In last week’s poll (“Which of
These Are the Top 5 Awards in SFF?”) I invited File 770 readers to tell me which of the field’s awards mean the
most to them. Ninety-two participants here and on Facebook picked up to six from
a list of 31 suggested awards (write-ins were also accepted).
The Hugo and Nebula Awards proved near-unanimous choices. The World
Fantasy Awards and Locus Awards were named by almost three-quarters of the
voters. And BSFA Awards, James Tiptree Jr. Award, and Arthur C. Clarke Award were
the next three awards with the greatest support.
Here for your entertainment is the complete list. (Apologies for a little formatting problem I was unable to overcome.)
Online ballots for the 2019 Hugo Awards and 1944 Retro Hugo Awards are now available and open for voting. Dublin 2019 also has opened Site Selection voting for the location of Worldcon in 2021.
AND 1944 RETRO HUGO VOTING. Members
of Dublin 2019: An Irish Worldcon are eligible to choose the winners
of the Hugo Awards, the John W Campbell Award for Best New Writer, and the
Lodestar Award for Best Young Adult Book for 2019; and also the Retrospective
Hugo Awards for 1944.
Online voting is now enabled for the Hugos and Retro
Hugos, though you can also vote via a paper
have been emailed personalized links for use in voting.
deadline for voting is Wednesday 31 July 2019 at 11:59pm Pacific Daylight Time
(2:59 am Eastern Daylight Time, 07:59 Irish time, all on 1 August).
Voters can make additions or changes to their ballots as
often as they like up
until the deadline. A copy of their current ballot will be emailed to them 30
minutes after they finish modifying it.
(1) You must be a Full Attending, Young
Adult, First Worldcon, or Supporting Member of Dublin 2019; and
(2) You must also pay an Advance Supporting Membership
fee of €40, which goes to the winning bid. This process also makes you a
Supporting Member of the winning bid’s convention.
If you mail your ballot to the address in the USA
(but only then) you may pay your voting fee with a personal cheque in U.S.
funds ($45), payable to “Dublin 2019”. NO CHEQUES are accepted to the address
in Ireland or at this year’s Worldcon in Dublin.
To pay your Advance Supporting Membership fee
online, sign in to our member services site at api.dublin2019.com and click on “Buy a site
selection token”. If you are signed in, this direct link will also take you there
There will also be onsite voting at Dublin 2019,
see their website for the schedule.
By JJ: On May 11, the 2019 Hugo Awards voter packet became available for download by Attending, Supporting, First Worldcon, Young Adult, and Child members of Dublin 2019. The packet is an electronic collection which helps voters become better informed about the works and creators on the ballot. Works which are included have been made available through the generosity of finalists and their publishers.
The voter packet contains complete texts of many Hugo-nominated works, preview versions of some works, and directions for finding some finalists’ works online. Some novels have been made available through NetGalley, which requires a user account for access (registration is free).
The packet is available for download from the Dublin 2019 website in the Membership section by clicking “Vote for the 2019 Hugo Awards”. You must have a valid Membership login link to download the packet. If you have recently joined Dublin 2019, you will be sent a Membership login link shortly after joining. You can request that your Membership login link be re-sent to you by entering the e-mail address you used when you registered with Dublin 2019 on the Membership page. If you do not receive the e-mail, or your Membership login link fails to authenticate, you can e-mail hugohelp@dublin2019 for assistance.
If you haven’t yet downloaded this year’s Hugo Voter Packet and wish to download only selected parts, or if you’re still trying to decide whether to purchase a membership, a breakdown of its contents is presented below.
The Hugo Voter Packet will be available for download until the voting deadline at 11:59 pm Pacific Daylight Time on Wednesday July 31st, 2019 (7.59 am, Irish time, on 1 August 2019). Voters can make as many changes as they wish to their ballot until the deadline. Changes are automatically saved, and a copy of the voter’s current ballot will be emailed to them 30 minutes after they finish modifying it.
As in previous years, WSFS and Dublin 2019 ask that voters honor publishers’ and creators’ request that they reserve these copies for their personal use only, and that they do not share these works with non-members of Dublin 2019.
Only members of Dublin 2019 can access the 2019 Hugo Award Voter packet and vote on the 2019 Hugo Awards. To become a member of Dublin 2019, see the membership page.
Dublin 2019 and WSFS are deeply appreciative of the publishers, authors, artists, editors, and other creators who have generously provided their works to this year’s Hugo Voter Packet, and ask that voters who feel the same way consider posting on social media to thank the publishers, editors, and creators who have participated in the packet.
By JJ: Enquiring Hugo voter minds want to know: When will we be able to vote online? When will the Hugo Voter Packet be available?
In the fine tradition of similar File 770 posts on the subject in years past, and using my highly-refined statistical skills gained while acquiring my Master’s degree from Cattimothy U*, here is a comparison of the deadlines and availability dates of recent Worldcons.
Because what the hell, we’ve got time to kill. And a year from now, someone is going to ask about this again, the way they do every year.
Historic Hugo Nominating, Voting, and Packet Dates
In 2008 and 2009, the Hugo Voter Packet was put together by John Scalzi
In 2012, the Hugo Voter Packet was released in stages starting on May 18, becoming fully available on May 30
With the exception of 2009, 2016, 2017, and 2019, all Finalist Announcements were made on Easter weekend
Aussiecon 4 in 2010 had online nominations available the earliest, on January 1.
Aussiecon 4 and Loncon 3 in 2014 had online nominations available the longest, at 82 days.
Chicon 7 in 2012 and Renovation in 2011 were the Worldcons which had online voting up and running the fastest, at 2 and 5 days following the announcement of the Finalists.
Chicon 7 had online voting available the longest, at 113 days.
