I am usually underwhelmed by the Hugo short story nominees. I accept that my tastes are out of step with the pool of Hugo voters, as I am not a big fan of Michael Burstein’s short fiction, and the less said about most of Mike Resnick and Robert J. Sawyer’s previous nominees the better, but the one time I voted in the Hugos I put No Award first as a protest against how uniformly terrible the stories on that year’s ballot were. So it’s pleasing to report that the short stories, while not all great, range from pretty decent to really pretty damn good. Here’s my ranking:
Bottom of my ballot I would put Mike Resnick’s Distant Replay. It’s the best Mike Resnick story I have ever read, and that’s why it wouldn’t end up below No Award, but the appeal of his work remains a total mystery to me. Yet another story about science fiction being used in some way to reunite a man with his love, (in this case, a man meets a young man and woman who are exactly like him and his (dead) wife, and hooks them up), it’s less cloyingly sentimental than usual and has a couple of nice ideas, and that’s about it.
A Small Room in Koboldtown, by Michael Swanwick, is a locked-room mystery noir in a fantasy setting. The internet informs me it’s a universe he’s written in before, and the setting is interesting, but then it uses the fantasy setting to pull a big cheat. I like mysteries, and they work best when they are clever enough that you can’t work out exactly how it was done but all the clues are there. When the resolution of the mystery is a magical solution I couldn’t predict, I feel cheated out of my ending.
Having dispatched with the bottom two, we get to two stalwarts of the UK SF scene who are harder to separate – Ken MacLeod’s Who’s Afraid of Wolf 359? and Stephen Baxter’s Last Contact. Who’s Afraid of Wolf 359? is space opera from Ken MacLeod, in the same setting as his BSFA-award-winning Lighting Out. Proper hard SF, it has AIs and seedships and lots of future civilizations, I can’t quite put my finger on why I don’t like it as much as I expected. I think it could do with being longer, to flesh out the events around the ending, and give us more of the central character. There’s just nothing which particularly grabs me, so I put it at number three.
Last Contact is a very English disaster story – the big SFnal idea is the end of the world, but the story is about two women preparing for the end in Oxfodshire, planting flowers that will never grow and sitting in the garden drinking tea while they wait for the ground to be ripped apart under them. It’s a cosy catastrophe, with a much lower degree of looting and general chaos and anarchy than what I think would actually happen if you announced the world was going to end in six month’s time, but I found it rather charming. I don’t think Baxter quite pulls it off, but it’s in second place for me.
My pick of the short stories is Elizabeth Bear’s Tideline, which is a great example of how a small SF idea can turn into a lovely story. Lovely is the appropriate word, as it’s a heartwarming little tale of a shipwrecked war-machine, alone on a beach mourning her lost compatriots, and the human boy she meets and takes care of. The hints of worldbuilding fit around the well-drawn characters, filling out enough of the background to satisfy but leaving parts of it unknown, and Bear’s prose is probably the best of all the stories, bar maybe the Swanwick. It pulls off beautifully what Last Contact can’t quite do.
So I’d like the Best Short Story Hugo to go to Elizabeth Bear, but I won’t be upset if it goes to MacLeod or Baxter.
Abigail Nussbaum mostly agrees with me, but doesn’t like Baxter as much. Nicholas Whyte doesn’t like the MacLeod at all, but agrees with my top pick. Karen Burnham agrees with my top two, but hasn’t read any of the others. John at SF Signal also isn’t fond of the Macleod, and likes the Resnick much more.