Samuel Delany and the Past and Future of Science Fiction (link)
In 1968, Samuel Delany attended the third annual Nebula Awards, presented by the Science Fiction and Fantasy Writers of America (SFWA). At the ceremony that night, “an eminent member of the SFWA,” as Delany later put it, gave a speech about changes in science fiction, a supposed shift away from old-fashioned storytelling to “pretentious literary nonsense,” or something along those lines. At the previous Nebula Awards, the year before, Delany had won best novel for “Babel-17,” in which an invented language has the power to destroy (his book shared the award with Daniel Keyes’s “Flowers for Algernon”), and earlier on that evening in 1968, Delany had again won best novel, for “The Einstein Intersection,” which tells of an abandoned Earth colonized by aliens, who elevate the popular culture of their new planet into divine myths. Sitting at his table, listening to the speech, Delany realized that he was one of its principal targets. Minutes later, he won another award, this time in the short-story category, for “Aye, and Gomorrah . . . ,” a tale of neutered space explorers who are fetishized back on Earth. As he made his way back to his seat after accepting the award, Isaac Asimov took Delany by the arm, pulled him close, and, as Delany (who goes by the nickname Chip) recalled in his essay “Racism and Science Fiction,” said: “You know, Chip, we only voted you those awards because you’re Negro . . . !”
It was meant to be a joke, Delany immediately recognized; Asimov was trying, Delany later wrote, “to cut through the evening’s many tensions” with “a self-evidently tasteless absurdity.” The award wasn’t meant to decide what science fiction should be, conventional or experimental, pulpy or avant garde. After all, where else but science fiction should experiments take place? It must be—wink, wink—that Delany’s being black is the reason he won.
On the phone recently, I suggested to Delany that Asimov’s poor attempt at humor—which, whatever its intent, also served as a reminder, as Delany notes in “Racism and Science Fiction,” that his racial identity would forever be in the minds of his white peers, no matter the occasion—foreshadowed a more recent controversy, centered on a different set of sci-fi awards. In January, 2013, the novelist Larry Correia explained on his Web site how fans, by joining the World Science Fiction Society, could help nominate him for a Hugo Award, something that would, he wrote, “