Denvention 3 in 2008 and Renovation were the Worldcons which had the Hugo Voter Packet available the most quickly, at 3 and 4 weeks following the Finalist announcement.
Historic Hugo Nominating, Voting, and Packet Dates
1 – days between online nominations becoming available and nomination deadline
2 – days between nomination deadline and finalist announcement
3 – days between finalist announcement and online voting becoming available
4 – days between finalist announcement and Hugo Voter Packet becoming available
5 – days between online voting becoming available and voting deadline
6 – days between voting deadline and the start of Worldcon
Historic Hugo Nominating, Voting, and Packet Dates
Few people have had the chance to see Arwen Curry’s documentary Worlds of Ursula K. Le Guin, which began making the rounds of film festivals in June 2018 but won’t be available to a mass audience until it airs on PBS in late 2019. It isn’t a finalist for this year’s Hugo Awards, and some who feel that might be the result of underexposure have announced plans to ask the Dublin 2019 business meeting to extend the film’s eligibility.
Here is the draft text of their motion:
Short Title: Hugo Eligibility Extension for Worlds of Ursula K. Le Guin
Moved, to extend for one year the Hugo Award eligibility of the film documentary Worlds of Ursula K. Le Guin, based on limited availability, as authorized by Section 3.4.3 of the WSFS Constitution.
Proposed by: Jo Van Ekeren, Hampus Eckerman, Adri Joy, Theodora Goss, Terry L Neill, Juliette Wade, Paul Weimer, Ziv Wities
This motion extends eligibility for the Hugo Awards under Section 3.4.3; therefore, it requires a two-thirds vote of approval.
Commentary: Worlds of Ursula K. Le Guin is a documentary film by Arwen Curry exploring the life and legacy of the late feminist author Ursula K. Le Guin. Work on the documentary began as early as 2009, and the filmmaker was able to complete the many hours of filming prior to the author’s death in January 2018. The film premiered at the Sheffield International Documentary Festival on June 10, 2018. Since then there have been a number of screenings at film festivals in various locations around the world; however, the film has not yet been made available for viewing by the general public. Arrangements are in progress for the film to be shown at Worldcon in Dublin in August, and the film will be broadcast in the U.S. on PBS American Masters in October 2019.
Due to its limited release in 2018, very few members of Dublin 2019 had the opportunity to view the film before the deadline for nominating for the 2019 Hugo Awards. Passage of this proposal would make the documentary eligible for nomination in the Best Related Work category for the 2020 Hugo Awards next year.
As noted in the motion, the authority for extending the eligibility period comes from WSFS Constitution Section 3.4.3:
In the event that a potential Hugo Award nominee receives extremely limited distribution in the year of its first publication or presentation, its eligibility may be extended for an additional year by a two-thirds (2/3) vote of the intervening Business Meeting of WSFS.
This year Dublin 2019 released the Hugo finalists on a Tuesday,
leading to renewed fannish
discussion of John Scalzi’s 2014 claim that announcing the
finalists during the week would get the Hugo Awards more media attention than
announcements made at Easter weekend conventions (as has been done 11 of the
last 17 years).
The 2018 nomination announcement was made on Easter weekend, but the 2017 and 2019 announcements were not, and Jo Van Ekeren has amassed a collection of links to media articles from 2017, 2018, and 2019 for comparison.
The lists can be seen here; there are separate
spreadsheets tracking coverage of the finalist announcements and the Hugo Award
winners. Anyone who wishes to submit a URL which does not appear on the list
can use this form to do so. (Links to personal blogs,
small SFF fan group blogs, posts by publishers and agents for their authors,
sites that appear to be mirrors of other sites, and automated content-scrapers
have been omitted.)
Van Ekeren invites people to look at the data and draw their own conclusions. Right now the 2019 Hugo nominations more than twice as many mentions as the 2018 nominations. She did detailed searches for every site on the 2019 list to see whether they had posted a nomination mention in 2018. Well over half of them had not.
the nomination for Archive of Our Own has
likely been a wild card factor in attracting attention from at least a few of
the sites that decided to cover this year’s nominations.
year’s Worldcon committee received some criticism for scheduling its livestreamed
announcement on Passover/Easter weekend/a Saturday (see Pixel Scroll 3/27/18
item #15). Chair Kevin Roche apologized for the conflict with Passover but explained the
strategy of making simultaneous live presentations at conventions in
England, the U.S. and Australia “is a way
to further increase fan awareness of and participation in the awards,
ultimately raising its profile in the general population as well.”
that Easter 2020 will be on April 12, WAY too late for Hugo Awards activity to
start given CoNZealand’s earlier dates (July 29-August 2), there won’t be an
Easter announcement next year, either.
The most remarkable thing about the 1944 Retro Hugos is that there is no Heinlein. Not a single Heinlein story was nominated for the Retro Hugos this year, not because fandom has suddenly lost its taste for Heinlein, but because Heinlein was too busy in 1943 testing military equipment at the Navy Yard* to write science fiction. Also notable by his absence (except for one fairly obscure story) is Isaac Asimov, who was also too busy testing military equipment at the Navy Yard to write, though unlike Heinlein, Asimov didn’t have a choice, because he was at danger of being drafted and expected (not without justification) that he’d be killed if he were ever taken prisoner, as Alex Nevala-Lee describes in his (excellent) chronicle of the Golden Age and what followed Astounding.
World War II also took other Golden Age stalwarts such as Lester Del Rey (also busily doing something at the Navy Yard) and L. Ron Hubbard (busily shooting at phantom subs off the Mexican coast) out of the game, leaving the field open for other voices and the 1944 Retro Hugo finalists certainly reflect that. This is a good thing, because it means that writers who are not normally recognised by the Retro Hugo Awards (though some of them have been recognised by the regular Hugos) finally get their dues.
