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Culture War Roundup for the week of December 19, 2022

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There are plenty of posts in the CW thread lamenting the takeover of modern TV and movies by 'wokeness,' I figured it might be interesting to look at another area, namely sci-fi novels.

The Hugo Award is probably the most well known science fiction writing award, having existed since 1953 and helping to launch many famous authors' careers such as Robert Heinlein, Philip K. Dick, Frank Herbert, and many more. Unfortunately, the quality of this award, among others, seems to have gone sharply downhill recently. Specifically, they are becoming overtly political and focusing primarily on female and POC authors.

This phenomenon started back in 2014-2015, and has received massive backlash since the genre of speculative fiction (science fiction + fantasy) is overwhelming male, and seems to select for high systematizers. There have even been organized voting campaigns against the political skew of the Hugo, predictably shut down hard by the social justice camp.

I was recently looking for a new sci-fi series, and stumbled upon Ancillary Justice, a sci-fi novel that won the first so-called 'Triple Crown' of Sci-fi, the Hugo, Nebula, and Arthur C. Clarke awards. Despite never having heard of the other two besides the Hugo, I figured that should be a good enough endorsement of the series. I was wrong.

The flaws with this first novel, as I only read about a fifth of it before quitting, are numerous. The basic premise is that the main character used to be an Artificial Intelligence who ran a starship, and communicated/perceived primarily through captured human bodies, called Ancillaries. She (the AI) was betrayed, and now is stuck in a single human body, plotting revenge. Why a super powerful AI needs to take over human bodies is never explained, but we'll chalk it up to suspension of disbelief.

This former-AI-being, despite having lived for over 2,000(!) years, is laughably incompetent and emotional while still managing to come off as a flat character. Starting on a backwater planet called Nilk, where she has been living for almost twenty years, she consistently manages to piss off the locals by mis-gendering them. This is because, as the author takes pain to remind us, the Radch Empire which she came from has one singular gender (or doesn't care about gender, it isn't clear) and the default pronoun is 'she.' This odd convention leads to such beautiful passages as (emphasis mine):

"She out-bulked me, but I was taller, and I was also considerably stronger than I looked. She didn’t realize what she was playing with. She was probably male, to judge from the angular mazelike patterns quilting her shirt."

This inconsistent gendering is constant throughout the novel, to the point where it's difficult to trust the gender of any character. You literally have characters introduced using female pronouns, only to find out two chapters later that it was actually a male character, the former-AI-turned-SJW just failed to correctly gender them!

Despite the fact that this is beyond frustrating from a reader perspective of trying to visualize the characters, it makes literally no sense given the world building. You're telling me that a millenia-old AI, who has explicitly spent centuries studying human expressions, culture, and communication, is so incompetent they can't correctly gender humans in a society they've been living in for twenty years?? Keep in mind this mis-gendering literally threatens the main character's life at multiple points. The amount of mental gymnastics required to suspend my disbelief at this point was far too much.

And yet, despite this inane premise (and the fact that according to many other reviewers, the book never gets better, there's barely any plot, and the AI's scheme for revenge is utterly flawed) this book received massive amounts of praise. Not just from the sci-fi establishment, but more general institutions too such as NPR, and various other celebrities. They somehow try to turn this confusing writing style into a good thing because it encapsulates a 'poignant personal journey':

It won't be easy. The universe of Ancillary Justice is complex, murky and difficult to navigate — no bad thing, as Leckie's deft sketches hint at worlds beyond, none of them neat. Most obvious are the linguistic disconnects: Breq's home tongue uses only "she," reinforcing her otherness as she constantly guesses at genders in other languages.

Now you may ask - why does this matter? Unfortunately, as many know here, awards are a zero-sum game. Speculative fiction, especially fantasy, is entering the main stream with hits like Game of Thrones and House of the Dragon. Right now we already have issues of adaptions being too focused on social justice narratives, even though many of the underlying works were popular due to their gritty, realistic, and often misogynistic worlds.

Writing fiction is a brutal career. Amateur authors often spend literally decades building a name for themselves, so short story magazines, awards, and other ways of gaining notoriety and funds are extremely important. If aspiring writers of science fiction and fantasy can't make it without catering to woke sensibilities, then unfortunately the quality of the genre will drop drastically. Writers who can't write woke fiction simply won't be able to support themselves.

