DOCSLIB.ORG

Climate Change in Fiction Master’S Thesis by Miglė Šaltytė

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Climate Change in Fiction Master’S Thesis by Miglė Šaltytė Università Ca' Foscari Venezia Climate Change in Fiction Master’s Thesis by Miglė Šaltytė Miglė Šaltytė 1-10-2019 Table of Contents Introduction........................................................................................................................................................2 1. Climate Fiction …………………………………….……………………….................................................5 2. “Serious” Climate-Change Fiction …………................................................................................................8 3. Artistically Compelling Climate-Change Fiction.........................................................................................11 4. What Climate-Change Fiction Reveals About Our Attitudes towards the Human and the Non-Human.…13 5. The Works Chosen and the Structure of the Thesis………………………………………………...….…..14 6. Truth, Politics, and Climate Change…..….......…………………………………………………….….…..15 6.1 Flight Behaviour by Barbara Kingsolver……………………………………………………………..…..16 6.2 The State of Fear by Michael Crichton………………………………………………………………..….20 6.3 Solar by Ian McEwan……………………………………………………………………………..………24 7. The Human Point of View in Climate-Chamage Fiction …………………………………………....…….30 7.1 “Shooting the Apocalypse” by Paolo Bacigalupi………………………………………………..………..31 7.2 “A Hundred Hundred Daisies” by Nancy Kress………………………………………………….………34 7.3 “The Mutant Stag at Horn Creek” by Sarah K. Castle……………………………………………..……..36 7.4 “The Tamarisk Hunter” by Paolo Bacigalupi…………………………………………………….………40 8. Climate Change on the Fringe of “Serious” Literature…………………………………………….………43 8.1 Carbon Diaries 2015 by Sacy Lloyd……………………………………………………………..………46 9. Science Fiction and Climate-Change Fiction……..……...………………………………………..…….…52 9.1 The Windup Girl by Paulo Bacigalupi…………………………………………………………..………..56 9.2 The MaddAddam trilogy by Margaret Atwood………………………………………………..………….62 10. Climate Change in Children’s Literature……………………………………………………..…………..68 10.1 The Lorax by Dr Seuss………………………………………………………………………...………...70 10.2 George Saves the World by Lunchtime by Dr Jo Readman……………………………………..….…...72 10.3 The Tantrum that Saved the World by Megan Herbert and Dr Michael E. Mann…………………..…..73 10.4 Where’s the Elephant? by Barroux………………………………………………………………..…….74 10.5 The Trouble with Dragons by Debi Gliori……………………………………………………….……...75 Conclusions ......................................................................................................................................................79 Works Cited .....................................................................................................................................................83 Summary ..........................................................................................................................................................91 1 Introduction It has been said that throughout history, fiction has always responded to wars, crises and calamities (Ghosh 16). This is only natural bearing in mind that narratives have been said to help deal with threats by making them understandable and therefore bearable (Bruner 16), and even being an essential part of healing, not just metaphorically but physically as well (Charon 3). Naturally, this highlights the importance of fiction as the field that invents, reflects upon, and changes narratives that influence our daily lives. It also explains why we expect fiction to respond to the most urgent and pressing issues of our times, of which today climate change is undoubtedly the most serious. However, the response to climate change in fiction has been said to be so inadequate as to be almost non-existent. In 2005, writer Robert Macfarlane argued that climate change “does not yet, with a few exceptions, exist as art. Where are the novels, the plays, the poems, the songs, the libretti, of this massive contemporary anxiety?”(guardian.com). Eleven years later, in 2016, Amitav Ghosh expressed the same concern in The Great Derangement: In a substantially altered world, when sea-level rise has swallowed Sundarbans and made cities like Kolkata, New York and Bangkok uninhabitable, when readers and museumgoers turn to the art and literature of our time, will they not look, first, and most urgently, for traces and portents of the altered world of their inheritance? And when they fail to find them, what should they what can they do other than to conclude that ours was a time when forms of art and literature were drawn into the modes of concealment that prevented people from recognizing the realities of their plight? (16). On the other hand, it seems simply wrong to declare that fiction that concerns itself with climate change does not exist in fact, works explicitly on this topic can be found as early as the 19th century. Lord Byron’s poem Darkness, inspired by the disastrous cooling of the climate during the famous “year without a summer”, describes a world where the Sun is extinguished, leading to famine and death. Jules Verne’s The Purchase of the North Pole, published in 1889, tells the story of a project to tilt the Earth’s axis, making it easier to mine and sell the coal that is believed to lie under the ice in the North Pole, which presents the theme of ruthless capitalism that is more than relevant today. This is not to mention the ancient Deluge narratives that are found in numerous civilizations. As for contemporary works, fiction that concerns itself with climate change has become widespread enough to inspire the term “cli-fi”, which Margaret Atwood defines as “books in which an altered climate is part of the plot” (Atwood 2013). 