This is the third year of the Best Series category and personally, I’m getting really frustrated with it, even though I initially supported the idea. But the way I viewed the Best Series Hugo (and the way it was originally sold) was as a way to award the sort of extremely popular SFF series that are beloved by fans and regularly hit bestseller lists, but whose individual volumes are almost never recognised by the Hugos, because the whole is often greater than the sum of its parts (see Wheel of Time, which was obviously misclassified in Best Novel, but would have been a natural for this category). When the category was announced, I assumed we’d see finalists like the Dresden Files by Jim Butcher (which might have been nominated, except that the series hasn’t had a new book in years, because Jim Butcher is apparently ill), the Kate Daniels series by Ilona Andrews (which actually ended in 2018 and really would have deserved a nod), the Mercy Thompson and Alpha and Omega series by Patricia Briggs, the Outlander series by Diana Gabaldon, the Honor Harrington series by David Weber (not to my taste, but obviously beloved by many), etc… But that’s not what we’re seeing in this category. Instead, we’re getting the same finalists we’re seeing elsewhere on the ballot. Perhaps the Hugo electorate aren’t really series readers to the degree initially assumed. Or maybe they just have a really weird taste in series.
(3) CLARIFYING TWEET. Archive of Our Own is up for the Best Related Work Hugo. The facility
of the site, not the individual works of fanfic. Did someone need that
explained, or were they only amusing themselves? Just in case, someone
(4) MARK YOUR CALENDAR. The
dates for the next two LA Vintage Paperback Shows have been set — March 8, 2020 and
March 28, 2021.
(5) STRONG WILL. Red
Wombat needs to get something done before heading to China:
Work on the new Heinlein work continues, but we are experiencing some production delays and so may have to postpone the release from November, to Spring of 2020….
Some questions on the new Heinlein answered:
1. Is Spider Robinson completing an unfinished work by Heinlein? NO. Neither Spider Robinson, nor anyone else has been tasked with completing the book. The book is complete. It did survive in fragments, but the fragments contain the complete book. It is being edited (as is every published book) to eliminate errors, inconsistencies, etc. But the work is 100% Heinlein.
2. Is this the rumored alternate text to The Number of the Beast? Yes. This is the alternate text that Heinlein wrote. There are many reasons that have been suggested as to why this was never published, including certain copyright issues that may have existed at that time (the book uses the characters created by other authors, and the book acts as a homage to a couple of authors Heinlein admired).
3. Is the unpublished version similar to the published version? No, though it largely shares the first one-third of the book, it then becomes a completely different book in every way. In the published version the villains are largely forgotten as the novel evolves into something else completely. The unpublished version is much more of a traditional Heinlein book, with a much more traditional storyline and ending.
4. What is the release date? We are trying to publish it by November, but it appears we may have to delay it till Spring 2020 due to a number of reasons
SFWA President Cat Rambo noted, “Vonda was one of our best and brightest, and she had three times the heart of most of the people I know. I’m so glad she managed to finish the book she was working on, but her loss hits so many of us who loved her and her words with a hardness that is tough to bear. Be kind to each other today in her honor; I can’t think of any way that would be better to celebrate the goodness and grandeur that she was.”
The best part of In the Vanisher’s Palace is de Bodard’s fascinating world. I want to know more about the Vanishers and how they destroyed Yên’s society. I’d gladly read other stories set in this world. I also loved the “non Euclidean” and “escherscape” palace which at first makes Yên nauseated.
If you read KILL THE FARM BOY, then NO COUNTRY FOR OLD GNOMES is the same in tone, silliness, puns, wordplay, and corny jokes. Except this time we don’t see much of Gustave, Grinda the Sand Witch, Fia, and the others; no, this is about the gnomes Offi and Kirsi and their new friends whose quest to stop the halflings turns into a journey fraught with danger.
Theory of Bastards is set in the near future, and Schulman does an impressive job (especially for a newcomer to the genre) of constructing a plausible and thought-out portrait of life in the coming decades. She casually drops into the narrative such ideas as a future type of internet in which computer-generated avatars present the news, or a combination implant and gene therapy that turns the deaf bonobo keeper’s mouth into another ear, able to perceive vibrations and translate them into sound. But for the most part, the picture she paints is not encouraging.
In December of 1847, John D. Fox moved his family to a house in Hydesville, New York. Although the house had an odd reputation (the previous tenant had vacated because of mysterious sounds), it wasn’t until March of the following year that the family’s troubles began. Before long, daughters Kate and Margaret claimed to be communicating with the spirit of a peddler who had been murdered in the house. The communications took the form of rapping noises in answer to questions asked aloud.
The Fox sisters (along with a third sister, Leah, who acted as their manager) soon parlayed their rapping skills into celebrity. The young ladies held public séances, underwent “tests,” and inspired copycat mediums around the world. By the time the Foxes were debunked, they’d helped to inspire a new religion, Spiritualism, which was popular in both America and Great Britain, that held as its central tenet that the spirits of the dead continued to exist on another plane and could be contacted by human mediums. The Spiritualist movement had no less a figure as its international spokesperson than Sir Arthur Conan Doyle, whose wife Jean was also a medium.
It’s no coincidence that the ghost story experienced a rebirth of popularity at about the same time….
Janice Frank’s body was often a burden to her, and she likely would be unfazed by the fact that her cremated remains have been lying, unclaimed, in a funeral parlor since her untimely death in 2014 at 59.
But the news that she was there stunned her daughter, Sovay Fox, and her daughter’s partner, Hallie Hauer, who both thought she’d been given a pauper’s burial and had given up on ever having possession of her ashes.
Ms. Frank, born in 1954, contracted polio from the vaccine that was designed to prevent it. She was 8 years old, and the disease left her with a deformed leg. She walked her whole life with a cane.
