The World Fantasy Awards are presented during the World Fantasy Convention and are selected by a mix of nominations from members of the convention and a panel of judges. The awards were established in 1975 and presented at the 1st World Fantasy Convention in Providence, Rhode Island. Traditionally, the awards took the form of a bust of H.P. Lovecraft sculpted by Gahan Wilson, however in recent years the trophy became controversial in light of Lovecraft’s more problematic beliefs. The first Special Convention Award was presented in 1978 to Glenn Lord. Two years later, Stephen King received the award when the convention was held in Baltimore, Maryland.
Stephen King’s first professional sale was the story “The Glass Floor,” which appeared in the Fall 1967 issue of Startling Mystery Stories, edited by Robert A.W. Lowndes. He continued publishing short fiction and his first novel sale was Carrie, which originally was meant to be a short story, but which he lengthened. It was published in 1974 and turned into a movie in 1976, establishing a long-running collaboration between King and Hollywood. To date more than 200 films and television shows have been based on King’s work.
In 1972, the British Fantasy Society began giving out the August Derleth Fantasy Awards for best novel as voted on by their members. A Short Fiction/Short Story category was added the next year, with the first one being won in 1973 by L. Sprague de Camp for his novella The Fallible Fiend. In 1976. The name of the awards was changed to the British Fantasy Award, although the August Derleth Award was still the name for the Best Novel Award. The category has remained part of the awards to the present day, although a re-alignment in 2012 means the awards are now selected by a jury rather than the full membership of the British Fantasy Society. In 1980, Fritz Leiber won the award for his story “The Button Molder,” which was presented at Fantasycon VI in Birmingham.
Leiber opens the story by teasing about how much can happen within a ten second period of time and the appearance of a ghost. His character then goes on a lengthy discussion about his living situation in San Francisco as he finds a new apartment and sets himself up as an author and amateur astronomer, working from his building’s roof. With long ruminations on what it means to be an author and techniques of story-telling, the story feels very autobiographical in nature and it is only the occasional hints back to those important ten seconds that remind the reader this is a story and not an essay about Leiber’s life.
The Ditmar Awards are named for Australian fan Martin James Ditmar Jenssen. Founded in 1969 as an award to be given by the Australian National Convention, during a discussion about the name for the award, Jenssen offered to pay for the award if it were named the Ditmar. His name was accepted and he wound up paying for the award for more years than he had planned. Ditmar would eventually win the Ditmar Award for best fan artist twice, once in 2002 and again in 2010. The Australian Fanzine Award was one of the Ditmar’s original awards and the first one was won by John Bangsund for Australian SF Review. Bruce Gillespie won his first Ditmar for SF Commentary in 1972 and the ‘zine also won the award in 1973, 1977, 1980, 2002, and 2018. He also won the award in 1986 and 1999 for his ‘zine Metaphysical Review and in 2010 for Steam Engine Time. Rich Horton took a look at SF Commentary as the winner of the 1973 Ditmar Award in his companion series looking at his own Golden Age of Science Fiction.
Bruce Gillespie began publishing SF Commentary in 1969 and by 1979 he was ready to publish issues 55 through 57, although the numbering a count was a little screwy. In January, he published a 68 page combination issue, numbered 55-56 and in November, he published the final issue of the year, 57, which came in at 16 pages.
Combined issue 55/56 opens with an editorial by Gillespie extolling the ten years that he has been publishing the fanzine. The article traces the history of the fanzine, and through it Australian fandom, through the ten years of its existence, including the ill-fated attempt in 1976 to turn the ‘zine into a semi-professional magazine. Toward the end of the article, Gillespie turns his attention away from the zine and fandom and discusses the major events and publications in science fiction over the course of the decade, along with a lengthy bibliography of stories published during that time that he would recommend. The article provides a lengthy and full view of the world of science fiction, as seen from Australia, from 1969 through the beginning of 1979. Gillespie summation of the decade runs for about a third of the article.
Taking a break from award winners, several authors published their first novels in 1979. Some of these authors had previously published short stories and one notable one was active in radio and television and wound up winning several awards for work done in 1979 (Douglas Adams). Here is a look at some of the debut novels of 1979.
Perhaps the biggest splash for a debut novel in 1979 was Douglas Adams’s The Hitchhiker’s Guide to the Galaxy, although it was really a novelization and abridged version of his radio show of the same title, which had previously aired in 1978. The novel, of course, sparked a series of five novels by Adams, plus one more by Eoin Colfer, and adaptations for stage, television, screen, and upcoming, a streaming service. A satire on the tropes of science fiction, the absurdity of the situations and responses in the books hit a nerve with the public and have expanded beyond the genre, with people who haven’t read science fiction at least recognizing that the number 42 is a cultural touchstone.
