Showing posts with label awards. Show all posts
Showing posts with label awards. Show all posts
Tuesday, September 9, 2014
Monday, March 24, 2014
2013 Galactic Suburbia Award
Galactic Suburbia's Alex, Alisa, and Tansy have announced the 2013 Galactic Suburbia award for activism and/or communication that advances the feminist conversation in the field of speculative fiction! Here's the list:
Honor List
Malinda Lo's continuing statistics gathering on LGBT YA books
Foz Meadows for her blogging generally, but particularly "Old Men Yelling at Clouds."
Anita Sarkeesian - Tropes vs Women in Video Games (Damsel in Distress 1 & 2, Ms Male Character)
Kameron Hurley, ‘We Have Always Fought’: Challenging the Women, Cattle and Slaves Narrative,” at A Dribble of Ink.
The Doubleclicks - Nothing to Prove music video
Cheryl Morgan - The Rise & Fall of Grimpink
Deb Stanish for her essay in Apex magazine: "Fangirl isn't a Dirty Word."
Honorary shortlistee (the Julia Gillard Award):
Wendy Davis for her amazing filibuster
Joint Winners this Year!!!
(drum roll please)
NK Jemisin for her GoH speech from Continuum (link)
Elise Matthesen for her essay "How to Report Sexual Harassment at cons" (link)
Tuesday, December 10, 2013
2011 Carl Brandon Society Awards Announced
The Carl Brandon Society has announced the winners of their awards for 2011: Tenea D. Johnson, for the Carl Brandon Parallax Award for her novel Smoketown, and Aqueduct's own Andrea Hairston, for the Carl Brandon Kindred Award for her novel Redwood and Wildfire. Congratulations to both of them!
The CBS has also announced an Honor list for 2011:
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| The 2011 Carl Brandon Awards will be presented at Arisia, January 17-20, 2014 in Boston, MA, USA. The members of the 2011 jury are Liz Henry, Zola Mumford, K. Joyce Tsai, and Maria Velazquez. |
Monday, December 3, 2012
An interesting speech I somehow missed
I don't know how it happened, but I somehow missed that Donna Haraway won the Science Fiction Research Association's Pilgrim Award in 2011. (This year's winner, as you may recall, was Pamela Sargent.) I realized this today, when I finally got around to opening a triple-issue of the SFRA Review, which arrived in my mailbox months and months ago. This publication printed Haraway's lengthy acceptance speech. It's also available in pdf here-- as well as a 29-minute Vimeo video, which you might want to check out here. To give you an idea of why you might want to read or watch it, here are the last few paragraphs of the speech:
In this n-dimensional niche space, I am reminded that in her acceptance of the Pilgrim
Award in 2008, Gwyneth Jones defined SF “as a volume, a set (overlapping with many others),
in the vast, contained yet unlimited ocean of information—furnished with the icons of the
genre....Within this volume, every significant writer opens up a new Imagination Space….Maybe
the work of science fiction scholarship…[is] to forge links, build complexity, refine the
details: and rescue the genuine novelty from each writer’s generic contribution.” I like this
approach, but I want to characterize the work of SF scholarship, and SF as a whole, also as a
game of cat’s cradle or string figures, of giving and receiving patterns, dropping threads and so
mostly failing but sometimes finding something that works, something consequential and maybe
even beautiful, that wasn’t there before, of relaying connections that matter, of telling stories in
hand upon hand, digit upon digit, attachment site upon attachment site, to craft conditions for
flourishing in terran worlding. Like me, Jones says that she received her baptism in science
fiction’s sexual politics from The Female Man. I want to end with string figures as SF partly in
homage to Joanna Russ’s Janet Evason, who landed on a desk in front of, to her Whileaway eyes,
oddly dressed men, whom we, in Joanna’s world, know to be in military uniform, and proposes a
game of cat’s cradle to calm them down. They did not understand; they did not pick up the
threads and marvel at the patternmaking. Innocent that she is, Janet reasoned that cat’s cradle is
a universal sign of peace. It is surely one of humanity’s oldest games, but like guman instead of
homo, string figures are not everywhere the same game.
Like all offspring of colonizing and imperial histories, I—we—have to relearn that all
string figures are not exactly the same as English and U.S. American cat’s cradle. In the late 19th
and early 20th centuries, United States and European ethnologists collected string figure games
from all over the world; these discipline-making travelers were surprised that when they showed
the string figure games that they had learned as children at home, their hosts already knew such
games in greater variety. String figure games came late to Europe, probably from Asian trade
routes. All of the epistemological desires and fables of this period of the history of comparative
anthropology were ignited by the similarities and differences, with their undecidably independent
inventions or cultural diffusions, tied together by the threads of hand and brain, making and
thinking, in the relays of patterning in the “Native” and “Western” string figure games.