A journalist and author, she told other writers that the best of their craft would come from tapping into their own pain, and it seemed she had a bottomless well of suffering from which she often wrote.
(14) TODAY’S BIRTHDAYS.
by Cat Eldridge.]
Born April 2, 1914 — Alec Guinness. Obi-Wan Kenobi in the Star Wars trilogy. (What? There were more movies after them? No!) That’s it for filmed genre roles but theatre is another matter altogether. He played Osric first in Hamlet in the early Thirties in what was then the New Theatre, Old Thorney in The Witch of Edmonton at The Old Vic and the title role of Macbeth of course at Sheffield. (Died 2000.)
Born April 2, 1933 — Murray Tinkelman. Illustrator of genre covers during the Seventies. Glyer has a most excellent look at him here in his obituary posting. I’m very fond of his cool, diffuse style of illustration that made it seem as if the subject of the cover was just coming into focus as you looked at them. (Died 2016.)
Born April 2, 1939 — Elliot K. Shorter. Fan, bookseller, and Locus co-editor once upon a time. He was attending conventions by the early Sixties and was a major figure in Sixties and Seventies fandom, and involved in a number of APAs. And as Glyer notes, he spread his larger than life enthusiasm wide as he ‘belonged to the Tolkien Society of America, Hyborean Legion, the City College of New York SF Club, ESFA, Lunarians, Fanoclasts and NESFA.’ He was involved in the Worldcon bid and helped run Suncon, the 1977 Worldcon which came out of the bid. All of this is particularly remarkable as he was one of the very few African-Americans in Sixties fandom. (Died 2013.)
Born April 2, 1975 — Adam Rodriguez, 44. His first genre role is on All Souls, the haunted hospital drama, as Patrick Fortado. He’s also in season three of Roswell as Jesse Esteban Ramirez.
Born April 2, 1978 — Scott Lynch, 41. Author of Gentleman Bastard series of novels which is to my utter surprise now at seven with the forthcoming one. I know I read The Lies of Locke Lamora but who here has read the entire series to date? And I see he was writing Queen of the Iron Sands, an online serial novel for awhile. May I note he’s married to Elizabeth Bear, one of my favorite authors?
Are you devoted enough to watching “Avengers: Endgame” that you’re willing to sacrifice two-and-a-half days of your life hyping up for it?
AMC is hosting yet another Marvel movie marathon leading up to “Endgame,” a 22-film marathon saga that covers every MCU dating back to 2008’s “Iron Man” and concludes with “Endgame.” And just … why? Does anyone honestly need this?
Those who do brave the experience will get special marathon collectibles, content, concession offers and will get to see “Avengers: Endgame” at 5 p.m. local time on April 26, one hour earlier than regular public show times.
(16) CLASSIC ILLUSTRATIONS. The
Society of Illustrators in New York hosts its “Masters
of the Fantastic” exhibit through June 8. Includes work by many artists
including Winsor McCay, Kinuko Y. Craft, Leo and Diane Dillon, Vincent Di Fate, Ed Emshwiller, Hannes Bok, Virgil
Finlay, and Frank Frazetta.
The art of the fantastic gives vision to our dreaded nightmares and our most fervent hopes. Stories of fantasy and science fiction have risen from the quaint traditions of the tribal storyteller through children’s fables and pulp magazines to dominate today’s cultural mainstream. Through their use on the covers of bestselling books, to their appearance in blockbuster movies, TV shows and videogames, illustrative images play a central role in the appeal and popular acceptance of the fantastic narrative and the Society of Illustrators is pleased to celebrate this rite of passage with an exhibition of more than 100 examples of the genre’s finest artistic works. MASTERS OF THE FANTASIC encompasses a full range of otherworldly images—from dragons, specters and demons, to the far reaches of deep space—in the form of paintings, drawings and sculpture, highlighting the works of the artistic innovators who have given shape and substance to the world’s most imaginative kinds of storytelling.
(17) TO THE MOON. In the March 29 Financial Times, Jan Dalley reviews a
virtual reality voyage to the moon by performance artist Laurie Anderson
collaborating with Taiwanese artist Hsin-Chien Huang, in an installation
currently at Art Basel Hong Kong.
The hateful headset is instantly forgotten as, with gut-lurching suddenness, the ‘floor’ shatters beneath you and you are cast off, a weightless space traveller in the wonder of the galaxy. And quickly dumped on the surface of the moon, quaking (in my case), to face and explore a series of visions and adventures: ghost dinosaurs composed of mathematical symbols splinter into nothing as you navigate yourself toward them (one is replaced by a phantom Cadillac); a glittering diamond-shaped mountain sucks you on high among its giant peaks, perilously close; a plethora of swirling, hideous space junk crashes into your visor before you realise you have grown an immensely long pair of arms with which, presumably, to fend off the aggressions of this man-made trash, while behind looms the immense, terrifyingly beautiful sight of Earthrise. A fathomlessly deep stone rose (remember Saint-Exupéry’s The Little Prince?), still and lovely, is vast enough to be slowly circled by its own eerie moons. Later you lose your body completely; suddenly you’re on a donkey ride; an entire galaxy explodes into a vast cosmic firework display.
HEADS ARE BETTER. Bill Nye and Bob Picardo talk all about how advocating
for space really works in the February edition of The Planetary Post.
An hour south of Charlotte, N.C., two forks in the road beyond suburbia, a freshly constructed house sits in a wind tunnel waiting to be set on fire.
To the left of the house is a brick wall with a hole in the middle, made by a 2-by-4 propelled at 70 miles per hour.
In front of the house is a metal staircase five stories tall. At the top are the hail guns.
More than 100 fans begin to turn, slowly at first and then faster. The ember generators flicker on. The fire is about to begin.
