2018 Hugo Award Winners: A great year for women in science fiction and fantasy

Hugo Award logoThe World Science Fiction Convention* that was hosting the Hugo Award ceremony has finished, the results are in and this year’s Hugo Award winners have been announced.

Women dominated this year’s Hugo Awards in what has turned out to be a great year

for women in science fiction and fantasy; a genre, that it is fair to say, has been dominated historically by men.

So without further ado, here are the winners of this year’s Hugo Awards.

Cover of The stone skyBest Novel: The Stone Sky, by N.K. Jemisin

This year’s Hugo Award for best novel goes to Book three of The Broken Earth Trilogy by N.K. Jemisin. Books one and two, The Fifth Season and The Obelisk Gate respectively, are both previous winners of the award. This also makes N.K. Jemisin the first author to win three Hugo Awards for best novel in a row as well as making The Broken Earth the only trilogy in which all three novels are best novel winners (the closest to doing so previously was Kim Stanley Robinson‘s Mars Trilogy with two wins and a finalist position).

Cover of No time to spareBest Related Work: No Time to Spare, By Ursula Le Guin.

Essentially, this is the reward for best piece of non-fiction related to the world of science fiction and fantasy and understandably, recently deceased Ursula Le Guin, now six time winner of the Hugo Award and Science Fiction royalty, is the winner of this category. ‘No Time to Spare’ is a collection of Le Guin’s musings on various subjects from the mundane to the philosophical.

Cover of Monstress vol. 2Best Graphic Story: Monstress, by Marjorie Liu and Sana Takeda

The best graphic novel of the year is the sequel to 2017’s winner: ‘Monstress Vol. 2’. Monstress is an apocalyptic steampunk fable notable for its exceptional artwork (with artist Sana Takeda also winning this year’s award for Best Professional Artist) and interesting world building.

Best Dramatic Presentation, Long Form: Wonder Woman, screenplay by Allan Heinberg, story by Zack Snyder & Allan Heinberg and Jason Fuchs, directed by Patty Jenkins (DC Films / Warner Brothers).

What essentially amounts to the award for best film, Wonder Woman takes the cake for its adaptation of the DC Comic hero in a film that captures the essence of this year’s Hugo Awards winners.

Winners of all categories are as follows:

Best Novella: All Systems Red, by Martha Wells

Best Novelette: The Secret Life of Bots, by Suzanne Palmer

Best Short Story: Welcome to your Authentic Indian Experience™, by Rebecca Roanhorse

Best Series: World of the Five Gods, by Lois McMaster Bujold

Best Dramatic Presentation, Short Form: The Good Place: “The Trolley Problem,” written by Josh Siegal and Dylan Morgan, directed by Dean Holland

Best Editor, Short Form: Lynne M. Thomas & Michael Damian Thomas

Best Editor, Long Form: Sheila E. Gilbert

Best Professional Artist: Sana Takeda

Best Semiprozine: Uncanny Magazine, edited by Lynne M. Thomas & Michael Damian Thomas, Michi Trota, and Julia Rios; podcast produced by Erika Ensign & Steven Schapansky

Best Fanzine: File 770, edited by Mike Glyer

Best Fancast: Ditch Diggers, presented by Mur Lafferty and Matt Wallace

Best Fan Writer: Sarah Gailey

Best Fan Artist: Geneva Benton

Don’t forget to check out previous year’s winners for best novel, best related work, graphic story, novella, and short story.

*Worldcon comes to New Zealand in 2020, with Wellington having hosting duties.

Of humans and gods elemental

I’m a committed reader and I do read fairly widely and there’s one particular thing that I love when it comes to fiction; I love stories that blend and blur the lines between reality and mythology. The kind of thing where the lives of men and meddling gods coexist and the environment holds some physical form.

There’s loads of examples of this throughout literature – the Greeks and Romans loved to tell these types of stories, and those stories continue to be told in our own time – think of John Banville’s ‘The Infinities’ and ‘Fifteen Dogs’ by Andre Alexis . In both books the Classical Gods get involved in the modern life of humanity (and canines). And more recently there’s been ‘American Gods’ by Neil Gaiman, and ‘Good Omens’ a joint effort between Gaiman and the late Terry Pratchett. Both of which will be getting the screen treatment very soon!

Cover of The infinites Cover of Fifteen dogsCover of American GodsCover of Good omens

But what about the more elemental gods, the older gods, gods of the earth, environment, and the supernatural world…?

Cover of FlamesI’ve just finished reading ‘Flames’ by Robbie Arnott – a young Tasmanian author with some serious talent! He’s been writing for some years now and has a string of awards following in his wake, and he’s a very welcome addition to the burgeoning Tasmanian writers scene, a scene which includes the rural romances of Rachael Treasure, the gritty historic fiction of Rohan Wilson, and the Booker Prize winner Richard Flanagan. I’m a Tasmanian myself so I do enjoy keeping up with what’s coming out of the beautiful isle, but I wasn’t really prepared for how good ‘Flames’ was going to be! It feels as you read it as if the land of lutruwita (the indigenous name for Tasmania) is itself telling the story and we are the privileged few who get to gain some insider knowledge.

It centres on two young people just after the death of their mother, which itself acts as a catalyst for all that follows. The brother is steadfast and pragmatic and wants to protect his sister so decides to build her a coffin, to which her response is to flee into the wilderness of the South West where she discovers a supernatural aspect to the world around her, and to herself and also to her family. Meanwhile the brother mounts a search to find his sister. On the journey we meet characters that are both at one with the natural world and still finding and settling into their place in it. We meet their father, we learn more about the family’s background, and other characters each of who are portrayed perfectly to outline their purpose in the narrative.

Robbie Arnott’s use of language is poetic and evocative of times past, of the smell of earth, the feel of wind, and the heat of fire. The narrative moves organically from one character to the next, shifting perspectives and fleshing out the magic of the story as it progresses. His descriptions of Tasmania (and you can rely on this ex-pat to confirm) are stunningly accurate and establish a very strong sense of place – you can smell eucalyptus burning, hear the rush of the waves onto the rocks, and you can feel the semi-decayed earth under your feet as you negotiate the wombat burrows.

So; beautiful language, strong sense of place, great characters with depth and purpose, and an engrossing story line – it’s ticked all the boxes for me!

Cover of The buried giantAnd ‘Flames’ is not the only book to achieve this balance between the real, the myth, the supernatural. ‘The Buried Giant’ by Kazuo Ishaguro is the tale of an ageing couple on a medieval pilgrimage with their purpose obscured by a think fog affecting memories, or there’s the outstanding series ‘The Tale of Shikanoko’ by Lian Hearn where we follow a journey of growth within a fantastical Edo-era Japan that has such imagination and rooted in strong mythology and where the everyday is touched with magic both light and dark. As is fellow Tasmanian Richard Flanagan’s great piece of surrealist historical fiction ‘Gould’s Book of Fish – a novel in twelve fish’ which I’m sure was both inspiration and license for Robbie Arnott to create this work, ‘Flames’.

And if you like this particular sub-genre then there’s plenty of films and tele series’ that are similar. You could have a look at ‘The Kettering Incident’, Tasmania’s own supernatural, David-Lynch-esque, tele series. It’s brilliant, dark, a bit creepy, and it’ll show you some places and environments very like those Robbie Arnott has depicted in ‘Flames’.

Enjoy your reading,

^DevilStateDan