The Clarion Class of 2023 has been selected. The following students will attend the Clarion Foundation workshop at the University of San Diego from June 25 to August 5.
Joseph Aguilar (Worcester, MA)
Maya Beck (San Diego, CA)
Eirill Falck (Ann Arbor, MI)
Amy Haejung (Brooklyn, NY)
Osahon Ize-Iyamu (Benin City, Nigeria)
Sunwoo Jeong (Seattle, WA)
Fiona Jones (Sugar Hill, GA)
Cassius Kilroy (Redlands, CA)
Holden Lee (Baltimore, MD)
David Marino (New York, NY)
Ng Yi-Sheng (Singapore)
Kathrin Rohrmeier (Madison, WI)
Nicholas Schorn (Vancouver, Canada)
Anneke Schwob (Montréal, Canada)
Devi Snively (Skillman, NJ)
Francis Van Ganson (Chicago, IL)
Lei Wang (Iowa City, IA)
Zez Wyatt (San Francisco, CA)
The 2023 Clarion faculty members are Andy Duncan, Alaya Dawn Johnson, Tochi Onyebuchi, Anjali Sachdeva, C. C. Finlay, Rae Carson, and Jac Jemc (Faculty Director).
[Based on a press release. Thanks to Michael Toman for the story.]
The National Recording Registry announced its 2023 inductees on April 12 and two items of genre interest made the list. Each year the Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 titles that are “culturally, historically, or aesthetically significant” and are at least 10 years old.
Among the 2023 selections are a video game music theme, and a recording of Carl Sagan’s impressions about a famous NASA photo.
Super Mario Bros. theme — Koji Kondo, composer (1985)
Perhaps the most recognizable video game theme in history, Koji Kondo’s main motif for the 1985 Nintendo classic, Super Mario Bros., helped establish the game’s legendary status and proved that the five-channel Nintendo Entertainment System (NES) sound chip was capable of vast musical complexity and creativity. Inspired in part by the music of Japanese jazz fusion band, T-Square, the game’s main theme, or “Ground Theme,” is a jaunty, Latin-influenced melody that provides the perfect accompaniment to Mario and Luigi’s side scrolling hijinks. Kondo’s score laid the groundwork for an entire generation of chiptune musicians and has been performed by orchestras around the globe, befitting its status as one of the most beloved musical compositions of the last 40 years.
“Pale Blue Dot” — Carl Sagan (1994)
Few people understood astronomy, planetary science and astrophysics like Carl Sagan, and even fewer could communicate it in a way that makes us think and feel a deeper connection with the universe. In 1990, as the space probe Voyager 1 was finishing its final mission, Sagan asked NASA to take a photo of Earth in a wide shot across the great span of space. The photo and concept resulted in Sagan’s 1994 book, “Pale Blue Dot,” and reminds us of the humility of being the only known species in the solar system and beyond. Reading the words is one thing, but hearing the recording, in Sagan’s own voice, really paints the perspective on how vast the universe is and the responsibility of our existence. As Sagan so eloquently speaks, “It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.”
Koji Kondo. Photo credit: NintendoCarl Sagan. Photo credit: Alexander Tsiaras
Speaking generally, the class of 2023’s best-known choices include Madonna’s “Like a Virgin,” Mariah Carey’s perennial No. 1 Christmas hit “All I Want for Christmas Is You”, Queen Latifah’s “All Hail the Queen”, and Daddy Yankee’s reggaeton explosion “Gasolina”.
Librarian of Congress Carla Hayden said, “The National Recording Registry preserves our history through recorded sound and reflects our nation’s diverse culture. The national library is proud to help ensure these recordings are preserved for generations to come, and we welcome the public’s input on what songs, speeches, podcasts or recorded sounds we should preserve next. We received more than 1,100 public nominations this year for recordings to add to the registry.”
The new additions bring the number of titles on the National Recording Registry to 625, representing a small portion of the national library’s vast recorded sound collection of nearly 4 million items.
KOJI KONDO. The LOC press release notes that few musicians have had their work become so internationally recognized for decades yet remain so relatively unknown as Koji Kondo, the man who composed the music for the Super Mario Bros. video games in the 1980s. Still today, Kondo is credited for original Nintendo music in the new “Super Mario Bros. Movie” out this month.