The past two years have been particularly costly for insurance companies that are on the hook for billions of dollars in damage done by hurricanes, wildfires, floods and other disasters. As these disasters become more frequent and expensive, in part because of climate change, insurers are investing more in this research facility that studies how to protect homes and businesses from destructive wind, water and embers.
The facility in rural South Carolina is run by the Insurance Institute for Business & Home Safety, a nonprofit research organization funded by U.S. insurance companies….
(20) HOW TO
FAIL PHYSICS. “NASA: India’s satellite destruction could endanger
ISS”. Chip Hitchcock’s summary: “The perfectly safe test wasn’t.
Follow-on to links you didn’t use last week; now there’s hard evidence — but
somebody should have figured that a blowup in LEO would send debris up, not
just down and sideways.”
Nasa has called India’s destruction of a satellite a “terrible thing” that could threaten the International Space Station (ISS).
The space agency’s chief, Jim Bridenstine, said that the risk of debris colliding with the ISS had risen by 44% over 10 days due to the test.
However he said: “The international space station is still safe. If we need to manoeuvre it we will.”
India is the fourth country to have carried out such a test.
Prime Minister Narendra Modi announced the test – Mission Shakti – with great fanfare on 27 March, saying it had established India as a “space power”.
In an address to employees, Mr Bridenstine sharply criticised the testing of such anti-satellite (ASAT) weapons.
He said that Nasa had identified 400 pieces of orbital debris and was tracking 60 pieces larger than 10cm in diameter. Twenty-four of those pieces pose a potential risk to the ISS, he said.
…Delhi has insisted it carried out the test in low-earth orbit, at an altitude of 300km (186 miles), to not leave space debris that could collide with the ISS or satellites.
Sarcos Robotics is responsible for some incredible technology. Last July, we introduced you to the company’s Guardian S, the 4-foot-long inspection robot that uses magnetic tracks to inch along everything from metal walls to oil pipelines.
The Salt Lake City-based company is also responsible for the Guardian GT robot, which allows an operator to remotely control two massive robotic arms on a tracked (or wheeled) robot to perform dangerous inspection and maintenance tasks in the nuclear, oil and gas, and construction industries.
The company also designed a powerful robotic exoskeleton, the Guardian XO, a smooth, battery-powered exoskeleton initially designed to give industrial workers the ability to repeatedly lift 200 pounds without any physical exertion.
In early March, Sarcos partnered with the U.S. Navy to evaluate how workers at naval shipyards could benefit from exoskeletons. Through the deal, shipyard workers could one day use the XO to work with heavy payloads and use power tools. The deal also calls for the Guardian S to potentially inspect confined spaces — for example, in submarines as they are modernized or retired.
Figuring out how to repurpose food packaging, plastic, paper, fabric and other types of waste without gravity to work with is difficult. That’s why NASA, in partnership with NineSigma, created the Recycling in Space Challenge.
The purpose of the challenge is to engage the public to develop methods of processing and feeding trash into a high-temperature reactor. This will help NASA’s Advanced Exploration Systems and space technology programs develop trash-to-gas technology that can recycle waste into useful gases.
The NASA Tournament Lab (NTL) crowdsourcing challenge received submissions from participants around the world. A panel of judges evaluated the solutions and selected one first place and two second place winners.
The award recipients are:
· Aurelian Zapciu, Romania – $10,000 for first place, Waste Pre-Processing Unit
· Derek McFall, United States – $2,500 for second place, Microgravity Waste Management System
· Ayman Ragab Ahmed Hamdallah, Egypt – $2,500 for second place, Trash-Gun (T-Gun)
The three winners brought a variety of approaches to the table for the challenge. Zapciu’s submission proposed incorporating space savings features and cam actuated ejectors to move trash through the system, before bringing it to another mechanism to complete the feed into the reactor. McFall’s submission indicated it would use a hopper for solid waste and managed air streams for liquids and gaseous waste. Hamdallah proposed using air jets to compress the trash and cycle it through the system instead of gravity.
ALL-STARS. The Dead Don’t Die promises
— the greatest zombie cast ever disassembled starring Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Selena Gomez, Carol Kane, Austin Butler, Luka Sabbat and Tom Waits. Written and directed by Jim Jarmusch. In Theaters June 14th.
Martin Morse Wooster, John King Tarpinian, Daniel Dern, Cat Eldridge, JJ, Andrew
Porter, Mike Kennedy, Chip Hitchcock, Michael Toman, and Carl Slaughter for
some of these stories. Title credit goes to File 770 contributing editor of the
day Matthew Johnson.]
Mary Robinette Kowal Lady Astronaut Calculating Stars
Becky Chambers Wayfarers Record of a Spaceborn Few
Yoon Ha Lee Machineries of Empire Revenant Gun
Naomi Novik Spinning Silver
Rebecca Roanhorse Trail of Lightning
Catherynne M. Valente Space Opera
By JJ: Dublin 2019 has announced the 2019 Hugo Award Finalists. Since the Hugo Voter’s packet has not yet arrived, if you’d like to get a head start on your reading, you can use this handy guide to find material which is available for free online. Where available in their entirety, works are linked (most of the Novelettes and Short Stories are free, as are the Pro and Fan Artist images, and many of the Semiprozines and Fanzines).
If not available for free, an Amazon link is provided. If a free excerpt is available online, it has been linked. Excerpts are web pages, except where otherwise indicated. Overdrive excerpts are usually longer than web excerpts, and are read by clicking the right side of the page or swiping right-to-left to advance pages.
Fair notice: All Amazon links are referrer URLs which benefit fan site Worlds Without End.