The World Fantasy Awards are presented during the World Fantasy Convention and are selected by a mix of nominations from members of the convention and a panel of judges. The awards were established in 1975 and presented at the 1st World Fantasy Convention in Providence, Rhode Island. Traditionally, the awards took the form of a bust of H.P. Lovecraft sculpted by Gahan Wilson, however in recent years the trophy became controversial in light of Lovecraft’s more problematic beliefs and has been replaced with a sculpture of a tree. The Short Fiction Award (sometimes called short story award) has been part of the award since its founding, when it was won by Robert Aickman for “Pages from a Young Girl’s Journal.” In 1980, the year Lynn received the award for the story “The Woman Who Loved the Moon,” the convention was held in Baltimore, Maryland. Lynn tied for the award with Ramsey Campbell for the story “Mackintosh Willy.”
The World Fantasy Awards were good to Elizabeth A. Lynn in 1980. Her novels Watchtower and The Dancers of Arun both were nominated for the Best Novel award, with Watchtower winning, but her short story “The Woman Who Loved the Moon,” originally published in Jessica Amanda Salmonson’s anthology Amazons!, tied for the short fiction award (and the anthology would also win a World Fantasy Award that evening).
The story is a take on a traditional type of revenge fairy tale, although Lynn adds her own twists to it. Three sisters are mighty warriors in their homeland, so much that they scare off all possible suitors, reminiscent of the Greek story of Atalanta, times three. The sisters each specialize in a different weapon an eventually a warrior who claims to be from a distant land shows up and challenges and kills the first sister. On the stranger’s second visit, the second sisters seeks revenge and is also best in combat, but the third sister, in seeking vengeance falls in love and essentially enters a fairy realm, only returning home decades later.
The Best Novella category was not one of the original Hugo categories in 1953. I twas introduced in 1968, when it was won by Philip José Farmer for “Riders of the Purple Wage” and Anne McCaffrey for “Weyr Search.” Since then, some version of the award has been a constant, with the exception of 1958. In 1980, the awards were presented at Noreascon II in Boston.
The Nebula Award was created by the Science Fiction Writers of America (SFWA) and first presented in 1966, when the award for Best Novella was won by Brian W. Aldiss for “The Saliva Tree” and Roger Zelazny for “He Who Shapes.” The award has been given annually since then.
The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Book Novella Award dates back to 1974, when the short fiction awards were split into Short Fiction and Novella lengths. Frederick Pohl won the first award. In 1980. The Locus Poll received 854 responses.
In January, I wrote about Barry B. Longyear, the winner of the John W. Campbell Award in 1980 and explored the vast amount of fiction he published in 1978 and 1979. At that time, I dismissed his biggest hit with a single line, “His breakout story, of course, was “Enemy Mine,” which will be covered in more depth in the article on that novella’s various awards for the year.” Now is come the time to discuss that story.
The World Fantasy Awards are presented during the World Fantasy Convention and are selected by a mix of nominations from members of the convention and a panel of judges. The awards were established in 1975 and presented at the 1st World Fantasy Convention in Providence, Rhode Island. Traditionally, the awards took the form of a bust of H.P. Lovecraft sculpted by Gahan Wilson, however in recent years the trophy became controversial in light of Lovecraft’s more problematic beliefs. The Professional Special Award has been part of the award since its founding. In 1980, the year Grant received the award for his work on Fantasy Newsletter, the convention was held in Baltimore, Maryland. Grant had previously received the award in 1976 and would receive the award again in 1983. In addition, Grant received A World Fantasy Con Special Convention Award in 1984 and was named a Grand Master in 2003.
Donald M. Grant became interested in reading science fiction and fantasy when he was 10 years old. He co-founded his first publishing company, Grant-Hadley, with Thomas Hadley in 1945 and they published Rhode Island on Lovecraft. The next year, Kenneth Krueger joined the company and Grant was inducted into the military. The company changed its name to The Buffalo Book Company and they published The Time Stream, by John Taine and the first edition of The Skylark of Space, by E.E. “Doc” Smith. Grant and Krueger wound up leading the company, which took on the name The Hadley Publishing Company, which published four more volumes over the next three years.
