‘My collective seashell,’ as Simon Stålenhag puts it, ‘sounds like that’—his artwork, his texts, and the new cinematic treatment by Nathaniel Halpern.
Intended ‘to expand the boundaries of well-known series,’ a new publishing company called Perilous Worlds heads for Frankfurter Buchmesse with game-designing authors on tap and some high-visibility fantasy brands to work with.
With a more stringent voting process, the Hugo Awards have steered clear of past years’ conservative pressures, presenting a 2017 list of diverse winners.
‘Galaktika has agreed to pay each author whose work it infringed for compensation,’ according to the Authors Guild’s statement.
Better times are ahead, says writer Ahmed Khaled Towfik, who recently appeared at a Dubai literary festival: the Arab world is ready for science fiction, he says.
Sometimes forgotten literature finds new life in current events. The acclaimed Japanese sci-fi author Sakyo Komatsu’s short story ‘America’s Wall’ is a new case in point.
China’s cultural tradition sees a history ‘lousy with apocalypses,’ as Isaac Stone Fish writes, but fictional calamities are rare when the end ‘has no end.’
‘We’ve been waiting for another type of book for the last two years,’ says one editor in Paris. So far, though, it’s a dystopian fiction double-down. To some in Europe, ‘This is another wave of Americanization.’
Is the ‘perennial cachet’ in fantasy fiction so strong for booksellers in India that ‘writers are told by publishers to base their stories around the time of the Ramayana and the Mahabharata’?
For the first time since the British Science-Fiction Association awards were instituted in 1970, one author, Aliette de Bodard, wins both the novel and short story prizes.