Fireside Magazine, edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator Meg Frank, special features editor Tanya DePass, founding editor Brian White, publisher and art director Pablo Defendini
Shimmer, publisher Beth Wodzinski, senior editor E. Catherine Tobler
Strange Horizons, edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons Staff
Uncanny Magazine, publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled People Destroy Science Fiction Special Issue editors-in-chief Elsa Sjunneson-Henry and Dominik Parisien
finalists for the 2019 Hugo Awards, John W. Campbell Award for Best New Writer,
the World Science Fiction Society (WSFS) Award for Best Young Adult Book, and
the 1944 Retrospective Hugo Awards were announced April 2 in a live webcast.
were 1800 valid nominating ballots (1797 electronic and 3 paper) received and
counted from the members of the 2018 and 2019 World Science Fiction Conventions
for the 2019 Hugo Awards.
the 1944 Retro Hugo Awards, 217 valid nominating ballots (214 electronic and 3
paper) were received.
webcast announcing the finalists is available for viewing on the Dublin 2019
Dublin 2019 – An Irish Worldcon will take place in and around the
Convention Centre Dublin from August 15 to 19. More than 5,600 people have
already signed up as members, including more than 4,580 attending members.
on the final ballot will open later this month. Only Dublin 2019 members will
be able to vote on the final ballot and choose the winners.
The Calculating Stars,
by Mary Robinette Kowal (Tor)
Record of a Spaceborn Few,
by Becky Chambers (Hodder & Stoughton / Harper Voyager)
by Yoon Ha Lee (Solaris)
by Catherynne M. Valente (Saga)
by Naomi Novik (Del Rey / Macmillan)
Trail of Lightning,
by Rebecca Roanhorse (Saga)
by Martha Wells (Tor.com publishing)
Beneath the Sugar Sky,
by Seanan McGuire (Tor.com publishing)
Binti: The Night Masquerade,
by Nnedi Okorafor (Tor.com publishing)
The Black God’s Drums,
by P. Djèlí Clark (Tor.com publishing)
Gods, Monsters, and the Lucky
Peach, by Kelly Robson (Tor.com publishing)
The Tea Master and the Detective,
by Aliette de Bodard (Subterranean Press / JABberwocky Literary Agency)
“If at First You Don’t Succeed, Try, Try Again,” by Zen
Cho (B&N Sci-Fi and Fantasy Blog, 29 November 2018)
“The Last Banquet of Temporal Confections,” by Tina
Connolly (Tor.com, 11 July 2018)
“Nine Last Days on Planet Earth,” by Daryl Gregory
(Tor.com, 19 September 2018)
The Only Harmless Great Thing,
by Brooke Bolander (Tor.com publishing)
“The Thing About Ghost Stories,” by Naomi Kritzer (Uncanny
Magazine 25, November-December 2018)
“When We Were Starless,” by Simone Heller (Clarkesworld
145, October 2018)
“The Court Magician,” by Sarah Pinsker (Lightspeed,
“The Rose MacGregor Drinking and Admiration Society,” by
T. Kingfisher (Uncanny Magazine 25, November-December 2018)
“The Secret Lives of the Nine Negro Teeth of George
Washington,” by P. Djèlí Clark (Fireside Magazine, February 2018)
“STET,” by Sarah Gailey (Fireside Magazine, October
“The Tale of the Three Beautiful Raptor Sisters, and the
Prince Who Was Made of Meat,” by Brooke Bolander (Uncanny Magazine 23,
“A Witch’s Guide to Escape: A Practical Compendium of Portal
Fantasies,” by Alix E. Harrow (Apex Magazine, February 2018)
The Centenal Cycle,
by Malka Older (Tor)
The Laundry Files,
by Charles Stross (most recently Tor/Orbit)
Machineries of Empire,
by Yoon Ha Lee (Solaris)
The October Daye Series, by Seanan McGuire (most recently DAW)
The Universe of Xuya,
by Aliette de Bodard (most recently Subterranean Press)
by Becky Chambers (Hodder & Stoughton / Harper Voyager)
Archive of Our Own,
a project of the Organization for Transformative Works
Astounding: John W. Campbell,
Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science
Fiction, by Alec Nevala-Lee (Dey Street Books)
The Hobbit Duology (documentary
in three parts), written and edited by Lindsay Ellis and Angelina Meehan
An Informal History of the Hugos:
A Personal Look Back at the Hugo Awards, 1953-2000,
by Jo Walton (Tor)
Mexicanx Initiative Experience at Worldcon 76 (Julia
Rios, Libia Brenda, Pablo Defendini, John Picacio)
Ursula K. Le Guin: Conversations
on Writing, by Ursula K. Le Guin with David Naimon (Tin House Books)
Best Graphic Story
written by Saladin Ahmed, art by Sami Kivelä, colours by Jason Wordie, letters
by Jim Campbell (BOOM! Studios)
Black Panther: Long Live the King,
written by Nnedi Okorafor and Aaron Covington, art by André Lima Araújo, Mario
Del Pennino and Tana Ford (Marvel)
Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda (Image Comics)
On a Sunbeam,
by Tillie Walden (First Second)
Volume 4, written by Brian K. Vaughan, art by Cliff Chiang, colours by Matt
Wilson, letters by Jared K. Fletcher (Image Comics)
Volume 9, written by Brian K. Vaughan, art by Fiona Staples (Image Comics)
Dramatic Presentation, Long Form
directed and written for the screen by Alex Garland, based on the novel by Jeff