When it comes to modern entertainment, science fiction novels especially have been one of the last bastions of male centric, systematized, shape-rotator style writing. It seems that where the genre goes could be an important bell-weather for the future of the culture war in entertainment.

It's been a few years since I read Ancillary Justice, but I remember disliking it quite a bit as well. My main complaint, if memory serves, was that the author had some interesting ideas but never had a good story to back them up. The plot just was boring. And like you, I came away firmly convinced that the awards for the book were a diversity pick, and that if a male author had presented the same book it would've been panned.

In all honesty, at this point I would take the Hugos (and similar industry awards) to be a negative mark on a book, not a positive one.

I'm not sure I would go that far, even though I do think they've sold out. The Broken Earth series by N.K. Jemisin was particularly impressive, to the point that I gave it a full five stars, rare for me. Jemisin is a black woman, but she wrote an incredible series that really ticked all the boxes for me.

Honestly that series is what put the Hugos on the map for me, thinking they were a decent mark of quality. Other notable good winners/runners up in recent years are Project Hail Mary, 2313 by Kim Stanely Robinson, Three-Body Problem by Cixin Liu, A Dance with Dragons and Leviathan Wakes of course.

I suppose my issue is that the Hugo has a decent track record of picking pretty good books. Even if they catered slightly towards more progressive works, i.e. used that as a metric to win a close tie, that would be fine. What made me utterly frustrated with Ancillary Justice was that the book had no redeeming features whatsoever in my mind, and won out against greats in the genre like Charles Stross / Brandon Sanderson (WoT) who were runners up.

I'm shocked that you had never heard of the Hugos before Jemesin. For me it was Ender's Game, which had the Hugo Winner sticker plastered all over it. That plus Speaker for the Dead were my introductions to the award, but then I looked at the winners, and found many, many great books.

The year prior to Card's back-to-back, Gibson won with Neuromancer.

The 70s were stunning with, in order starting from 1970, The Left Hand of Darkness, Ringworld, To Your Scattered Bodies Go (ignore this one), The Gods Themselves, Rendezvous with Rama, The Dispossessed, and The Forever War. The 60s were great, too:

1961 A Canticle for Leibowitz

1962 Stranger in a Strange Land

1963 The Man in the High Castle

1966 Dune

1967 The Moon is a Harsh Mistress

1968 Lord of Light

The good books lasted through the 90s, with Hyperion, A Fire Upon the Deep, Green Mars / Blue Mars, Forever Peace, and A Deepness in the Sky. It was this last one, in 2000, that marks what I consider to be the end of the predictive power of the award. In 2001 Harry Potter won, and the award had some hits in the years following (American Gods in 2002, Jonathan Strange & Mr Norrell in 2004, Rainbows End in 2007), it never really was the same, and finally died in 2013. Redshirts was about two-thirds of a good book, and had no business winning. 2014 is Leckie's book, which beat Wheel of Time. 2015 was when Cixin Liu won because his was the only book that wasn't on the original Rapid Puppy slate. Then comes three years of Jemesin, and since then we've had basically nothing but white male transsexuals and colored females even nominated, with predictable outcomes.

I get what you are saying about "To Your Scattered Bodies Go" (great premise let down by lack of 'now where do I go?' plot development and poor execution) but Philip José Farmer has always been hit-or-miss, and you will either really like the Riverworld series or be mildly disappointed.

I've had a copy of Riverworld sitting on my shelf for years, worth a shot? Hearing about the later books sorta put me off trying.

With the caveat that it's 70s SF and so of its time. But it's a fantastic premise: every single human being that has ever lived (up to a certain date) has been resurrected on an alien planet beside a seemingly endless river. Who did this? How? What is the intention behind it? And by "every single human being", Farmer really means that - from Neanderthals to Jesus and Buddha. Villains and heroes both, all starting afresh with (at first) no advantages at all.

The first book sets up questions that later books don't really answer adequately, but the first one at least is worth a go. You'll know soon into it if it's for you or not.

I must confess, I've never read it. Rama and Forever War were my two favorite from the 70s.