It’s Hugo voting time! Last year, my partner and I added Worldcon to our annual calendars, and that means we get to vote for the Hugos, the prestigious awards for the best new works in science fiction and fantasy. We don’t even necessarily have to travel to the event – last year my virtual membership got me into 18 panels and two ceremonies!
It does mean lots of reading in May, June, and July, though. Voters aren’t required to read every work in the categories they vote on, as long as they restrict their votes to works they did read (or watch, or play), but so far I’ve managed to read all of the Best Novel nominees for the past two years.
And guess what? Some of the books are explicitly about my topic – societal meta-narratives! I know that’s a mouthful – it just means what we think about the gist of what’s happening to us collectively. Are we achieving great things? Are we at a turning point? Is it all about to come crashing down? Politicians and other thought-leaders do their best to convince us of the “background stories” that they want to motivate us to act (or, of course, to leave it to them to take care of for us).
So in this post, instead of writing and analyzing what’s actually going in in our real-life meta-narratives, I’d like to share some thoughts on this year’s Hugo nominees.
Obviously, I don’t want to spoil the ending for any of these books, and some of them do have last minute twists or big reveals. But if I’m going to talk about the books at all, I’m going to have to get into their premises, and that means I’ll be describing aspects of the story worlds as described in, let’s say, the first third of a book, or so. Stop here if you don’t want that.
For A Drop of Corruption (by Robert Jackson Bennett), the meta-narrative is pretty much as it was in its predecessor, last year’s winner, The Tainted Cup. The humans need to maintain serious defenses against an incursion by one of the deep sea leviathans, which would devastate the human cities if it should come ashore. This time, we learn more details about the human world, spending time in an affiliated land adjacent to the empire. Mind you, these are very interesting humans, with very interesting bio-technologies, and the two humans we know best are especially intriguing – but they’re not really thinking or acting in meta-narrative terms (yet).
The Raven Scholar (by Antonia Hodgson) notes key points in the early and recent history of a fantasy world, which are related to a new competition for a throne (and various related crimes), and those changes qualify, but we’re far more focused on current individual actions. The Incandescent (by Emily Tesh) is set in a magic school in what is otherwise mostly our own world, and what makes it especially interesting is that our main character is a rather jaded teacher, not a bright-eyed new student. There’s little attention to the bigger social picture. And… I shouldn’t say too much about Death of the Author (by Nnedi Okorafor), in which a Nigerian-American woman writes a best-selling novel about robots.
The Everlasting (by Alix E. Harrow) and Shroud (by Adrian Tchaikovsky) are, however, at their heart about societal meta-narratives, and I can describe each of them without seriously damaging your later reading enjoyment, so, let’s take a look!
The world of The Everlasting is very like post-WWII Britain, and its protagonist, Owen Mallory, is a scholar in a major university, specializing in the founding legends of his nation. He’s especially enamoured of the story of the brave (female) knight, Sir Una. One day, his country’s minister of war summons him to her office. She has an assignment for him. As the minister explains it, “a nation is not a boundary on a map or a flag on a pole, but only a story we tell about ourselves” (p.36). This idea is further elaborated by Mallory on p.183: “a story, designed to teach us who to hate and who to obey, what god to worship and what flag to fight for and what color eyes are the most beautiful.” The minister thinks the legend of Sir Una is somehow at risk – so she sends Mallory back in time, to get the story properly shored up. Of course, to truly ensure the meta-narrative is in the form the minister wants, Mallory will have to make multiple trips into the past. But should he? And what’s the point of it all?
Shroud is a very different story, set in the distant future. Here’s their meta-narrative, spelled out on page 292: “The driving impetus of the Concerns [the business people in charge of humanity] was that humanity be profitably spread across the galaxy. That there never again be a resource bottleneck which could threaten the survival of our species. If one system failed, through catastrophe or human error, war, plague, or even the damn sun going nova, it wouldn’t end us. We would go on, and spread. Every new system would be mined and stripped, with orbital infrastructure built. Shipyards, repair stations, fuel depots, and maybe habitat tanks, where they’d grow that other necessary resource for our ongoing expansion: people.”
To that end, the way they treat actual humans is just as barbaric – almost everyone is forced to “hibernate” whenever they’re not actively assigned to a profitable venture. You wake up, work for a few weeks or months, then go back under.