The Hugo Award was first presented at the 11th World Science Fiction Convention (sometimes called Philcon II), held in Philadelphia from September 5-7, 1953. No short fiction awards were presented the first year. In 1955, the first award for Best Novellette, not yet known as a Hugo Award, was given to Walter M. Miller, Jr.’s “The Darfsteller.” The award for Best Novelette was not presented in 1957 or 1958, returned in 1959 and then disappeared until 1967. It was on hiatus again from 1970 through 1972 and became a permanent ficture in 1973. The Hugo Awards are nominated and voted on by the members of the World Science Fiction Convention. Martin won two Hugo Awards in 1980, for “The Way of Cross and Dragon” in the Short Story Category and “Sandkings” in the Novelette category. He had previously won a Hugo for his novella “A Song for Lya” in 1975 and would win a second novella award for “Blood of the Dragon” as well as a Best Dramatic Presentation: Long Form Hugo for season 1 of Game of Thrones. The only fiction category in which he has not yet won a Hugo is the Best Novel category. In 1980, the Hugo Award was presented at Noreascon Two in Boston, Massachusetts on August 31.
The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Book Publisher Award dates back to 1972, although in 1975 and 1976 the Publisher Award was split into paperback and hardcover categories. Ballantine Books won the award each year from its inception through 1977 (winning the paperback for the two experimental years with the Science Fiction Book Club winning the hardcover award). In 1978, when Del Rey was established as an imprint of Ballantine, Ballantine/Del Rey began winning the award. The award was not presented in 1979 for works published in 1978, but when it was reinstituted in 1980, Ballantine/Del Rey picked up its winning streak. In 1980. The Locus Poll received 854 responses.
In many ways, “Sandkings” is a predictable story. Simon Kress is depicted from the start as arrogant and cruel. Although the world of Baldur is not particularly well depicted, based on Kress’s personality and actions, the world seems to provide a breeding ground for a decadent society, at least the part of it that Kress is part of, although Martin does indicate that he has some sort of business that he must occasionally attend to which provides him with the means to pursue his decadent lifestyle, which centers on the collection, exhibition, and eventual discarding of various exotic animals/aliens.
Lin Carter created the Gandalf Award to recognize lifetime achievement in fantasy. As with the John W. Campbell Award for Best New Author, which was founded in the previous year, the Gandalf Awards were administered along with the Hugo Award and presented at Worldcon. The Gandalf Award was given out from 1974, when it was won by J.R.R. Tolkien, through 1981, when it went to C. L. Moore. For two years, in addition to a Grand Master Award, a Best Novel Gandalf was also presented. In 1980, the awards were presented at Noreascon II in Boston.
Several years ago, I received a phone call from Ray Bradbury. When I hung up the phone, I turned to my daughter, who was in elementary school, and said, “Remember this call. You’ll be studying the author I just spoke to in school.” Several years later, I was at a parent conference for my daughter and the teacher caught me looking at a poster for Fahrenheit 451. The class had read Bradbury’s story “The Veldt” earlier in the school year and the teacher said, “I don’t want to accuse your daughter of making things up, but she says Ray Bradbury has called your house.” I confirmed the call to the teacher, but inside I was jubilant, my daughter had listened to me.
The Nebula Award was created by the Science Fiction Writers of America (SFWA) and first presented in 1966, when the award for Best Short Story was won by Harlan Ellison for “‘Repent, Harlequin!’ Said the Ticktockman.” It has been given annually since then. Ed Bryant won the award in 1979 for his story “Stone” and again in 1980 for the story “giANTS,” the first time an author won the award back-to-back.
Ed Bryant’s “giANTS” is a strange work of almost fan fiction. It is set in a world in which them 1954 B movie Them! has taken on immense importance. Main character Paul Chavez dreams himself in the movie, with himself in the role of the protagonist, and upon waking has a difficult time separating reality from his dream. Chavez also finds himself the subject of a relentless reporter, Layne Bridgewell, who is seeking an interview with him, one he only begrudgingly gives.
It takes a while to determine the actual role of Them! in the story since it seems to be a film that Chavez and Bridgewell have both seen and are aware of. At the same time, there is definitely something occurring with insects throughout the world and Bridgewell has lost family to bees while Chavez’s wife was killed by fire ants.
It eventually turns out that rather than being the nightmare scenario Chavez fears, Them! provides the solutions to the problem of a world in which normal insects run amok. Bryant cleverly takes the biggest scientific inaccuracy of the film and turns it on his head, allowing Chavez to realize that creating a means of increasing the insects size is the fastest way to destroy them, due to the square-cube law.
