The Star (Hugo Best Short Story winner (1956)

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Each subsequent trophy, with the exception of the trophy, has been similar to the original design. The rocket trophy was formally redesigned in , and since then only the base of the trophy has changed each year. Retrospective Hugo Awards, or Retro-Hugos, were added to the ballot beginning in They are awards optionally given by a Worldcon for works that would have been eligible 50, 75, or years ago.

Prior to , these could be awarded for the eleven years that had a Worldcon where no Hugos were awarded: the conventions in —41, —52, and The Worldcons eligible in —, , and chose not to award Retro-Hugos, and under these rules there would have been no more opportunities to award them until for A rule change expanded the criteria to be any year after in which no Hugos were awarded, whether or not there was a Worldcon that year, or fifteen years in total: —52 and The first Hugo Awards were presented at the 11th Worldcon in Philadelphia in , which awarded Hugos in seven categories.

Thus there was no mandate for any future conventions to repeat the awards, and no set rules for how to do so.

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The Worldcon chose not to, but the awards were reinstated at the Worldcon, and thereafter became traditional. In , though there were still no formal guidelines governing the awards, several rules were instated which thereafter became traditional. These included having a ballot for nominating works earlier in the year and separate from the voting ballot; defining eligibility to include works published in the prior calendar year, rather than the previous rule of the "preceding year"; and allowing voters to select "no award" as an option, which then won that year in two categories: Dramatic Presentation and Best New Author.

In , after the formation of the WSFS to oversee each Worldcon committee, formal rules were set down in the WSFS constitution mandating the presenting of the awards as one of the responsibilities of each Worldcon organizing committee. The rules restricted voting to members of the convention at which the awards would be given, while still allowing anyone to nominate works; nominations were restricted to members of the convention or the previous year's convention in In the guidelines were changed to allow individual conventions to create additional categories, which was codified as up to two categories for that year.

These additional awards were officially designated as Hugo Awards, but were not required to be repeated by future conventions. In categories for Novelette , Fan Writer , and Fan Artist were added, and a category for Best Novella was added the following year; these new categories had the effect of providing a definition for what word count qualified a work for what category, which was previously left up to voters.

The fan awards were initially conceived as separate from the Hugo Awards, with the award for Best Fanzine losing its status, but were instead absorbed into the regular Hugo Awards by the convention committee. While traditionally five works had been selected for nomination in each category out of the proposed nominees, in this was set down as a formal rule, barring ties. After that year the guidelines were changed again to remove the mandated awards and instead allow up to ten categories which would be chosen by each convention, though they were expected to be similar to those presented in the year before.

Despite this change no new awards were added or previous awards removed before the guidelines were changed back to listing specific categories in In the category for Best Non-Fiction Book later renamed Best Related Work was added, followed by a category for Best Semiprozine semi-professional magazine in Ron Hubbard , for the Best Novel award; it did not make the final ballot.

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Beese—withdrawn by its authors from the final ballot after a fan bought numerous memberships under false names, all sent in on the same day, in order to get the work onto the ballot. In the Best Original Art Work award was given as an extra Hugo Award, and was listed again in , though not actually awarded, and established afterward as an official Hugo Award. In , two groups of science fiction writers, the " Sad Puppies " led by Brad R. Torgersen and Larry Correia , and the "Rabid Puppies" led by Vox Day , each put forward a similar slate of suggested nominations which came to dominate the ballot.

The leaders of the campaigns characterized them as a reaction to "niche, academic, overtly [leftist]" nominees and the Hugo becoming "an affirmative action award" that preferred female and non-white authors and characters. Club as a "group of white guys", [55] and were linked with the Gamergate controversy. Delany characterized the campaigns as a response to "socio-economic" changes such as minority authors gaining prominence and thus "economic heft". In response to the campaigns, a set of new rules, called "E Pluribus Hugo", were passed in and ratified in to modify the nominations process.