Kondo, born and raised in Japan, was a college senior in Osaka, interested in the piano and sound design, when he saw a recruiting flyer from Nintendo on a university bulletin board. He answered the ad, and the rest is video game history. His main, or “Ground Theme,” for the 1985 game is a jaunty, Latin-influenced melody that’s instantly recognizable around the world today.
“The amount of data that we could use for music and sound effects was extremely small, so I really had to be very innovative and make full use of the musical and programming ingenuity that we had at the time,” he said through an interpreter in a recent interview. “I used all sorts of genres that matched what was happening on screen. We had jingles to encourage players to try again after getting a ‘game over,’ fanfares to congratulate them for reaching goals, and pieces that sped up when the time remaining grew short.”
Now 61 and still working for Nintendo, he’s seen his “Mario” music used in films and played by orchestras. He’s designed the world of sound for dozens of other video games. He did, however, have an inkling that they were onto something at the beginning. “I also had a feeling that this game might be something that could turn into a series and continue for a long time,” he said.
“Having this music preserved alongside so many other classic songs is such a great honor,” he said. “It’s actually a little bit difficult to believe.”
Complete List of National Recording Registry 2023 Selections
“The Very First Mariachi Recordings” — Cuarteto Coculense (1908-1909)
“St. Louis Blues” — Handy’s Memphis Blues Band (1922)
“Sugar Foot Stomp” — Fletcher Henderson (1926)
Dorothy Thompson: Commentary and Analysis of the European Situation for NBC Radio (Aug. 23-Sept. 6, 1939)
“Don’t Let Nobody Turn You Around” — The Fairfield Four (1947)
“Sherry” — The Four Seasons (1962)
“What the World Needs Now is Love” — Jackie DeShannon (1965)
“Wang Dang Doodle” — Koko Taylor (1966)
“Ode to Billie Joe” — Bobbie Gentry (1967)
“Déjà Vu” — Crosby, Stills, Nash and Young (1970)
“Imagine” — John Lennon (1971)
“Stairway to Heaven” — Led Zeppelin (1971)
“Take Me Home, Country Roads” — John Denver (1971)
“Margaritaville” — Jimmy Buffett (1977)
“Flashdance…What a Feeling” — Irene Cara (1983)
“Sweet Dreams (Are Made of This)” — Eurythmics (1983)
“Synchronicity” — The Police (1983)
“Like a Virgin” — Madonna (1984)
“Black Codes (From the Underground)” — Wynton Marsalis (1985)
Super Mario Bros. theme — Koji Kondo, composer (1985)
“All Hail the Queen” — Queen Latifah (1989)
“All I Want for Christmas is You” — Mariah Carey (1994)
“Pale Blue Dot” — Carl Sagan (1994)
“Gasolina” — Daddy Yankee (2004)
“Concerto for Clarinet and Chamber Orchestra” — Northwest Chamber Orchestra, Ellen Taaffe Zwilich, composer (2012)
[Thanks to N. for the story. Based on a press release.]
EXCERPTS FROM THE DECISION. John G. Koeltl, District Judge of the U.S. Southern District of New York, granted summary judgment based on the record, as was requested by both sides. His analysis of the case is illustrated in the following quotes from the decision.
The plaintiffs in this action, four book publishers, allege that the defendant, an organization whose professed mission is to provide universal access to all knowledge, infringed the plaintiffs’ copyrights in 127 books (the “Works in Suit”) by scanning print copies of the Works in Suit and lending the digital copies to users of the defendant’s website without the plaintiffs’ permission. The defendant contends that it is not liable for copyright infringement because it makes fair use of the Works in Suit.
…In the two years after the NEL, IA’s user base increased from 2.6 million to about 6 million…. As of 2022, IA hosts about 70,000 daily ebook “borrows.” …
…IA argues, however, that this infringement is excused by the doctrine of fair use. This doctrine allows some unauthorized uses of copyrighted works “to fulfill copyright’s very purpose, ‘[t]o promote the Progress of Science and useful Arts.’” Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569, 575 (1994). While rooted in the common law, fair use is a statutory exception to copyright infringement. The Copyright Act of 1976 provides that “the fair use of a copyrighted work” for “purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.” Id. § 107. “In determining whether the use made of a work in any particular case is a fair use,” the Copyright Act directs courts to consider the following factors:
(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for or value of the copyrighted work. 17 U.S.C. § 107. The four factors are not exclusive, but each must be considered in a “case-by-case analysis,” with the results “weighed together[] in light of the purposes of copyright.” Fox News Network, LLC v. TVEyes, Inc., 883 F.3d 169, 176 (2d Cir. 2018). Fair use presents a mixed question of law and fact and may be resolved on summary judgment where, as here, the material facts are undisputed.