VanderMeer (Paramount Pictures / Skydance)
Avengers: Infinity War,
screenplay by Christopher Markus and Stephen McFeely, directed by Anthony Russo
and Joe Russo (Marvel Studios)
written by Ryan Coogler and Joe Robert Cole, directed by Ryan Coogler (Marvel
A Quiet Place,
screenplay by Scott Beck, John Krasinski and Bryan Woods, directed by John
Krasinski (Platinum Dunes / Sunday Night)
Sorry to Bother You,
written and directed by Boots Riley (Annapurna Pictures)
Spider-Man: Into the Spider-Verse,
screenplay by Phil Lord and Rodney Rothman, directed by Bob Persichetti, Peter
Ramsey and Rodney Rothman (Sony)
Dramatic Presentation, Short Form
“Abaddon’s Gate,” written by Daniel Abraham, Ty Franck and Naren
Shankar, directed by Simon Cellan Jones (Penguin in a Parka / Alcon
“Demons of the Punjab,” written by Vinay Patel, directed by Jamie
written by Janelle Monáe, directed by Andrew Donoho and Chuck Lightning
(Wondaland Arts Society / Bad Boy Records / Atlantic Records)
The Good Place:
“Janet(s),” written by Josh Siegal & Dylan Morgan, directed by
Morgan Sackett (NBC)
The Good Place:
“Jeremy Bearimy,” written by Megan Amram, directed by Trent O’Donnell
“Rosa,” written by Malorie Blackman and Chris Chibnall, directed by
Mark Tonderai (BBC)
Professional Editor, Short Form
Lynne M. Thomas and Michael Damian Thomas
E. Catherine Tobler
Professional Editor, Long Form
Sheila E. Gilbert
Anne Lesley Groell
Best Professional Artist
Beneath Ceaseless Skies,
editor-in-chief and publisher Scott H. Andrews
edited by Julia Rios, managing editor Elsa Sjunneson-Henry, social coordinator
Meg Frank, special features editor Tanya DePass, founding editor Brian White,
publisher and art director Pablo Defendini
of Black Speculative Fiction, executive editors Troy L. Wiggins and DaVaun
Sanders, editors L.D. Lewis, Brandon O’Brien, Kaleb Russell, Danny Lore, and
publisher Beth Wodzinski, senior editor E. Catherine Tobler
edited by Jane Crowley, Kate Dollarhyde, Vanessa Rose Phin, Vajra
Chandrasekera, Romie Stott, Maureen Kincaid Speller, and the Strange Horizons
publishers/editors-in-chief Lynne M. Thomas and Michael Damian Thomas, managing
editor Michi Trota, podcast producers Erika Ensign and Steven Schapansky, Disabled
People Destroy Science Fiction Special Issue editors-in-chief Elsa
Sjunneson-Henry and Dominik Parisien
founder Gideon Marcus, editor Janice Marcus
edited by Team Journey Planet
editors Ira, Jodie, KJ, Renay & Susan
nerds of a feather, flock together,
editors Joe Sherry, Vance Kotrla and The G
Quick Sip Reviews,
editor Charles Payseur
Rocket Stack Rank,
editors Greg Hullender and Eric Wong
Be the Serpent,
presented by Alexandra Rowland, Freya Marske and Jennifer Mace
The Coode Street Podcast,
presented by Jonathan Strahan and Gary K. Wolfe
Fangirl Happy Hour,
hosted by Ana Grilo and Renay Williams
hosted by Alisa Krasnostein, Alexandra Pierce, and Tansy Rayner Roberts,
produced by Andrew Finch
Our Opinions Are Correct,
hosted by Annalee Newitz and Charlie Jane Anders
The Skiffy and Fanty Show,
produced by Jen Zink and Shaun Duke, hosted by the Skiffy and Fanty Crew
James Davis Nicoll
Grace P. Fong
Likhain (Mia Sereno)
The Books of Earthsea: The
Complete Illustrated Edition, illustrated by Charles Vess,
written by Ursula K. Le Guin (Saga Press /Gollancz)
Daydreamer’s Journey: The Art of
Julie Dillon, by Julie Dillon (self-published)
Dungeons & Dragons Art &
Arcana: A Visual History, by Michael Witwer, Kyle Newman,
Jon Peterson, Sam Witwer (Ten Speed Press)
Spectrum 25: The Best in
Contemporary Fantastic Art, ed. John Fleskes (Flesk
Spider-Man: Into the Spider-Verse
– The Art of the Movie, by Ramin Zahed (Titan Books)
Tolkien: Maker of Middle-earth,
ed. Catherine McIlwaine (Bodleian Library)
W. Campbell Award for Best New Writer
Katherine Arden (2nd year of eligibility)
S.A. Chakraborty (2nd year of eligibility)
R.F. Kuang (1st year of eligibility)
Jeannette Ng (2nd year of eligibility)
Vina Jie-Min Prasad (2nd year of eligibility)
Rivers Solomon (2nd year of eligibility)
Lodestar Award for Best Young Adult Book
by Dhonielle Clayton (Freeform / Gollancz)
Children of Blood and Bone,
by Tomi Adeyemi (Henry Holt / Macmillan Children’s Books)
The Cruel Prince,
by Holly Black (Little, Brown / Hot Key Books)
by Justina Ireland (Balzer + Bray)
by Peadar O’Guilin (David Fickling Books / Scholastic)
Tess of the Road,
by Rachel Hartman (Random House / Penguin Teen)
RETROSPECTIVE HUGO AWARD FINALISTS
by Fritz Leiber, Jr. (Unknown Worlds, April 1943)
Earth’s Last Citadel,
by C.L. Moore and Henry Kuttner (Argosy, April 1943)
Gather, Darkness! by
Fritz Leiber, Jr. (Astounding Science-Fiction, May-July 1943)
Das Glasperlenspiel [The
Glass Bead Game], by Hermann Hesse (Fretz & Wasmuth)
by C.S. Lewis (John Lane, The Bodley Head)
The Weapon Makers,
by A.E. van Vogt (Astounding Science-Fiction, February-April 1943)
“Attitude,” by Hal Clement (Astounding
