and her Pocket Books editor, David Hartwell, that she take my place as editor of the anthology.  To help maintain the book’s commercial viability, I suggested a three-book transition: the eleventh issue would list Robert Silverberg and Marta Randall as editors, the twelfth would be billed as “Edited by Marta Randall and Robert Silverberg,” and from the thirteenth issue on she would be listed as the sole editor.  This proposal was accepted and Marta was given a three-book contract.  I was not a party to the contract and was co-editor in name only; she picked all the stories and did all the other editorial work.  Issues eleven and twelve duly appeared with the editors’ names listed as agreed.  She had three stories by women in the eleventh issue and three in the twelfth, about the same male/female ratio as I had maintained during my editorial tenure.  I understand that the thirteenth issue was prepared and then canceled before publication, for reasons that I don’t know.

As I said, I have no recollection of Marta’s having suggested an all-female issue.  If she had, I probably would have said that I didn’t think it was a wise thing to do, since NEW DIMENSIONS had established itself over a decade as a generalized anthology without any special agenda other than to publish good science fiction, and this would have broken its continuity of policy.  I would have said the same thing if she had proposed an all-male issue, an all-Uzbek issue, an all-fantasy issue, or any other kind of all-anything issue, because I wanted ND to remain something recognizably like what it had been under my auspices.  I think the book would have died otherwise.  This does not make me a sexist.  I would not in any case have threatened to remove my name from the book — an empty threat, since under the terms of the original arrangement my name was already due to be removed as of the third issue she would edit.

As for my alleged lifetime of sexism, I offer as evidence an anthology I edited called THE CRYSTAL SHIP, published in 1976 by Thomas Nelson.  This was an instance when I chose deliberately to construct a book with all-female contributors, in order to make a specific point about the changing nature of the science-fiction field.  It contains three original novellas, commissioned by me, by Joan D. Vinge, Vonda N. McIntyre, and…Marta Randall.  You will notice that all three are women, and in my introduction to the book I observed that although for a long time there had been only a handful of female science-fiction writers, the 1970s had seen an abundance of them appear. “Which is all to the good,” I wrote. “Men and women are different not merely in physical appearance; they receive different cultural training from earliest childhood, and their ways of interpreting experience, of human situations, of perceiving the universe, often differ in ways growing directly out of those differences….Science fiction is no longer so universally unisexual, for which let us rejoice.  To be female is, I think, neither better nor worse than to be male, but it is different, it is beyond doubt different, and the difference has value for us all.”

These are not, I think, the words of a sexist.  Nor can anyone produce evidence of my alleged racism.  I have lived on into an age where it is terribly easy to offend people, intentionally or accidentally, and the Internet makes it possible for them to register their state of offendedness all over the world.  But I am troubled by the Internet comments of people who do not know me, have misread my statement on the Hugo event, and attribute to me beliefs that I do not hold.

Endnote: ** Silverberg refers to Pixel Scroll 11/17/18 which linked to Adam-Troy Castro’s post on Facebook and also ran a screencap of Marta Randall’s comment on Adam-Troy Castro’s post.

Pitch In For Octocon

Octocon, the Irish National Science Fiction Convention, is a week away and finds itself in a bind. The committee has opened a Octocon GoFundMe appeal.

James Bacon encourages people to donate.

This is quite important, Octocon is a week away! and I know many of you have enjoyed Octocon as I have, but this is a tough year for the current team, a venue move out of the city and rising costs. I applaud the committee for asking for help, helping is something the community does. It’s something we can do!

Octocon needs your help taking €5,000. Please do help this altruistic cultural event in its 26th year.

I’ve donated of course!

The Octocon team explains the need –

In its 26 year history, Octocon has faced many challenges, and this year has been no exception. We unexpectedly had to change our location earlier this year, and due to the rising costs of hotel space in Dublin, we’ve ended up with an unforeseen liquidity issue because the hotel requires full payment ahead of the convention.

(In previous years, we’ve been able to pay hotel costs on or after the convention weekend, but this year we need to pay them in advance.)

Therefore, despite the chair’s offer to shoulder the burden personally, the committee has unanimously decided on the unusual step of creating this GoFundMe campaign to ask you, as fans and supporters of Octocon, to help us ensure the smooth running of the convention.