Intended to ensure that organized minority groups cannot dominate every finalist position in a category, the new rules define a voting system in which nominees are eliminated one by one, with each vote for an eliminated work then spread out over the uneliminated works they nominated, until only the final shortlist remains. These rules were ratified in to be used for the first time in A rule mandating that the final nominees must appear on at least five percent of ballots was also eliminated, to ensure that all categories could reach a full set of nominees even when the initial pool of works was very large.

In the newest permanent category, Best Series , was begun; it was run the year prior as a special Hugo Award prior to being ratified at the business meeting. Worldcon committees may also give out special awards during the Hugo ceremony, which are not voted on. Unlike the additional Hugo categories which Worldcons may present, these awards are not officially Hugo Awards and do not use the same trophy, though they once did.

Second Dawn The Sentinel [short story] Sentinel of Eternity Superiority Trouble with the Natives All the Time in the World The Possessed Encounter at Dawn Encounter in the Dawn Expedition to Earth [short story] Jupiter V The Nine Billion Names of God [short story] The Parasite Armaments Race Big Game Hunt No Morning After Patent Pending Refugee The Star This Earth of Majesty What Goes Up All That Glitters Green Fingers The Next Tenants The Pacifist Publicity Campaign A Question of Residence The Reluctant Orchid Robin Hood, FRS The Starting Line The Ultimate Melody Venture to the Moon Watch This Space The Call of the Stars Cold War Critical Mass The Defestration of Ermintrude Inch Feathered Friend Freedom of Space Let There Be Light The Man Who Ploughed the Sea Moving Spirit The Other Side of the Sky [short story] Passer-By Security Check Simak: I have found over the years that Mr.

Simak is a writer that defies description; here, his tale of a rural junk-dealer's unusual discovery defies description as well. As good as it was when I read it in middle school, only I understand its power soooooo much better, forty years later. Until now, I never realized that it had won a Hugo. That was almost a year after the Golden Leaper sailed from Lavre Town, and we judged we had come halfway round the world.

Jun 01, sologdin rated it it was ok Shelves: burns-like-cold-iron. Nine pieces of short fiction, historical to science fiction as an institution. Editor Asimov is charming as usual. Good stuff, overall. Jul 20, Dr.

Hugo Winners

Strangelet rated it liked it. That's three stars on average: there are some stories that are better and some that are worse. The anthology as a whole is still well worth your time if you're at all interested in the history of SF. It's all the short fiction that won the Hugo award in the s. Each story has a chatty introduction by Isaac Asimov remi That's three stars on average: there are some stories that are better and some that are worse.

Each story has a chatty introduction by Isaac Asimov reminiscing about the writer. There's some interesting bits of fandom history such as the difficulty of manufacturing the earliest Hugo awards , but it wears thin after a while. Though published in hard-SF bastion Analog, it's more of a soft-science story, about how people relate to art and how art evolves. The main character is someone who's deeply invested by an art form but feels alienated by the ways it's changed, something that anyone who spends a lot of time engaging with book or media fandoms can relate to at some point.

The message is that art changes when technology and society change, and nothing can turn those changes back--which has some interesting ironies when it comes to the recent history of the Hugos--but the human creative faculty allows us to create new forms of engagement. As with many older stories about computers, they're presented as a homogenizing authoritarian force in a way that comes across as dated now.

Though with today's social media panotpicon and Uber-style disruption we may be headed back in that direction. Still, the idea of art made by a person acting in cooperation--or conflict--with machines resonates with contemporary ideas about game design and the use of procedural generation in art. The humor is clunky and unnecessarily mean spirited at times and the story takes a while to get going, but as you'd expect from the author of A Canticle for Liebowitz, there's a lot philosophically to chew on. The buildup is erratic and like The Darfsteller, it relies too much on phonetic accents , but the punchline is golden.

AwardWeb: Hugo Award Winners from the s

A lot of Golden Age SF and its descendents is built on faith in omnicompitent systems, whether it's technocratic organizations like the Foundation or the unstoppable military juggernaut of milsf. The Foundation never seems to worry about garbled paperwork.

