Tag: Rebecca Roanhorse

How I would vote now: 2019 Hugo Award (Best Novel)

The Nominees

Record of a Spaceborn Few by Becky Chambers

The Calculating Stars by Mary Robinette Kowal

Revenant Gun by Yoon Ha Lee

Spinning Silver by Naomi Novik

Trail of Lightning by Rebecca Roanhorse

Space Opera by Catherynne M. Valente

The Actual Results

  1. The Calculating Stars by Mary Robinette Kowal
  2. Spinning Silver by Naomi Novik
  3. Record of a Spaceborn Few by Becky Chambers
  4. Trail of Lightning by Rebecca Roanhorse
  5. Revenant Gun by Yoon Ha Lee
  6. Space Opera by Catherynne M. Valente

How I Would Have Voted

  1. Spinning Silver by Naomi Novik
  2. No Award
  3. Space Opera by Catherynne M. Valente

Explanation

The Calculating Stars actually started out pretty good. Mary Robinette Kowal is a very skilled writer, and her main character in this book was both likeable and interesting—something that seems to be increasing rare in Hugo-nominated books. It also didn’t hurt that in the very first chapter, a giant meteor wiped out Washington DC and most of the eastern seaboard. But then it gradually turned into a story about the little woman who roared and her band of misfit minorities who team up to fight Captain Patriarchy, and the super-woke feminism just ruined it for me.

I didn’t read Revenant Gun or Record of a Spaceborn Few because I DNFed both series with the first book. With Yoon Ha Lee’s Machineries of Empire series, I don’t remember much, except that the first book made absolutely no sense to me, with so much meaningless violence that it bordered on the absurd. With Becky Chambers’s Wayfarers series, it started off as an interesting space opera, but the ship quickly turned into a lesbian love boat, with lots of queer and transgender aliens to boot. Wokery ensues.

As for Trail of Lightning, I honestly don’t remember much about that one, other than that it started to give me woke vibes and I didn’t really like any of the characters. I think it also played the Death is Chic and Life is Not Worth Saving trope, which I personally cannot stand. If the main character had struck me as a good and decent person, I probably would have kept reading, but so many books that suffer from wokeness also suffer from having protagonists who are just terrible human beings in general. I don’t think the two are unrelated.

The first chapter of Space Opera was laugh out loud hilarious, and I actually enjoyed it quite a lot. Valente’s gonzo humor is a lot of fun! Then… I don’t know quite how to put this, but the story just started to feel depressing, and I’m not sure why. Also, the gonzo writing style started to grate on me after a while, kind of like Chuck Wendig’s writing does for anything longer than a blog article. It wasn’t a terrible book, but I didn’t end up finishing it.

But I really loved Spinning Silver, much more than I was expecting to. I’m not generally into fairy tell retellings, but this one stirred something primal in my Slavic roots and scratched an itch I didn’t even know that I had. Besides all that, it’s just a damn good story. The villains were genuinely villainous, the peril was genuinely perilous, the good guys all had satisfying growth arcs, and the ending was a crowning moment of awesome that brought everything full circle in the best possible way. Really great book.

How I Would Vote Now: All Years

How I would vote now: 2021 Hugo Award (Best Novel)

The Nominees

Piranesi by Susanna Clarke

The City We Became by N.K. Jemisin

The Relentless Moon by Mary Robinette Kowal

Harrow the Ninth by Tamsyn Muir

Black Sun by Rebecca Roanhorse

Network Effect by Martha Wells

The Actual Results

  1. The Network Effect by Martha Wells
  2. The City We Became by N.K. Jemisin
  3. Piranesi by Susanna Clarke
  4. Black Sun by Rebecca Roanhorse
  5. The Relentless Moon by Mary Robinette Kowal
  6. Harrow the Ninth by Tamsyn Muir

How I Would Have Voted

  1. Network Effect by Martha Wells
  2. No Award
  3. Piranesi by Susanna Clarke

Explanation

Network Effect was pretty good. In fact, it’s my favorite Murderbot book. There was a little bit of wokery, mostly in the form of the polyamorous relationships of the humans, but that didn’t bother me as much because part of the point of the Murderbot books is that the humans are (for the most part) aggravatingly dumb and slow, so the polyamory kind of blended into the rest of the nonsense that muderbot constantly has to deal with. But I can see how it would bother some readers.

I DNFed all the other books, but I didn’t want to lump Piranesi in with all the others because it just wasn’t my kind of book. All the other ones had woke themes or tropes or other issues that turned me off immensely. I DNFed the first Lady Astronauts book when it turned into a story about the brave little woman that could and her band of misfit minorities fighting back against Captain Patriarchy. The City We Became dropped half a dozen f-bombs in the first chapter, and I think it had a gay rape scene too. Also, I have no love whatsoever for New York City. As for Black Sun and Harrow the Ninth, they both suffer from the trope that I call “death is chic.” At best, it’s an aesthetic that turns me off, and at worst it’s just a cover for outright nihilism and a pro-death, anti-life worldview that undergirds everything that I hate about our current culture.

As a side note, I just want to say that when it comes to book blurbs, Neil Gaiman is one of the best contrarian indicators for my own personal tastes that I’ve found. He may have blurbed a book or two that I actually enjoyed, but for every book or author that I can remember, if he gave them praise, I not only didn’t like it, but actively hated it. He may actually be a better indicator for me than the Hugo Award itself, since I actually enjoyed the book that won this year—but I cannot think of a single book that Neil Gaiman blurbed that I didn’t despise.