FIRST FACTOR. In this Circuit, consideration of the first factor focuses chiefly on the degree to which the secondary use is “transformative.” Id. A transformative use “adds something new, with a further purpose or different character, altering the first with new expression, meaning, or message, rather than merely superseding the original work.”
…There is nothing transformative about IA’s copying and unauthorized lending of the Works in Suit.7 IA does not reproduce the Works in Suit to provide criticism, commentary, or information about them. See 17 U.S.C. § 107. IA’s ebooks do not “add[] something new, with a further purpose or different character, altering the [originals] with new expression, meaning or message.” Campbell, 510 U.S. at 579. IA simply scans the Works in Suit to become ebooks and lends them to users of its Website for free. But a copyright holder holds the “exclusive[] right” to prepare, display, and distribute “derivative works based upon the copyrighted work.” 17 U.S.C. § 106. An ebook recast from a print book is a paradigmatic example of a derivative work. Authors Guild v. Google, Inc., 804 F.3d 202, 215 (2d Cir. 2015) (”Google Books”) (citing 17 U.S.C. § 101). And although the changes involved in preparing a derivative work “can be described as transformations, they do not involve the kind of transformative purpose that favors a fair use finding.”…
The first factor also directs courts to consider whether the secondary use “is of a commercial nature or is for nonprofit educational purposes.” 17 U.S.C. § 107(1)…
…IA exploits the Works in Suit without paying the customary price. IA uses its Website to attract new members, solicit donations, and bolster its standing in the library community…. Better World Books also pays IA whenever a patron buys a used book from BWB after clicking on the “Purchase at Better World Books” button that appears on the top of webpages for ebooks on the Website…. IA receives these benefits as a direct result of offering the Publishers’ books in ebook form without obtaining a license. Although it does not make a monetary profit, IA still gains “an advantage or benefit from its distribution and use of” the Works in Suit “without having to account to the copyright holder[s],”… The commercial-noncommercial distinction therefore favors the Publishers….
IA makes a final argument that the first factor favors fair use because, according to IA, by reproducing and distributing only ebook editions of print books that were lawfully acquired, IA furthers the goals of copyright’s “first sale” doctrine. This argument is without merit….
… Acknowledging this, IA refashions a first sale argument within its fair use analysis. IA argues that although “Section 109 does not expressly encompass the reproduction right, neither does it abrogate the common-law principle favoring the ability of the owner of a copy to freely give, sell, or lend it.”…. But IA points to no case authorizing the first recipient of a book to reproduce the entire book without permission, as IA did to the Works in Suit….
… Nor does IA’s promise not to lend simultaneously its lawfully acquired print copies and its unauthorized reproductions help its case. As an initial matter, IA has not kept its promise. Although the Open Library’s print copies of the Works in Suit are non-circulating, IA concedes that it has no way of verifying whether Partner Libraries remove their physical copies from circulation after partnering with IA…. To the contrary, IA knows that some Partner Libraries do not remove the physical books from their shelves, and even if a Partner Library puts a physical book into a non-circulating reference collection, it could be read in the library while the ebook equivalent is checked out….
… The crux of IA’s first factor argument is that an organization has the right under fair use to make whatever copies of its print books are necessary to facilitate digital lending of that book, so long as only one patron at a time can borrow the book for each copy that has been bought and paid for. See Oral Arg. Tr. 31:10-15. But there is no such right, which risks eviscerating the rights of authors and publishers to profit from the creation and dissemination of derivatives of their protected works….
The first fair use factor strongly favors the Publishers…
SECOND FACTOR. The second fair use factor directs courts to consider “the nature of the copyrighted work.”
…IA argues that because most of the Works in Suit were published more than five years before IA copied them, IA has not interfered with the authors’ “right to control the first public appearance of [their] expression.”… Published works do not lose copyright protection after five years….