But in this story, the danger that faces humanity isn't hostile aliens or cold equations but the everyday muddle that causes these systems to break down. The result is a story that's genuinely funny, and in its own way quietly subversive. That's why it's easily the least interesting story in this volume. The main heroes are a technocratic emissary of interstellar civilization and a libertarian frontiersman, representing the Golden Age SF binary of the Competent System and the Competent Man As in most binaries, the poles have more in common than they appear and exclude quite a bit.

Neither are interesting enough to stick with for the whole story. The central idea, which is probably the reason it won, is employing genetically augmented animals to colonize a planet, facing a threat robots can't handle.

But it just kind of sits there--other writers would have explored the moral and existential dimensions of this. There was a roughly contemporaneous Walter Miller story, Conditionally Human, about the ethics of dealing with uplifted animals. Leinster, whose first SF story was published in , was one of the writers who helped lay the groundwork for pulp SF, so maybe it's unfair to criticize him for sticking so closely to its basic tropes and not rising above them. It's still hard to read at a story of this length, which probably should have been cut by at least a third.

Clarke at his best is a master of that form. HIs writing is clear and genuinely straightforward--which is harder than it looks. He's also skilled at incorporating actual science in his science fiction stories, using descriptions of the nebula to enhance the mood and build to the ending. The Star is very much an atheist work, but it's mercifully not smug, instead showing a humane sadness about human attempts to make systems of meaning in the face of an universe that cares very little about them.

Even if you feel the final twist is too contrived or it doesn't mean anything to you, it's still a powerful story.

It's a perfect fit for the post-Night Vale world. The unremarked creepiness of one of the protagonists toward women--not unlike that of the collection's editor--might bring down the story a bit, though it could be seen as foreshadowing the menacing turn he takes later on. It's a good-natured and enjoyable story with meditative pacing, a "walking simulator" of SF stories. The main problem is it's a bit of a whitewashed and sentimental version of the rural past. It's well-told, with a strong oral-storytelling kind of voice.

It has the simplicity of a folk tale, but doesn't quite have the depth--it's more like the EC horror comics of the time, a straightforwardly moralizing story about unpleasant people. There's a clever twist at the end, but I'm not sure if it's earned. This is notable as the first unambiguously non-SF story to win a Hugo.

The awards may be rocket ships, but the boundaries between SF, fantasy and horror have always been permeable--after all, one of the main magazines of the field, where this was published, is Fantasy and Science Fiction. It's a very different experience reading it when you're more aware of things. Also, I'm mentally disabled myself--like many an SFF reader, I am autistic--so that can't help but impact how I read this story. Most people treat it as about the tragedy of gaining and losing intelligence, but it's also about how society treats disabled people--the part where Charlie gradually realizes how poorly people he knows have acted toward him hits close to home.

It's about class too--the age-old problem of a student from a working-class background who doesn't fit into his old world or his new one. Mistreated by coworkers and exploited by the scientists who claim to take care of him, Charlie struggles to maintain agency and dignity in the face of a world that denies it to him. It's emotionally wrenching and told with much more literary complexity than any other story in this volume, embedded in a well-defined point of view that gradually changes. It also engages with social issues on a deeper level, which would define the coming decade of SF.

Still, this is one of those stories that centers on the tragedy of being in a marginalized group by someone who doesn't belong to it, and that feeling of oscar-bait emotional voyeurism keeps me from really loving it. I was actually a big fan of Poul Anderson when I was younger. His outlook on the world--romantic conservatism with a tragic edge--appealed to me a lot in my late teens and early twenties. But this story embodies every reason I hate that outlook now. Granted, it's pretty well written, in an old fashioned 19th century swashbuckly adventure fiction kind of way.

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I have a lot of fondness for that aesthetic. First of all, it's regressive in every way that those old-fashioned adventure stories can be. It's an Age of Discovery-inspired setup with pure European explorers up against evil scheming Indians. That's not really how history played out. But it gets worse! Because they run across a lost spaceship, whose lone survivor, from an apparently utopian civilization, has been advising the pseudo-Aztec-ish empire, and they're enlisted to help repair it This is another one of those stories about people having to do Bad Things for the Greater Good--Anderson wrote a number of those, such as the Time Patrol stories.