In the Navajo language, string figure games are called na'atl'o'. They are one form of “continuous weaving,” practices for telling the stories of the constellations, of the emergence of the People, of the Diné. These string figures are thinking as well as making practices, pedagogical practices and cosmological performances. Some Navajo thinkers describe string figures as one kind of patterning for restoring hózhó, a term imperfectly translated into English as harmony, beauty, and right relations of the world, including right relations of humans and nonhumans. Not in the world, but of the world; that is what leads me to include Navajo string figures, na'atl'o', in the web of SF worlding. The worlds of SF are not containers; they are patternings, risky co-makings, speculative fabulations. It matters which ideas we think other ideas with; thinking or making cat’s cradle with string figures with na'atl'o' is not an innocent universal gesture, but a risky proposition in relentless historical relational contingency. Janet Evason refused to hear Jael’s claim that the wonderful world of Whileaway got its start from an act of biological warfare—genocide— that killed off all the human males. Like Joanna, we cannot afford that kind of forgetting. Anyone who recognizes the repeated acts of genocide that undergird that nonetheless precious thing called democracy surely knows this basic fact. How to be response-able is the consequential question in SF worlding.
String figure games are practices of scholarship, relaying, thinking with, becoming with in material-semiotic makings. Like SF, cat’s cradle is a game of relaying patterns, of one hand, or pair of hands, or mouths and feet, or other sorts of tentacular things, holding still to receive something from another, and then relaying by adding something new, by proposing another knot, another web. Or better, it is not the hands that give and receive exactly, but the patterns, the patterning. Cat’s cradle, string figures, na'atl'o' can be played by many, on all sorts of limbs, as long as the rhythm of accepting and giving is sustained. Scholarship is like that too; it is passing on in twists and skeins that require passion and action, holding still and moving, anchoring and launching.
So I end with renewed thanks to the SFRA and ongoing astonishment at receiving the Pilgrim Award. I hope that with others I can contribute to weaving this honor into the multicolored skeins and twists of SF worlding.
In this n-dimensional niche space, I am reminded that in her acceptance of the Pilgrim
Award in 2008, Gwyneth Jones defined SF “as a volume, a set (overlapping with many others),
in the vast, contained yet unlimited ocean of information—furnished with the icons of the
genre....Within this volume, every significant writer opens up a new Imagination Space….Maybe
the work of science fiction scholarship…[is] to forge links, build complexity, refine the
details: and rescue the genuine novelty from each writer’s generic contribution.” I like this
approach, but I want to characterize the work of SF scholarship, and SF as a whole, also as a
game of cat’s cradle or string figures, of giving and receiving patterns, dropping threads and so
mostly failing but sometimes finding something that works, something consequential and maybe
even beautiful, that wasn’t there before, of relaying connections that matter, of telling stories in
hand upon hand, digit upon digit, attachment site upon attachment site, to craft conditions for
flourishing in terran worlding. Like me, Jones says that she received her baptism in science
fiction’s sexual politics from The Female Man. I want to end with string figures as SF partly in
homage to Joanna Russ’s Janet Evason, who landed on a desk in front of, to her Whileaway eyes,
oddly dressed men, whom we, in Joanna’s world, know to be in military uniform, and proposes a
game of cat’s cradle to calm them down. They did not understand; they did not pick up the
threads and marvel at the patternmaking. Innocent that she is, Janet reasoned that cat’s cradle is
a universal sign of peace. It is surely one of humanity’s oldest games, but like guman instead of
homo, string figures are not everywhere the same game.
Like all offspring of colonizing and imperial histories, I—we—have to relearn that all
string figures are not exactly the same as English and U.S. American cat’s cradle. In the late 19th
and early 20th centuries, United States and European ethnologists collected string figure games
from all over the world; these discipline-making travelers were surprised that when they showed
the string figure games that they had learned as children at home, their hosts already knew such
games in greater variety. String figure games came late to Europe, probably from Asian trade
routes. All of the epistemological desires and fables of this period of the history of comparative
anthropology were ignited by the similarities and differences, with their undecidably independent
inventions or cultural diffusions, tied together by the threads of hand and brain, making and
thinking, in the relays of patterning in the “Native” and “Western” string figure games.
In the Navajo language, string figure games are called na'atl'o'. They are one form of “continuous weaving,” practices for telling the stories of the constellations, of the emergence of the People, of the Diné. These string figures are thinking as well as making practices, pedagogical practices and cosmological performances. Some Navajo thinkers describe string figures as one kind of patterning for restoring hózhó, a term imperfectly translated into English as harmony, beauty, and right relations of the world, including right relations of humans and nonhumans. Not in the world, but of the world; that is what leads me to include Navajo string figures, na'atl'o', in the web of SF worlding. The worlds of SF are not containers; they are patternings, risky co-makings, speculative fabulations. It matters which ideas we think other ideas with; thinking or making cat’s cradle with string figures with na'atl'o' is not an innocent universal gesture, but a risky proposition in relentless historical relational contingency. Janet Evason refused to hear Jael’s claim that the wonderful world of Whileaway got its start from an act of biological warfare—genocide— that killed off all the human males. Like Joanna, we cannot afford that kind of forgetting. Anyone who recognizes the repeated acts of genocide that undergird that nonetheless precious thing called democracy surely knows this basic fact. How to be response-able is the consequential question in SF worlding.