THIRD FACTOR. Under the third fair use factor, courts consider “the amount and substantiality of the portion used in relation to the copyrighted work as a whole.” 17 U.S.C. § 107(3). IA copied the entire Works in Suit and made the copies available for lending….
It is true that copying an entire work is sometimes necessary to make a fair use of the work… In this case, however, IA copied the Works in Suit wholesale for no transformative purpose and created ebooks that, as explained below, competed directly with the licensed ebooks of the Works in Suit. IA’s wholesale copying therefore cannot be excused, and the third factor weighs strongly in the Publishers’ favor…
FOURTH FACTOR. The fourth fair use factor is “the effect of the [copying] use upon the potential market for or value of the copyrighted work[s].” 17 U.S.C. § 107(4). This factor focuses on whether a secondary use “usurps the market for the [original] by offering a competing substitute.”
… In this case, there is a “thriving ebook licensing market for libraries” in which the Publishers earn a fee whenever a library obtains one of their licensed ebooks from an aggregator like OverDrive…. This market generates at least tens of millions of dollars a year for the Publishers…. And IA supplants the Publishers’ place in this market. IA offers users complete ebook editions of the Works in Suit without IA’s having paid the Publishers a fee to license those ebooks, and it gives libraries an alternative to buying ebook licenses from the Publishers. Indeed, IA pitches the Open Libraries project to libraries in part as a way to help libraries avoid paying for licenses….
… It is also irrelevant to assessing market harm in this case that IA and its Partner Libraries once purchased print copies of all the Works in Suit. The Publishers do not price print books with the expectation that they will be distributed in both print and digital formats,…
… Finally, the Court must consider “the public benefits [IA’s] copying will likely produce.” Andy Warhol Found., 11 F.4th at 50. IA argues that its digital lending makes it easier for patrons who live far from physical libraries to access books and that it supports research, scholarship, and cultural participation by making books widely accessible on the Internet. But these alleged benefits cannot outweigh the market harm to the Publishers….
SUMMARY ANALYSIS. … Each enumerated fair use factor favors the Publishers, and although these factors are not exclusive, IA has identified no additional relevant considerations. At bottom, IA’s fair use defense rests on the notion that lawfully acquiring a copyrighted print book entitles the recipient to make an unauthorized copy and distribute it in place of the print book, so long as it does not simultaneously lend the print book. But no case or legal principle supports that notion. Every authority points the other direction. Of course, IA remains entitled to scan and distribute the many public domain books in its collection. See Pls.’ 56.1 ¶ 294. It also may use its scans of the Works in Suit, or other works in its collection, in a manner consistent with the uses deemed to be fair in Google Books and HathiTrust. What fair use does not allow, however, is the mass reproduction and distribution of complete copyrighted works in a way that does not transform those works and that creates directly competing substitutes for the originals. Because that is what IA has done with respect to the Works in Suit, its defense of fair use fails as a matter of law. …
Over the February 4-5 weekend water pipes in the MIT Student Center in Boston froze and burst, causing significant damage throughout the building including to the fourth floor where the MIT Science Fiction Society club library is housed. The MITSFS Library, the world’s largest public open-shelf collection of science fiction, had an inch of water in it. The administration/staff made no effort to rescue books, and some were soaked. Students were denied access to the area to rescue books for several weeks, unable to assess how much mold damage was occurring.
Today MITSFS leadership emailed an update about the condition of the library and its operations. “After 2 weeks we were finally successful and discovered that while the majority of the library survived just fine, we did have some significant damage to some books – largely boxed duplicates and donations.”
The message says the library has been open for limited hours, however, the 4th floor, where MITSFS is, remains closed today and likely will remain closed until September. And due to renovations which were already scheduled to begin in April, MIT is currently planning to move MITSFS out of that space and then move them back in during the late summer or fall.
Therefore MITSFS has put out an urgent call for volunteers:
We NEED HELP! If you are located in the Boston area and have availability during the work week, work hours, we desperately need hands to help us with continued mitigation of the damage as well as with potentially packing up MITSFS. We have over 40,000 unique volumes of science fiction and fantasy – some of which of irreplaceable historical value. This means we could use as much help as we can get in protecting this unique legacy and resource. Please email [email protected] if you can help.