2 Yet it is not easy to dismiss the argument that climate change fiction is not nearly as pervasive as one could expect. Nor is it difficult to find works in which the issue is not treated with the seriousness it deserves, or those that Kim Stanley Robinson describes as “so didactic, so obviously meant to warn and teach us, that they no longer work as fiction” (Everything Change 8). On the other hand, great works of art may be criticised for losing sight of their message. In all cases, however, they can provide revealing insights into society’s approach to the issue of climate change (Clode and Stasiak, 2014). For this reason, this thesis aims to examine a diverse sample of contemporary works of Anglophone literature that focus on climate change and discuss the way contemporary fiction responds to the issue. It aims to determine how these works address the issue, how (and if) they make it artistically compelling, and examines the approach towards climate change that these works reveal. Relevance of the Thesis. As mentioned above, literature has been criticised as having failed to adequately respond to the looming crisis of climate change. Many of these criticisms seem to assume that literature on climate change is either non-existent, or incapable of addressing the issue with the seriousness it deserves, or artistically ineffective. However, these assumptions ignore the fact that there is a growing body of literary works that deals explicitly with climate change (and that this subject is by no means new) and fails to examine why the existing works are seen as less serious than the subject demands and/or artistically unsuccessful. It also fails to examine the manner of thinking about climate change that is revealed and strengthened by these narratives. Therefore, instead of discussing a specific climate change-related aspect of a particular work, this thesis aims to take a broader look at a diverse sample from the existing body of climate change fiction and examine what it reveals about the approach to climate change in Anglophone literature, how it addresses the issue, and whether it presents an artistically compelling work. Object, Aim, and Structure of the Thesis. The thesis will examine several works that will be referred to as “climate-change fiction”. This definition is kept purposefully broad in order to examine a wide range of works that are set both in the present and the future, have elements of both realism and science fiction, deal with the issue of climate change both explicitly and implicitly, and are aimed at different audiences. Several works of children’s literature will also be examined as a source of common climate change fiction clichés and a source of inspiration for different ways of presenting the issue. The thesis will examine the following works: Flight Behaviour by Barbara Kingsolver; The State of Fear by Michael Crichton; Solar by Ian McEwan; The Carbon Diaries: 2015 by Saci Lloyd; MaddAddam by Margaret Atwood; and Windup Girl by Paolo Bacigalupi, as well as the short stories “Shooting the Apocalypse” and “The Tamarisk Hunter” by Paolo Bacigalupi, “A Hundred Hundred Daisies” by Nancy Kress, and “The Mutant Stag at Horn Creek” by Sarah K. Castle from the anthology Loosed Upon the World. It will also examine these works of children’s 3 literature: The Lorax by Dr Seuss; The Tantrum that Saved the World by Megan Herbert and Dr Michael E. Mann; George Saves the World by Lunchtime by Dr Jo Readman; The Trouble with Dragons by Debi Gliori; and Where’s the Elephant? by Barroux. The thesis will focus on English-language fiction by mainly American, British, and Canadian authors. These works will be discussed in separate sections, focusing on these aspects: 1. How the authors respond to the fact that the issue has been heavily politicised (at least in the USA), i.e., do they examine the attitudes and uncertainties implicit in the subject or avoid them; 2. How the relationship between scientific
Load more

Recommended publications
  • Panels Seeking Participants
    Panels Seeking Participants • All paper proposals must be submitted via the Submittable (if you do not have an account, you will need to create one before submitting) website by December 15, 2018 at 11:59pm EST. Please DO NOT submit a paper directly to the panel organizer; however, prospective panelists are welcome to correspond with the organizer(s) about the panel and their abstract. • Only one paper proposal submission is allowed per person; participants can present only once during the conference (pre-conference workshops and chairing/organizing a panel are not counted as presenting). • All panel descriptions and direct links to their submission forms are listed below, and posted in Submittable. Links to each of the panels seeking panelists are also listed on the Panel Call for Papers page at https://www.asle.org/conference/biennial-conference/panel-calls-for-papers/ • There are separate forms in Submittable for each panel seeking participants, listed in alphabetical order, as well as an open individual paper submission form. • In cases in which the online submission requirement poses a significant difficulty, please contact us at [email protected]. • Proposals for a Traditional Panel (4 presenters) should be papers of approximately 15 minutes-max each, with an approximately 300 word abstract, unless a different length is requested in the specific panel call, in the form of an uploadable .pdf, .docx, or .doc file. Please include your name and contact information in this file. • Proposals for a Roundtable (5-6 presenters) should be papers of approximately 10 minute-max each, with an approximately 300 word abstract, unless a different length is requested in the specific panel call, in the form of an uploadable .pdf, .docx, or .doc file.