String figure games are practices of scholarship, relaying, thinking with, becoming with in material-semiotic makings. Like SF, cat’s cradle is a game of relaying patterns, of one hand, or pair of hands, or mouths and feet, or other sorts of tentacular things, holding still to receive something from another, and then relaying by adding something new, by proposing another knot, another web. Or better, it is not the hands that give and receive exactly, but the patterns, the patterning. Cat’s cradle, string figures, na'atl'o' can be played by many, on all sorts of limbs, as long as the rhythm of accepting and giving is sustained. Scholarship is like that too; it is passing on in twists and skeins that require passion and action, holding still and moving, anchoring and launching.
So I end with renewed thanks to the SFRA and ongoing astonishment at receiving the Pilgrim Award. I hope that with others I can contribute to weaving this honor into the multicolored skeins and twists of SF worlding.
Tuesday, January 26, 2010
About the Hugos...
If you're interested in seeing more work by women on the Hugo ballot, or just in the issue of getting more recognition of work by women in the field, you'll want to see Cheryl Morgan's guest post at the Feminist SF blog.
Just a reminder, these are the books that Aqueduct published in 2009:
Ursula K. Le Guin, Cheek by Jowl [nonfiction category]
Rebecca Ore, Centuries Ago and Very Fast [single-author collection category]
Sylvia Kelso, Three Observations and a Dialogue: Round and About Science Fiction [nonfiction]
Gwyneth Jones, The Buonarotti Quartet [single-author collection]
Ellen Klages and Geoff Ryman, What Remains [Ellen Klages's short story "Echoes of Aurora" is original]
The WisCon Chronicles, Vol. 3, ed. Liz Henry [nonfiction]
Gwyneth Jones, Imagination/Space [nonfiction]
Helen Merrick, The Secret Feminist Cabal [nonfiction]
Claire Light, Slightly Behind and to the Left [single-author collection, includes two previously unpublished stories-- "Vacation" and "Abducted by Aliens!"]
Just a reminder, these are the books that Aqueduct published in 2009:
Ursula K. Le Guin, Cheek by Jowl [nonfiction category]
Rebecca Ore, Centuries Ago and Very Fast [single-author collection category]
Sylvia Kelso, Three Observations and a Dialogue: Round and About Science Fiction [nonfiction]
Gwyneth Jones, The Buonarotti Quartet [single-author collection]
Ellen Klages and Geoff Ryman, What Remains [Ellen Klages's short story "Echoes of Aurora" is original]
The WisCon Chronicles, Vol. 3, ed. Liz Henry [nonfiction]
Gwyneth Jones, Imagination/Space [nonfiction]
Helen Merrick, The Secret Feminist Cabal [nonfiction]
Claire Light, Slightly Behind and to the Left [single-author collection, includes two previously unpublished stories-- "Vacation" and "Abducted by Aliens!"]
Monday, January 4, 2010
The 2006 and 2007 Carl Brandon Awards
Winners of the 2006 and 2007 Carl Brandon Awards
The Carl Brandon Society is pleased to announce the winners of our 2006 and 2007 awards.
The winner of the 2006 Carl Brandon Parallax Award is Mindscape by Andrea Hairston. [Note: No work will receive the 2006 Carl Brandon Kindred Award.]
The 2007 Carl Brandon Parallax Award winner is The Shadow Speaker by Nnedi Okorafor. The 2007 Carl Brandon Kindred Award winner is From the Notebooks of Doctor Brain by Minister Faust.
A presentation ceremony for the 2006 and 2007 awards will take place at Arisia, an annual science fiction convention held in Boston, Massachusetts. Award recipients Andrea Hairston and Nnedi Okorafor will be in attendance, and the honors lists for the 2006 and 2007 Parallax and Kindred Awards will be announced there.
Nominations for the 2008 Parallax and Kindred Awards are now closed. We will announce our winners later this year. Nominations for the 2009 Parallax and Kindred Awards will be accepted through June 1, 2010. Visit the awards page for more information.
The Carl Brandon Society is pleased to announce the winners of our 2006 and 2007 awards.
The winner of the 2006 Carl Brandon Parallax Award is Mindscape by Andrea Hairston. [Note: No work will receive the 2006 Carl Brandon Kindred Award.]
The 2007 Carl Brandon Parallax Award winner is The Shadow Speaker by Nnedi Okorafor. The 2007 Carl Brandon Kindred Award winner is From the Notebooks of Doctor Brain by Minister Faust.
A presentation ceremony for the 2006 and 2007 awards will take place at Arisia, an annual science fiction convention held in Boston, Massachusetts. Award recipients Andrea Hairston and Nnedi Okorafor will be in attendance, and the honors lists for the 2006 and 2007 Parallax and Kindred Awards will be announced there.
Nominations for the 2008 Parallax and Kindred Awards are now closed. We will announce our winners later this year. Nominations for the 2009 Parallax and Kindred Awards will be accepted through June 1, 2010. Visit the awards page for more information.
******
Here on the Aqueduct, we're mighty pleased about the announcement, since Mindscape is an Aqueduct Press book. Congratulations, Andrea!
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