One of these people is Juna. She’s assigned to a team assessing the commercial prospects of the moon of a distant planet – a moon with a thick atmosphere of hydrogen, methane, ammonia, etc., with very little oxygen, very little sunlight, and lots and lots of noise, mostly electro-magnetic signals. They nickname this world “Shroud.” An accident sends Juna and a colleague down into the atmosphere in a life pod, struggling to survive – and now we acquire another narrator, a highly intelligent life-form living among the other monsters of Shroud. We learn that it’s an aggregate life form – somewhat like ants, but not exactly.
Imagine if a tree were mobile and vaguely animal-shaped and its fruits (of various shapes) were also mobile. The fruits are expendable and you can assign tasks to them, but the further away from the rest of you they get, the more they forget. If they return to you they invigorate you, and if they can’t return to you they might fade away or they might form the core of another, apparently permanently separate, being very much like you. Such a being can send its own “fruit” to you, as ambassadors bearing information you can ingest. (And this “tree” and “fruit” metaphor is entirely mine, since this alien knows nothing of such things.)
The alien recognizes the humans’ pod as a clumsy, stupid life form that has clearly originated elsewhere, and it decides to protect and try to understand it – but its contents, the humans living inside it, aren’t emitting the right kind of signals and thus seem meaningless to it. Can it realize they’re fellow creatures? Can Juna and her colleague recognize the intelligence of this very alien life form? Would it matter to their extraction-über-alles supervisors if they did? Is there a way to communicate with the alien? And in both meta-narratives the individual units are treated as expendable, but in one case those units are humans serving a story that isn’t alive, and in the other the units are serving a being that is just more of itself. Lots to think about!
I also wanted to comment on one of the nominees for “Best Related Work” – basically, related non-fiction, art, etc. This year the fans nominated a work of real-life history, Ada Palmer’s Inventing the Renaissance: The Myth of a Golden Age. I had already read this book for my own research, and I was surprised to see that it was nominated here, as there wasn’t any serious mention of science fiction or fantasy in the book at all, as far as I can remember. Palmer is, however, a beloved member of the Worldcon community and the author of the Terra Ignota science fiction series, so maybe the nominating fans thought that was sufficiently “related” to count.
Although lengthy and full of digressions, Inventing the Renaissance is a fascinating and fabulous book, and it’s explicitly about societal meta-narratives. After all, the Renaissance is a big one, claiming that European society had managed to carry off a Restoration of the glory of ancient Rome. As a professional historian, however, Palmer shows convincingly that this was really a public relations coup. In reality, much of the art and science we think of as Renaissance-era got its start in the centuries immediately preceding it – there were no stagnant “Middle Ages” between the fall of Rome and the 1400s. And many of the “magical thinking” patterns we associate with earlier eras continued right on through that era and are still with us today.
What are these PR techniques the Italians used to evoke revival of the ancient past? One of the most impactful, which the rulers of Florence especially liked, was through architecture. You can make your government look powerful and legitimate if your public buildings are shaped like this:
That’s the state capitol of Utah – Greek columns and a big Roman dome. American governments have learned this lesson well.
Palmer has also written about meta-narratives in her very entertaining blog. I especially recommend this post on Progress – or you can read chapter 62 in Inventing the Renaissance instead.
As I said, I don’t know if this book is sufficiently on-topic for a non-fiction Hugo. (She actually makes the case for its adjacency to science fiction, here.) But… if discussing societal meta-narratives is a Hugo topic, perhaps this very blog you’re reading right now is eligible! Ha!
Let’s see. So far I’ve only read one of the Hugo-nominated novellas – The Summer War by Naomi Novik. Its meta-narrative is quirky: Every summer our neighbors the immortal elves will make war on us… if they bother to remember.
The two Hugo-nominated games I’m most familiar with also have meta-narrative themes. In Hollow Knight: Silksong, Hornet finds herself trying to understand what’s going on in the damaged land of Pharloom and whether it’s possible to put things to rights. And in Hades II, the Fates are involved – I can’t say more.
When I vote, I probably won’t pay any attention to meta-narratives. I’m much more likely to care about things like, Would I want to read (or watch) it again? Was I enthusiastic about the world and the characters? Am I impressed with the author’s imagination and writing skills? Am I still thinking about what I read? Since I liked each of the six nominated novels, it’s going to be a tough choice!
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Image credits:
Header image cropped from worldcon.org
Utah State Capitol from https://utahstatecapitol.utah.gov/explore-the-utah-state-capitol/
Silksong, Hornet in Moss Grotto, screenshot by JVW