    [Show full text]
  • Climate Fiction
    CLIMATE FICTION Instructor: Christopher A. Walker Course Number: EN/ES 337 Lecture: MW 2:30-3:45 in Miller 319 Office Hours: Mondays 4:00-6:00 (and by appointment) in Miller 216 Mailbox: Miller 216 Email: [email protected] Course Description Contemporary fiction is now investigating the possibilities and limits of story-telling in the era of global climate change. These works, referred to as “climate fiction” or “cli-fi,” explore humanity’s connection to- and impact upon Earth by asking questions such as: what will human and nonhuman communities look like after sea-level rise, desertification, and biodiversity loss remap our planet?; how might species evolve in response to ecological collapse?; what affects— melancholy, despair, hope—will eulogize a lost home-world? Reading cli-fi novels, short stories, poetry, and film, this course will situate our texts within the Environmental Humanities, an interdisciplinary field that combines scientific and cultural discourses about the environment with humanistic concerns for social justice. Working through the narrative conventions of the utopian, dystopian, and apocalyptic genres, we will ask how cli- fi not only narrates impending disaster on a global scale but also strives to imagine a more just future, one that combines environmentalism and social equality. These texts will be paired with excerpts from philosophical and ecocritical writings which will aid our development of the humanistic methodologies needed to analyze and appreciate this new genre. Course Materials Items with an asterisk (*) on reserve in Miller Library. Books to purchase: (Available at The Colby Bookstore) Margaret Atwood, Oryx and Crake (ISBN 978-0-385-72167-7) (2003) * J.
    [Show full text]
  • The Butterfly Phenomena: a Study of Climate Change on Barbara Kingsolver’S Flight Behaviour
    © 2018 JETIR October 2018, Volume 5, Issue 10 www.jetir.org (ISSN-2349-5162) The Butterfly phenomena: A Study of Climate Change on Barbara Kingsolver’s Flight Behaviour. Rejani G.S Research Scholar (Ph.D) (Reg.No.18113154012020) S.T Hindu College ,Nagercoil Affiliated to Manonmanium Sundaranar University, Abhishekapatti.Tirunelveli. Abstract Barbara Kingsolver’s Flight Behaviour is a clarion call for the forestalled eco-apocalypse, climate change or global warming .Rachel Carson’s Silent Spring, Maggie Gees The Ice People, Jeanette Winterson’s The Stone Gods and many other novels in the same vein are futuristic. Even though there is always imagination in fiction, Flight Behaviour does not focus on the aftermath of any global disaster. Rather it reflects the actuality of climate change and Monarch butterfly migration. It also focuses on the story of a young woman trying to change her life, and a deeply humane account of working people responding to the local effects of the global climate crisis. Kingsolver has carved a career from examining social issues in her novels, from economic inequality to environmentalism. Flight Behaviour portrays the inducement and consequences of climate change that forms the butterfly effect. The paper throws light on the enormous consequence of climate change and the ignorance of reality. Keywords - Climate change, Butterfly phenomenon , Futuristic, Global Warming and Environmentalism. Climate change is the defining challenge of our age. The science is clear, climate change is happening, the impact is real. The time to act is now. -Ban Ki-Moon Climate novel is an emerging literary genre that has caught much attention and popularity in recent years.
