Entry tags:
Hugos 2020: Novelette (mostly)
I am so behind on everything, including making posts. (I have stillllll not made an opera post on opera I've been watching for the last... five months...) But I did read these a while ago and I guess I should talk about them :) Obviously all my rankings are dependent on reading the Jemisin story, but from my previous experiences with Jemisin I'd expect to put her at #3. We'll see though! All rankings obviously dependent on where that goes.
Also, although I think there is definitely angst in all of these, it's not the grinding depressive "look how oppression grinds us down!!" of the short stories, which was nice, and all of them (that I haev read) even had more-or-less happy endings :)
Links to all the novelettes except the Jemisin and the Chiang
“The Archronology of Love”, Caroline M. Yoachim (Lightspeed April 2019) - This was fine. IDK, I didn't have strong feelings about it one way or another. It wouldn't have stood out to me as something that I would have wanted to nominate for the Hugos, mind you.
“Away With the Wolves”, Sarah Gailey (Uncanny Magazine: Disabled People Destroy Fantasy Special Issue, September-October 2019) - This is the first Gailey I've read that haven't been seriously underwhelmed by, which is not to say that I was overwhelmed by it, just that... it was fine. It's a little obvious about the disability metaphor, but not as in-your-face about Checking The Boxes as the previous stuff I've read by her.
“The Blur in the Corner of Your Eye” by Sarah Pinsker (Uncanny July-August 2019) - So the thing with Pinsker is that I like her writing, and I like the story, and then I sort of feel like when I get to the end, I think, oh, that was it? This one followed that pattern. It's a nice story! I kept wanting a little more, though -- it's not that I need earthshattering events to happen, but if they don't happen, then I think I need some character arc, and everyone here was static character-wise. One might expect the POV character to change as a result of what she finds out in the story, but we didn't see that change happening. I guess #3
“Emergency Skin”, N.K. Jemisin (Amazon Forward Collection) (No excerpt located) - this is the only one I haven't read yet.
“For He Can Creep”, Siobhan Carroll (Tor.com July 10 2019) - Read previously. I was totally charmed by this story because, well, the title is actually more relevant than I had been expecting, and ever since high school when I went to music camp and we did a bunch of Britten (*), including the choir doing Rejoice in the Lamb, I have loved the poem this came from. Voting #2.
“Omphalos”, Ted Chiang (Exhalation, Borzoi/Alfred A. Knopf; Picador) - I bought D Exhalation for Christmas, so then I stole it back to read the Hugo nominees (I'll read the other stories too, of course, though probably after Hugo season). So I feel like Chiang has this mastery of the writing craft that everyone else on the ballot just... doesn't quite. He thinks through the implications of what he's writing about on the scientific level, the societal level, and the personal level. And he writes well on top of it. I felt like there was a distinct difference between the level of skill of this story and the other ones on the ballot (excluding the Jemisin, which I haven't read; my previous experience of Jemisin is that she does relatively well on the scientific and personal and writing craft levels, but often falls down on the societal level because she is too quick to assign bad guys -- not that bad guys don't exist, but the trick is that no people think of themselves as bad guys). "Omphalos" is not one of my favorites on a personal level (as opposed to the Chiang novella, which I adored and which I'll post about either with the novellas or separately), but the craft is so evident... Voting #1.
(*) This particular camp was not just for music (I happened to go for music, but there were several different academic disciplines as well) and was focused on the twentieth century. So we read twentieth century philosophy and played twentieth century pieces, and the choir did twentieth century songs and the theatre people put on twentieth-century plays. At the time we were ungrateful little brats who didn't appreciate it much at all and wanted to do Classical and Romantic instead :) But now I'm really grateful they put up with us -- it was my introduction to not just Britten, but also Corigliano and Shostakovich and several others, and it did change my life in that small way.
Also, although I think there is definitely angst in all of these, it's not the grinding depressive "look how oppression grinds us down!!" of the short stories, which was nice, and all of them (that I haev read) even had more-or-less happy endings :)
Links to all the novelettes except the Jemisin and the Chiang
“The Archronology of Love”, Caroline M. Yoachim (Lightspeed April 2019) - This was fine. IDK, I didn't have strong feelings about it one way or another. It wouldn't have stood out to me as something that I would have wanted to nominate for the Hugos, mind you.
“Away With the Wolves”, Sarah Gailey (Uncanny Magazine: Disabled People Destroy Fantasy Special Issue, September-October 2019) - This is the first Gailey I've read that haven't been seriously underwhelmed by, which is not to say that I was overwhelmed by it, just that... it was fine. It's a little obvious about the disability metaphor, but not as in-your-face about Checking The Boxes as the previous stuff I've read by her.
“The Blur in the Corner of Your Eye” by Sarah Pinsker (Uncanny July-August 2019) - So the thing with Pinsker is that I like her writing, and I like the story, and then I sort of feel like when I get to the end, I think, oh, that was it? This one followed that pattern. It's a nice story! I kept wanting a little more, though -- it's not that I need earthshattering events to happen, but if they don't happen, then I think I need some character arc, and everyone here was static character-wise. One might expect the POV character to change as a result of what she finds out in the story, but we didn't see that change happening. I guess #3
“Emergency Skin”, N.K. Jemisin (Amazon Forward Collection) (No excerpt located) - this is the only one I haven't read yet.
“For He Can Creep”, Siobhan Carroll (Tor.com July 10 2019) - Read previously. I was totally charmed by this story because, well, the title is actually more relevant than I had been expecting, and ever since high school when I went to music camp and we did a bunch of Britten (*), including the choir doing Rejoice in the Lamb, I have loved the poem this came from. Voting #2.
“Omphalos”, Ted Chiang (Exhalation, Borzoi/Alfred A. Knopf; Picador) - I bought D Exhalation for Christmas, so then I stole it back to read the Hugo nominees (I'll read the other stories too, of course, though probably after Hugo season). So I feel like Chiang has this mastery of the writing craft that everyone else on the ballot just... doesn't quite. He thinks through the implications of what he's writing about on the scientific level, the societal level, and the personal level. And he writes well on top of it. I felt like there was a distinct difference between the level of skill of this story and the other ones on the ballot (excluding the Jemisin, which I haven't read; my previous experience of Jemisin is that she does relatively well on the scientific and personal and writing craft levels, but often falls down on the societal level because she is too quick to assign bad guys -- not that bad guys don't exist, but the trick is that no people think of themselves as bad guys). "Omphalos" is not one of my favorites on a personal level (as opposed to the Chiang novella, which I adored and which I'll post about either with the novellas or separately), but the craft is so evident... Voting #1.
(*) This particular camp was not just for music (I happened to go for music, but there were several different academic disciplines as well) and was focused on the twentieth century. So we read twentieth century philosophy and played twentieth century pieces, and the choir did twentieth century songs and the theatre people put on twentieth-century plays. At the time we were ungrateful little brats who didn't appreciate it much at all and wanted to do Classical and Romantic instead :) But now I'm really grateful they put up with us -- it was my introduction to not just Britten, but also Corigliano and Shostakovich and several others, and it did change my life in that small way.