This Cold Equations shit was tired even then. It emerged as a subversion of Golden Age SF's often-glib optimism, but straightforward pessimism and brutality isn't that interesting either. The cherry on this shit sundae is that there's an attempt to justify this ending with libertarianism. The heroic European sea captain argues that since they're cut off from utopia, that gives them a chance to explore and "subdue" the world on their own. First of all, why assume they're better on their own without even knowing?

Maybe the benefits of interstellar civilization would have given them ways to achieve even more. There's a shadow of a valid concern about colonialism--being exploited and having their identity suppressed. But again, this is a story based on the colonization of the "New World" where the Europeans are the good guys.

Imposing one's values on other civilizations is OK when we do it, I guess. It's funny how Western libertarians' commitment to self-determination never extends to the rest of the world. And the thing is, I like what Anderson often tries to do with his endings--mixing tragedy and joy--but it flat out doesn't work here. It's a perfect demonstration of the limitations of his outlook, and of right wing SF in general.

Oh, and it's another story with phonetic accents. Stop that. So that's first batch of Hugo winners. Some of them are very much Of Their Time, some still hold up today. And they're all written by and about men. But there's already more variety and complexity than you might expect. SF didn't immediately jump from the Golden Age to the New Wave--SF writers in the 50s had already begun diversifying the field after Campbell's reign in the 40s. The 60s would push this even further. But the Hugos were about more than rockets, rayguns and straightforward idea-stories from the very beginning.

This volume collects the short story and novelette winners of the first six Hugo Awards and offers an insight into the minds of the greats of the time. There certainly isn't a bad story in here, and some are positively excellent. I don't usually describe each individual contribution to a collection, but this one feels like it deserves to be an exception.

Miller 's The Darfsteller won the Best Novelette for and tells the story of an old actor who acts as janitor in a theatre now that This volume collects the short story and novelette winners of the first six Hugo Awards and offers an insight into the minds of the greats of the time. Miller 's The Darfsteller won the Best Novelette for and tells the story of an old actor who acts as janitor in a theatre now that actors have been obsoleted by robot performers augmented by mind imprints of great actors.

It's a tale of a man out of time and is quite heartbreaking. This is nicely augmented by Eric Frank Russell 's Allamagoosa , which is a humorous tale of an item on a list of ship's stores that nobody knows anything about. The former is a very American tale of an illegal colonist on a new world, battling its native life with only a trio of bears and an eagle as helpmates and friends. He regales the Survey Officer who he rescues with his own brand of libertarianism, arguing that man has become too dependent on robots. Very little needs to be said about The Star as it's a well-known classic of the genre, and deservedly so.

This was the somewhat unmemorable, to be honest, story of the owner of a bicycle shop who learns more about safety pins, clothes hangers and bicycles than is good for him. This is probably the weakest story in the collection for me. The former was another very American story, all about protecting property, enterprise and pulling a fast one, as a door to another world opens inside a handyman's house. The latter is a fun deal-with-the-Devil story whose steps are signposted throughout, but is fun to follow along.

Flowers for Algernon by Daniel Keyes is 's sole contribution, but what a contribution. The novelette that would form the basis of the novel of the same name, it hasn't got the depth and nuance of the expanded version, but it still brings a tear to the eye. A fabulous piece of writing.


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Finally, in , we get Poul Anderson 's novelette The Longest Voyage about a renaissance-era voyage of circumnavigation around a world and the tales of a sky ship that reach them. This was a lovely story, that I found to be slightly marred by the portrayal of the 'savages'. It felt very much like a tale of civilised white people coming upon a race of ignorant savages, who had to be Taught A Lesson. This may be a bit harsh, as Anderson's travellers don't make any particular racist comments on the civilisation they encounter, other than noting that their skin is a little darker than their own, but their portrayal as either innocent or greedy, while the sailor officers are gentlemen is a little disturbing, although, of course, I may be being over-sensitive.



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