The Hugo Awards saga is getting ugly again. One of my favourite authors, with whom I’ve had quite a few entertaining conversations on Twitter, has a novella included in the infamous Sad Puppies list, and has demanded its removal.
It was probably a vain hope that there would be any kind of reconciliation and bridge-building this year; the mass use of No Award last year probably killed any chances of that, and since then both sides have doubled down. Now they just trading insults and engaging in competitive name-calling. Innocent authors like that favourite of mine get caught up in a bitter war that’s not of their making and forced into a position where whatever they do it will be wrong.
I had considered signing up for supporting membership this year and voting in the nominations process, but now I’m very glad I didn’t. I want no part of this.
At the heart of the war over the Hugos is the question of what these awards are supposed to represent and who they belong to.
The best music awards are those that are honest and unambiguous about what they represent. The Brits represent mass-market commercial pop without pretending to be anything else. At the opposite pole the CRS Awards represent the favourites of a small and self-selecting circle of enthusiastic supporters of the grassroots progressive rock scene and doesn’t claim to be anything more than that. Even the Prog Awards with its entirely arbitrary nominations process exists solely to gain positive media coverage for progressive rock as a whole, and doesn’t really pretend otherwise. Nobody really cares who wins.
The worse kind of music awards are those that give out mixed messages over what they’re supposed to represent. The juried Mercury Music Prize is the poster child for this, with its opaque nomination process and the way it’s always highly genre-specific, or at least genre-excluding, while pretending it isn’t. And we can’t not mention the fiasco of last years Guardian’s reader’s album of the year, when they held an open public vote, then eliminated the finalists they didn’t like for reasons that have never had a satisfactory explanation.
Worldcon does need to make up it’s mind exactly what they want The Hugos to be. Do they want to preserve its purity even at the expense of its continuing relevance? Or do the Hugos need to be held in a bigger tent covering a wider range of science-fiction and fantasy in order to maintain its cultural prominence? Or will the change in the voting system next year sufficiently defang the puppies to take the heat out of the thing?
And similarly the Sad Puppies need to ask themselves; why do The Hugos matter to them? Should they stop trying to gatecrash a party for which they’ve repeatedly been told they’re not welcome at, and instead start their own?