Former Librarian George Phillies adds that the MITSFS Library’s 40,000-plus items, “include complete runs of Amazing, Astounding/Analog, Weird Tales except for the first two years, and many other magazines, all in bound volumes, enough so that the missing magazines were the likes of Kapitan Mors und sein lenkbares Luftschiff. (Pre-WWI, including interplanetary flight), really obscure stuff. Hopefully a large part of it is intact.”
Oghenechovwe Donald Ekpeki confirmed in social media today that he is back in Nigeria, and made his first comments about the situation, adding: “Thanks to everyone who clamoured, reached out and was worried.”
As for talks of oh he's fine now, Well meaning. I appreciate you all. But I'm not fine, I'm angry. The talks of he must have overstayed & bla, I'll say people saying this dont know anything, what visa I have, how I used it, etc. But sure, ratify fascist, racist acts of empire
In the meantime, numerous sff fans and authors have told their social media followers that they have contacted their U.S. Congressional representatives, Senators, or even President Biden to ask for their intervention.
Oghenechovwe Donald Ekpeki was reportedly detained by U.S. Customs and Border Protection authorities at the Los Angeles Airport on February 23. LA author Woody Dismukes has been asking people to signal boost this message:
Thursday afternoon @naacpimageaward nominee @Penprince_ was detained by @CBPLosAngeles at @flyLAXairport . He has not been heard from in 48 hours and we are concerned for his safety. Please share this message widely so we can ensure his safe release.
Jason Sanford noted on Twitter: “Ekpeki has a valid visa and was on his way to a high-profile award ceremony where the Africa Risen anthology was being honored.”
The live NAACP Image Awards show is happening in Los Angeles today, February 25. One of the works up for an award in The Outstanding Work – Literary Fiction category is Africa Risen: A New Era Of Speculative Fiction edited by Sheree Renée Thomas, Oghenechovwe Donald Ekpeki and Zelda Knight.
Some users think Spoutible might make a good landing place when they leave Twitter, however, the platform’s “Adult Nudity & Sexual Content” policy is being criticized by Courtney Milan and others. The policy begins –
Spoutible prohibits the posting or sharing of any sexually explicit content.
Examples of Adult Nudity & Sexual Content may include:
Sharing or posting sexually explicit images or videos, including nudity, sexual acts, and pornography.
Engaging in sexually suggestive or explicit language in posts, comments, or private messages.
Sharing or posting sexually suggestive or explicit content, including images, videos, and text, that are not sexually explicit but still violate the community guidelines.
Sharing or posting links to sexually explicit websites or content.
Posting sexually explicit comments or messages on public profiles or pages.
Engaging in non-consensual sharing or distribution of sexually explicit images or videos, also known as revenge porn.
Exceptions may be made for medical, health, educational or artistic content.
Courtney Milan asserts that under Spoutible’s policy people will risk being banned for discussing or providing links to various well-known public topics in a thread that starts here. Here are Milan’s opening comments:
I start by noting that the policy contains potential exceptions: "Exceptions may be made for medical, health, educational or artistic content."
There is no exception for political content. There is no exception for public interest content.
This is not going to be a comprehensive list of issues with Spoutible's policy; it's going to demonstrate the serious safety issues that this policy presents to its users with a few select examples.
— Christopher Bouzy (spoutible.com/cbouzy) (@cbouzy) February 20, 2023
Yes, of course. The people who are complaining about the policy have been Spouting about sex and their books since we launched without issue. No one was suspended for spouting about sex. This "controversy" started with fewer than 30 accounts trying to get us to change the policy. https://t.co/37uWebbm9M
— Christopher Bouzy (spoutible.com/cbouzy) (@cbouzy) February 20, 2023
The Horror Writers Association (HWA), in partnership with United for Libraries, Book Riot, and Booklist, has announced the fifth annual Summer Scares Reading List, with titles selected by a panel of authors and librarians and designed to promote horror as a great reading option for all ages, during any time of the year.
