In a year in which new and important express from all over the world drew themselves listen, Adam Roberts reflects on SFs ever-expanding universe
In 2016, SF and fantasy led global. It wasnt a question of success both genres have been globally successful for many years but of provenance. This was its first year in which western audiences began to wake up to the excellence and diversity of genre expressions from around the world.
Take, for example, the Hugo, the categories most prestigious award. Over the last couple of years this pillage was more or less hijacked by the Sad and Rabid Puppies radicals opposed to the most progressive and liberal iterations of SF. In 2016 these indignant activists attested much less destructive. This times Hugo wins were not only enormous volumes, the latter are pointers for the direction in which the genre as a whole is moving. Best novel went to NK Jemisins The Fifth Season( Orbit ), a fib of an earthquake-afflicted and squandered world-wide that parts as a potent fable of ecological breakdown while at the same time reconfiguring fantasy in more ethnically and sexually diverse counselings. Better novella was Nnedi Okorafors African-flavoured space opera Binti( Tor ), while better novelette was Folding Beijing by Hao Jingfang, restated by Ken Liu.
Hao is the first Chinese woman to triumph a Hugo, and while SF has been a big deal in China for some years, in 2016 it began properly to filter into western consciousness. Deaths End( Head of Zeus ), the final magnitude of Liu Cixins Remembrance of Earths Past trilogy, was released in English( the first magnitude, The Three-Body Problem, won last years better novel Hugo ), again translated by Ken Liu. Liu Cixins trilogy is SF in the grand style, a galaxy-spanning, ideas-rich narration of invasion and crusade between humanity and the foreigner Trisolarians. There is an energy, a rawness, to a lot of Chinese SF, a sense of excitement in the possibilities of the genre itself. The more China becomes a high-tech global ability, the more we will see its writers and creators turn to SF as the literature best fitted to exploring technological and social change.
Of course, the central barricade to a properly world SF remains the anglophone biases of culture and fandom, which afford an advantage to novelists who work in English. Lavie Tidhars Central Station( Tachyon ), a sprawling carol to the beauty and mess of cultural diversity set in a future spaceport Tel Aviv, is one example: Israeli-born Tidhar lives in London and writes in English. Malaysian-born writer Zen Cho too lives in London and writes in English: her elegantly described Regency fantasy Sorcerer to the Crown( Pan) acquired this years British Fantasy award. But translation is on the rise, very, often attracting on crowdsourced or kickstarted funds to raise novelists to new audiences. Meanwhile, in Iraq+ 100: Legends from a Century After the Invasion, Comma press commissioned 10 homegrown writers to suspect what their own countries might look like in its first year 2103, with fascinating results.