Science-Fiction, September 1943)
“Clash by Night,” by Lawrence O’Donnell (Henry Kuttner
& C.L. Moore) (Astounding Science-Fiction, March 1943)
“The Dream-Quest of Unknown Kadath,” by H.P. Lovecraft,
(Beyond the Wall of Sleep, Arkham House)
The Little Prince,
by Antoine de Saint-Exupéry (Reynal & Hitchcock)
The Magic Bed-Knob; or, How to
Become a Witch in Ten Easy Lessons, by Mary Norton (Hyperion Press)
“We Print the Truth,” by Anthony Boucher (Astounding
Science-Fiction, December 1943)
“Citadel of Lost Ships,” by Leigh Brackett (Planet
Stories, March 1943)
“The Halfling,” by Leigh Brackett (Astonishing
Stories, February 1943)
“Mimsy Were the Borogoves,” by Lewis Padgett (C.L. Moore
& Henry Kuttner) (Astounding Science-Fiction, February 1943)
“The Proud Robot,” by Lewis Padgett (Henry Kuttner) (Astounding
Science-Fiction, February 1943)
“Symbiotica,” by Eric Frank Russell (Astounding
Science-Fiction, October 1943)
“Thieves’ House,” by Fritz Leiber, Jr (Unknown Worlds,
“Death Sentence,” by Isaac Asimov (Astounding Science
Fiction, November 1943)
“Doorway into Time,” by C.L. Moore (Famous Fantastic
Mysteries, September 1943)
“Exile,” by Edmond Hamilton (Super Science Stories,
“King of the Gray Spaces” (“R is for Rocket”),
by Ray Bradbury (Famous Fantastic Mysteries, December 1943)
“Q.U.R.,” by H.H. Holmes (Anthony Boucher) (Astounding
Science-Fiction, March 1943)
“Yours Truly – Jack the Ripper,” by Robert Bloch (Weird
Tales, July 1943)
Best Graphic Story
Buck Rogers: Martians Invade
Jupiter, by Philip Nowlan and Dick Calkins (National Newspaper Service)
Flash Gordon: Fiery Desert of
Mongo, by Alex Raymond (King Features Syndicate)
by Steve Dowling (Daily Mirror)
Plastic Man #1: The Game of Death,
by Jack Cole (Vital Publications)
Le Secret de la Licorne [The
Secret of the Unicorn], by Hergé (Le Soir)
Wonder Woman #5: Battle for
Womanhood, written by William Moulton Marsden, art by Harry G. Peter (DC
Dramatic Presentation, Long Form
written by Victor McLeod, Leslie Swabacker and Harry L. Fraser, directed by
Lambert Hillyer (Columbia Pictures)
Cabin in the Sky,
written by Joseph Schrank, directed by Vincente Minnelli and Busby Berkeley
A Guy Named Joe,
written by Frederick Hazlitt Brennan and Dalton Trumbo, directed by Victor
Heaven Can Wait,
written by Samson Raphaelson, directed by Ernst Lubitsch (20th Century Fox)
written by Erich Kästner and Rudolph Erich Raspe, directed by Josef von Báky
Phantom of the Opera,
written by Eric Taylor, Samuel Hoffenstein and Hans Jacoby, directed by Arthur
Lubin (Universal Pictures)
Dramatic Presentation, Short Form
The Ape Man,
written by Barney A. Sarecky, directed by William Beaudine (Banner Productions)
Frankenstein Meets the Wolfman,
written by Curt Siodmak, directed by Roy William Neill (Universal Pictures)
Der Fuehrer’s Face,
story by Joe Grant and Dick Huemer, directed by Jack Kinney (Disney)
I Walked With a Zombie,
written by Curt Siodmak and Ardel Wray, directed by Jacques Tourneur (RKO Radio
The Seventh Victim,
written by Charles O’Neal and DeWitt Bodeen, directed by Mark Robson (RKO Radio
written by Tedd Pierce, directed by Charles M. Jones (Warner Bros)
Professional Editor, Short Form
John W. Campbell
Oscar J. Friend
Raymond A. Palmer
Donald A. Wollheim
Antoine de Saint-Exupéry
J. Allen St. John
editor William S. Sykora
Futurian War Digest,
editor J. Michael Rosenblum
editor Donald A. Wollheim
Voice of the Imagi-Nation,
editors Jack Erman (Forrest J Ackerman) & Morojo (Myrtle Douglas)
editor Art Widner
editor Wilson “Bob” Tucker
Forrest J. Ackerman
Morojo (Myrtle Douglas)
Wilson “Bob” Tucker
Donald A. Wollheim
The Hugo Awards are the premier award in the science fiction genre, honoring science fiction literature and media as well as the genre’s fans. The Awards were first presented at the 1953 World Science Fiction Convention in Philadelphia (Philcon II), and they have continued to honor science fiction and fantasy notables for more than 60 years.
1944 Retro Hugo Awards will be presented on Thursday, August 15, the opening
night of Dublin 2019. The 2019 Hugo Awards, and the Lodestar and Campbell
Awards, will be presented on Sunday, August 18 as part of the main Hugo Awards
2019 Hugo base will be designed by Dublin artist Jim Fitzpatrick. The 1944
Retro Hugo base will be designed by Eleanor Wheeler, a ceramicist in County
Down. The 2019 Lodestar Award will be designed by Sara Felix, the Austin,
Texas-based president of the Association of Science Fiction and Fantasy
information and membership registration for Dublin 2019 are available at https://dublin2019.com. Follow the convention
on Twitter at @dublin2019.
Science Fiction Society,” “WSFS,” “World Science Fiction Convention,”
“Worldcon,” “NASFiC,” “Hugo Award,” the Hugo Award Logo, and the distinctive
design of the Hugo Award Trophy Rocket are service marks of the World Science
Fiction Society, an unincorporated literary society.