Every year, three titles are selected in each of three categories: Adult, Young Adult, and Middle Grade. For 2023 the selected titles are:
ADULT SELECTIONS
Ring Shout by P. Djèlí Clark (Tordotcom, 2020)
Catherine House by Elisabeth Thomas (Custom House, 2020)
The Merry Spinster: Tales of Everyday Horror by Daniel M. Lavery (Holt Paperbacks, 2018)
YOUNG ADULT SELECTIONS
In The Shadow of Blackbirds by Cat Winters (Amulet Books, 2013)
Squad by Maggie Tokuda-Hall and Lisa Sterle (illustrator) (Greenwillow Books, 2021)
Mooncakes by Suzanne Walker and Wendy Xu (illustrator) (Oni Press, 2019)
MIDDLE GRADE SELECTIONS
Small Spaces by Katharine Arden (G.P. Putnam’s Sons Books for Young Readers, 2018)
Living Ghosts and Mischievous Monsters: Chilling American Indian Stories by Dan SaSuWeh Jones, illustrated by Weshoyot Alvitre (Scholastic Nonfiction, 2021)
A Small Zombie Problem by K.G. Campbell (Alfred A. Knopf Books for Young Readers, 2019)
The goal of Summer Scares is to introduce Horror titles to school and public library workers in order to help them start conversations with readers that will extend beyond the books from each list and promote reading for years to come. In addition to the annual list of recommended titles, the Summer Scares committee will release themed lists of even more “read-alike” titles libraries can suggest to readers. And, in order to help libraries forge stronger connections between books and readers, the Summer Scares committee will be working with both the recommended list authors and Horror authors from all over the country to provide free programming to libraries.
The Summer Scares Programming Guide, created each year by the Springfield-Greene County (MO) Library, and free for libraries anywhere to access, is back with the tools libraries need to connect with their communities.
“The 2023 guide is packed with ideas that library workers can use to engage their communities with these great titles, whether they’re putting up book displays, hosting author events, or planning an entire Summer Scares program series,” states Konrad Stump, co-creator of the programming guide. The guide will be available beginning March 15, 2023 on the Summer Scares Resource page here.
This year Summer Scares is adding two new partnerships to join their existing partnerships with EBSCO’s NoveList database and the Horror Studies Collection of the University of Pittsburgh Library Systems. First, Summer Scares welcomes the Books in the Freezer podcast, which will be featuring Summer Scares committee members and authors beginning in March 2023 and continuing throughout 2023.
Second, Summer Scares joins iRead, a summer reading program that has been adopted by nine states and across the globe by the Department of Defense for libraries on military bases. “While there is nothing scary about Summer Reading, there is no better time than summer to scare up some great books. iREAD is thrilled (and chilled!) to partner with Summer Scares to introduce Horror titles to school and public library workers in order to help them start conversations with readers that perfectly aligns with our mission to bridge the summer gap, while inspiring literacy and life-long learning,” shares incoming iREAD Content and Development Manager, Becca Boland. “We look forward to working with Summer Scares to help people find their voice – even if it is to scream!”
You can help kick off Summer Scares 2023 at the HWA’s Librarians’ Day, taking place in person on June 16, 2023, in Pittsburgh as part of StokerCon. Details here. Summer Scares content will also be available for free on the HWA’s YouTube page, including panels with all of this year’s selected authors.
The 2023 Summer Scares program committee consists of author Daniel Kraus, HWA Library Committee Co-Chairs Becky Spratford and Konrad Stump, as well as Academic Librarian Carolyn Ciesla, Book Riot Editor and YA specialist Kelly Jensen, and Booklist Editor and Middle Grade specialist Julia Smith.
Gregory Benford, who turned 82 last month, suffered a major stroke on December 22.
His twin brother, Jim Benford, told the sff community today:
I flew down south immediately and the Doctors told me they didn’t expect him to live. However, he did survive and since has been very slowly recovering. He is paralyzed on his left side, can’t see the left side of his visual field. A psychiatrist has determined that he is not competent to make any decisions.
I’ve spoken with him, but mostly at him, via FaceTime and, although everyone thinks he’s improving, it seems to me that there’s something missing. My intuition is that he’s not entirely there, as of now. Deep down, he’s confused.
Gregory Benford is the author of Timescape, winner of the 1981 Nebula, British Science Fiction Association, Ditmar, and John W. Campbell Memorial Awards. His work has been nominated for a total of 13 Nebulas (winning twice), and four Hugos.