    [Show full text]
  • Alexis Wright's Carpentaria and the Swan Book
    Exchanges: The Interdisciplinary Research Journal Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book Chiara Xausa Department of Interpreting and Translation, University of Bologna, Italy Correspondence: [email protected] Peer review: This article has been subject to a Abstract double-blind peer review process This article analyses the representation of environmental crisis and climate crisis in Carpentaria (2006) and The Swan Book (2013) by Indigenous Australian writer Alexis Wright. Building upon the groundbreaking work of environmental humanities scholars such as Heise (2008), Clark (2015), Copyright notice: This Trexler (2015) and Ghosh (2016), who have emphasised the main article is issued under the challenges faced by authors of climate fiction, it considers the novels as an terms of the Creative Commons Attribution entry point to address the climate-related crisis of culture – while License, which permits acknowledging the problematic aspects of reading Indigenous texts as use and redistribution of antidotes to the 'great derangement’ – and the danger of a singular the work provided that the original author and Anthropocene narrative that silences the ‘unevenly universal’ (Nixon, 2011) source are credited. responsibilities and vulnerabilities to environmental harm. Exploring You must give themes such as environmental racism, ecological imperialism, and the slow appropriate credit violence of climate change, it suggests that Alexis Wright’s novels are of (author attribution), utmost importance for global conversations about the Anthropocene and provide a link to the license, and indicate if its literary representations, as they bring the unevenness of environmental changes were made. You and climate crisis to visibility.
    [Show full text]
  • Ballard's Story of O: ‘The Voices of Time’ and the Quest for (Non)Identity
    Ballard's Story of O: ‘The Voices of Time’ and the Quest for (Non)Identity Item Type Book Chapter Authors Wymer, Rowland Publisher Palgrave Macmillan Download date 04/10/2021 07:04:47 Link to Item http://hdl.handle.net/2384/295021 Pre-print copy. For the final version, see: Wymer, R. , 2012. ‘Ballard’s Story of O: “The Voices of Time” and the Quest for (Non)Identity’. In Jeannette Baxter and Rowland Wymer, eds. 2012. J. G. Ballard: Visions and Revisions. Basingstoke: Palgrave Macmillan, ch. 1, pp. 19-34. Chapter One Ballard’s Story of O: ‘The Voices of Time’ and the Quest for (Non)Identity Rowland Wymer ‘The Voices of Time’ (1960) is the finest of Ballard’s early stories, an enigmatic but indisputable masterpiece which marks the first appearance of a number of favourite Ballard images (a drained swimming-pool, a mandala, a collection of ‘terminal documents’) and prefigures the ‘disaster’ novels in its depiction of a compulsively driven male protagonist searching for identity (or oblivion) within a disturbingly changed environment. Its importance to Ballard himself was confirmed by its appearance in the title of his first collection of short fiction, The Voices of Time and Other Stories (1962), and by his later remark that it was the story by which he would most like to be remembered.1 It was first published in the October 1960 issue of the science fiction magazine New Worlds alongside more conventional SF stories by James White, Colin Kapp, E. C. Tubb, and W. T. Webb. This was three-and-a-half years before Michael Moorcock took over the editorship of the magazine and inaugurated the ‘New Wave’ by aggressively promoting self- consciously experimental forms of speculative fiction.
    [Show full text]
  • Sfi Welcomes the Livingston/Planthold Team!
    SFI WELCOMES THE LIVINGSTON/PLANTHOLD TEAM! STARFLEET congratulates Mandi Livingston and her team for winning the 2004 Election for Commander, STARFLEET, and gives a warm welcome to our new Executive Committee and 126 staff members! DEC 2004/ Left: Sunnie Planthold, our new Vice JAN 2005 Commander, and our new Chief of Operations, Commodore Jack “Towaway” Eaton, at Vulkon in Orlando, Florida - where they receive the good news via cell phone! (In this photo, she knows, but he doesn’t - yet!) Photo submitted by Ralph Planthold Additional Vulkon photos on p. 28 TWO SETS OF NEWLYWEDS: JOAN & RICARDO BRUCKMAN... Last issue, we had one beautiful STARFLEET wedding... and this time, we have TWO to celebrate! Right: The happy couple, Joan and Ricardo Bruckman of the USS Hathor , pause for a group photo with too many STARFLEET members to name here (including members of the CQ team)! Photo submitted by Wade Olsen ...AND WENDY & JON LANE! Left: On September 5, Jon Lane and Wendy Stanford became married on a large green lawn situated along the edge of the beautiful and scenic bay at the Newport Dunes Resort. The audience included friends from the USS Angeles and STARFLEET members from both coasts. Photo submitted by Gary Sandridge Additional wedding photos on back cover USPS 017-671 112626 112626 STARFLEET Communiqué Jimmy Doohan’s Last Convention............3 Volume I, No. 126 Hollywood Entertainment Museum.........5 Inspired To Make A Difference..................6 Published by: Colorado SFI Member Goes Bald............6 STARFLEET, The International “Trekkies 2” Review.................................6 Star Trek Fan Association, Inc. Tuvok Does Astronomy............................7 3212 Mark Circle Jon Lane Gets Married............................7 Independence, MO 64055 From The Center Seat............................8 George “Sulu” Takei and USS Angeles CO Janice Willcocks.
