In a year in which brand-new and significant singers from around the world represented themselves heard, Adam Roberts reflects on SFs ever-expanding universe
In 2016, SF and fantasy became world. It wasnt a question of success both genres have been globally successful for many years but of provenance. This was the year in which western audiences began to wake up to the excellence and diversity of genre spokespeople from around the world.
Take, for example, the Hugo, the genres more prestigious award. Over the last couple of years this booty was more or less hijacked by the Sad and Rabid Puppies groups opposed to the more progressive and liberal iterations of SF. In 2016 these angry activists attested much less destructive. This times Hugo winners were not only enormous volumes, the latter are needles for future directions in which the genre as a whole is moving. Best novel was just going NK Jemisins The Fifth Season( Orbit ), a narration of an earthquake-afflicted and squandered world that functions as a powerful fable of environmental breakdown while at the same time reconfiguring fiction in more ethnically and sexually diverse directions. Good novella was Nnedi Okorafors African-flavoured space opera Binti( Tor ), while better novelette was Folding Beijing by Hao Jingfang, carried by Ken Liu.
Hao is the first Chinese woman to win 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 publication of Liu Cixins Remembrance of Earths Past trilogy, were released in English( the first volume, The Three-Body Problem, won last years best novel Hugo ), again carried by Ken Liu. Liu Cixins trilogy is SF in the grand style, a galaxy-spanning, ideas-rich narration of invasion and conflict between human beings and the alien Trisolarians. There is an energy, a rawness, to a lot of Chinese SF, a feeling of commotion in the possibilities of the category itself. The more China becomes a high-tech world-wide ability, the more we will see its writers and masters turn to SF as the literature best fitted to exploring technological and social change.
Of course, the prime railing to a properly world SF remains the anglophone biases of culture and fandom, which make an advantage to writers who work in English. Lavie Tidhars Central Station( Tachyon ), a sprawling hymn to the glorification and mess of cultural diversity set in a future spaceport Tel Aviv, is an illustration: Israeli-born Tidhar lives in London and writes in English. Malaysian-born writer Zen Cho likewise lives in London and writes in English: her elegantly gleaned Regency fantasy Sorcerer to the Crown( Pan) acquired this years British Fantasy award. But translation was increased, extremely, often depicting on crowdsourced or kickstarted funds to accompany novelists to brand-new gatherings. Meanwhile, in Iraq+ 100: Floors from a Century After the Invasion, Comma press commissioned 10 homegrown scribes to suppose what home countries might look like in the year 2103, with fascinating results.