    [Show full text]
  • Anthropocene Monsters in Jeff Vandermeer's the Southern Reach
    Concentric: Literary and Cultural Studies March 2017: 71-96 DOI: 10.6240/concentric.lit.2017.43.1.05 Brave New Weird: Anthropocene Monsters in Jeff VanderMeer’s The Southern Reach Gry Ulstein Faculty of Humanities Utrecht University, The Netherlands Abstract This paper investigates and compares language and imagery used by contemporary ecocritics in order to argue that the Anthropocene discourse contains significant parallels to cosmic horror discourse and (new) weird literature. While monsters from the traditional, Lovecraftian weird lend themselves well to Anthropocene allegory due to the coinciding fear affect in both discourses, the new weird genre experiments with ways to move beyond cosmic fear, thereby reimagining the human position in the context of the Anthropocene. Jeff VanderMeer’s trilogy The Southern Reach (2014) presents an alien system of assimilation and ecological mutation into which the characters are launched. It does this in a manner that brings into question human hierarchical coexistence with nonhumans while also exposing the ineffectiveness of current existential norms. This paper argues that new weird stories such as VanderMeer’s are able to rework and dispel the fearful paralysis of cosmic horror found in Lovecraft’s literature and of Anthropocene monsters in ecocritical debate. The Southern Reach and the new weird welcome the monstrous as kin rather than enemy. Keywords Anthropocene, climate change, ecology, climate fiction, horror, weird, Jeff VanderMeer 72 Concentric 43.1 March 2017 The Thing cannot be described—there is no language for such abysms of shrieking and immemorial lunacy, such eldritch contradictions of all matter, force, and cosmic order. The Thing of the idols, the green, sticky spawn of the stars, had awaked to claim his own.
    [Show full text]
  • Nasa and the Search for Technosignatures
    NASA AND THE SEARCH FOR TECHNOSIGNATURES A Report from the NASA Technosignatures Workshop NOVEMBER 28, 2018 NASA TECHNOSIGNATURES WORKSHOP REPORT CONTENTS 1 INTRODUCTION .................................................................................................................................................................... 1 What are Technosignatures? .................................................................................................................................... 2 What Are Good Technosignatures to Look For? ....................................................................................................... 2 Maturity of the Field ................................................................................................................................................... 5 Breadth of the Field ................................................................................................................................................... 5 Limitations of This Document .................................................................................................................................... 6 Authors of This Document ......................................................................................................................................... 6 2 EXISTING UPPER LIMITS ON TECHNOSIGNATURES ....................................................................................................... 9 Limits and the Limitations of Limits ...........................................................................................................................
    [Show full text]
  • Issue 349, April 2015
    Sigma The Newsletter of PARSEC - www.parsec-sff.org April, 2015 - No. 349 PM. I arrive at about 12:30PM and will in the future President’s Capsule be there by Noon. The hour or so before the meeting It seems that spring has sprung. begins is a great time when people trickle in and talk Turns my head metaphorically spontaneously about what movies they have seen, and practically to re-creation. what books they are reading, what conventions and I’m not sure what clod put the be- shows they will attend. It is a wonderful time. I urge ginning of the year at frigid and fal- you to become part. low January, but it would have been I have seen some email from people who are Par- better done in April. Oh, if I’m ever by Joe Coluccio sec members living out of city and state who have re- emperor… quested audio or video of the meetings. There are So, what of SF in this “new” beginning? some problems with the idea. I will be glad to ask any It is harder than ever to bring to light new SF works of the guest speakers and others if they are willing to and new talent, what with everyone publishing every- be recorded. BUT. Video and/or audio takes equip- thing everywhere. I read all the mags both pro and not ment. I don’t perceive that as a real problem. I have and am amazed at the sheer vision exhibited on the enough audio equipment and can scrape together digital and print pages.
    [Show full text]
  • Climates of Mutation: Posthuman Orientations in Twenty-First Century
    Climates of Mutation: Posthuman Orientations in Twenty-First Century Ecological Science Fiction Clare Elisabeth Wall A dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in English York University Toronto, Ontario January 2021 © Clare Elisabeth Wall, 2021 ii Abstract Climates of Mutation contributes to the growing body of works focused on climate fiction by exploring the entangled aspects of biopolitics, posthumanism, and eco-assemblage in twenty- first-century science fiction. By tracing out each of those themes, I examine how my contemporary focal texts present a posthuman politics that offers to orient the reader away from a position of anthropocentric privilege and nature-culture divisions towards an ecologically situated understanding of the environment as an assemblage. The thematic chapters of my thesis perform an analysis of Peter Watts’s Rifters Trilogy, Larissa Lai’s Salt Fish Girl, Paolo Bacigalupi’s The Windup Girl, and Margaret Atwood’s MaddAddam Trilogy. Doing so, it investigates how the assemblage relations between people, genetic technologies, and the environment are intersecting in these posthuman works and what new ways of being in the world they challenge readers to imagine. This approach also seeks to highlight how these works reflect a genre response to the increasing anxieties around biogenetics and climate change through a critical posthuman approach that alienates readers from traditional anthropocentric narrative meanings, thus creating a space for an embedded form of ecological and technoscientific awareness. My project makes a case for the benefits of approaching climate fiction through a posthuman perspective to facilitate an environmentally situated understanding.
    [Show full text]
  • Climate Change in Literature and Culture
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank CLIMATE CHANGE IN LITERATURE AND CULTURE: CONVERSION, SPECULATION, EDUCATION by STEPHEN SIPERSTEIN A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2016 DISSERTATION APPROVAL PAGE Student: Stephen Siperstein Title: Climate Change in Literature and Culture: Conversion, Speculation, Education This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Professor Stephanie LeMenager Chairperson Professor David Vazquez Core Member Professor William Rossi Core Member Professor Kari Norgaard Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Stephen Siperstein iii DISSERTATION ABSTRACT Stephen Siperstein Doctor of Philosophy Department of English June 2016 Title: Climate Change in Literature and Culture: Conversion, Speculation, Education This dissertation examines an emergent archive of contemporary literary and cultural texts that engage with the wicked problem of anthropogenic climate change. Following cultural geographer Michael Hulme, this project works from the assumption that climate change is as much a constellation of ideas as it is a set of material realities. I draw from a diverse media landscape so as to better understand how writers, artists, and activists in the global north are exploring these ideas and particularly what it means to be human in a time of climate change.
    [Show full text]
  • Asfacts Oct19.Pub
    doon in 2008. His final story, “Save Yourself,” will be published by BBC Books later this year. SF writers in- Winners for the Hugo Awards and for the John W. cluding Charlie Jane Anders, Paul Cornell, and Neil Campbell Award for Best New Writer were announced Gaiman have cited his books as an important influence. August 18 by Dublin 2019, the 77th Worldcon, in Dub- Dicks also wrote over 150 titles for children, including lin, Ireland. They include a couple of Bubonicon friends the Star Quest trilogy, The Baker Street Irregulars series, – Mary Robinette Kowal, Charles Vess, Gardner Dozois, and The Unexplained series, plus children’s non-fiction. and Becky Chambers. The list follows: Terrance William Dicks was born April 14, 1935, in BEST NOVEL: The Calculating Stars by Mary Robi- East Ham, London. He studied at Downing College, nette Kowal, BEST NOVELLA: Artificial Condition by Cambridge and joined the Royal Fusiliers after gradua- Martha Wells, BEST NOVELETTE: “If at First You Don’t tion. He worked as an advertising copywriter until his Succeed, Try, Try Again” by Zen Cho, BEST SHORT STO- mentor Malcolm Hulke brought him in to write for The RY: “A Witch’s Guide to Escape: A Practical Compendi- Avengers in the ’60s, and he wrote for radio and TV be- um of Portal Fantasies” by Alix E. Harrow, BEST SERIES: fore joining the Doctor Who team in the late ’60s. He Wayfarers by Becky Chambers, BEST GRAPHIC STORY: also worked as a producer on various BBC programs. He Monstress, Vol 3: Haven by Marjorie Liu and illustrated is survived by wife Elsa Germaney (married 1963), three by Sana Takeda, sons, and two granddaughters.
    [Show full text]