The Year's Best Science Fiction: Eighteenth Annual Collection

by Gardner Dozois

Genres: Anthologies; Sci-fi Anthologies & Collections

Synopsis

The twenty-three stories in this collection imaginatively take us far across the universe, into the very core of our being, to the realm of the gods, and the moment just after now. Included here are the works of masters of the form and of bright new talents, including: Stephen Baxter, M.Shayne Bell, Rick Cook, Albert E. Cowdrey, Tananarive Due, Greg Egan, Eliot Fintushel, Peter F. Hamilton, Earnest Hogan, John Kessel, Nancy Kress, Ursula K. Le Guin, Paul J. McAuley, Ian McDonald, Susan Palwick, Severna Park, Alastair Reynolds, Lucius Shepard, Brian Stableford, Charles Stross, Michael Swanwick, Steven Utley, Robert Charles Wilson Supplementing the stories is the editor's insightful summation of the year's events and lengthy list of honorable mentions, making this book a valuable resource in addition to serving as the single best place in the universe to find stories that stir the imagination and the heart.

Release date: August 18, 2001

Publisher: St. Martin's Publishing Group

Print pages: 640

Sample

The Year's Best Science Fiction: Eighteenth Annual Collection

Summation: 2000
Well, the millennium is definitely at hand (cue the swell of ominous, Apocalyptic music in the background), and even calendar purists can no longer deny that we're living in the twenty-first century.
It'll probably be hard to convey to younger readers a sense of how downright strange that seems to old fogies like me. For most of my life, the twenty-first century was THE FUTURE, that unimaginably distant territory in which most science fiction stories took place; now I find myself living there, in the remote, glittering FUTURE ... (which somehow feels different than you thought it would, more mundane and less goshwow fantastical, once you're actually rubbing up against it, in spite of technological innovations all around us that would have dropped the jaw of anybody in 1950--a lesson many SF writers and futurologists could usefully learn). To paraphrase Mark Twain, I wish the new century well, although I doubt I'll get to see all that much of it--but it's not my century. My century was the previous one.
But the twentieth century is gone, taking its freight of unprecedented and unanticipated horrors and wonders with it, and even dinosaurian refugees from that century, like me, must learn to look ahead, not back. We can go ahead, if we're lucky, for a while anyway--but back there's no returning.
The temptation to try to predict what the new century ahead is going to be like is almost irresistible, and I'll succumb to that temptation here and there in the pages that follow, but what makes me hesitant to really give in to it is realizing how poor a job prognosticators at the beginning of the twentieth century did peering ahead at what lay in store for them. In almost every case, even those who thought that they were being wildly daring and outrageous in their predications fell far short of what actually happened, missing both the marvels and the miseries, the triumphs and the tragedies, the unimaginable progress and the equally unimaginable atrocities that waited ahead. For someone standing in 1901 and peering ahead, these things were literally unimaginable; it was beyond the power of the human imagination to predict or fully appreciate how radical the changes that lay ahead really would be, changes that would come to alter almost out of recognition every aspect of the nineteenth-century world, sweeping it aside and replacing it with a new world instead. And I suspect that people at the beginning of the twenty-second century--if there are any people, as we understand the term, still around by then--will look back at today's predictions of what the twenty-first century is going to be like with similar amusement (if not outright scorn) at how naive and limited our imaginations turned out to be. So then, let's mostly content ourselves with taking a look at 2000, which is safely past, and thus can be confidently examined with 20/20 hindsight.
It was a pretty quiet year, for the most part. Once again, the science fiction genre didn't die, much to the disappointment of some commentators. In fact, the genre seems to be fairly stable at the moment commercially (knock wood!); artistically, even taking into account all of the tie-ins and media and gaming-associated books that crowd the shelves, there are still considerably more science fiction novels of quality being published now than were being published in, say, 1975 (including a few that would probably not have been allowed to be published at all back then), in a very wide range of styles and moods, by a spectrum of writers ranging from Golden Age giants to Young Turks with one book under their belts--quite probably more quality material (including a wide range of short work) than any one reader is going to be able to read in the course of one year, unless they make a full-time job of it. The last couple of years have been dominated by Merger Mania, but this year the corporations were mainly quiescent, like huge snakes digesting the goats they'd swallowed; there were no major changes in publishing, at the genre level, anyway, except in the troubled magazine market--no print SF lines lost or gained. (Most of the major action, both positive and negative, was in the online market, about which see more below.) There were no major changes in editorial personnel this year either, although last year saw a vigorous round of the traditional game of Editorial Musical Chairs, with several Big-Time players leaving the scene (most of whom have yet to return in any significant way).
Most of the serious action this year was going on behind the scenes, like the legal battle over Napster--at first glance, something far removed from the SF world ... but not really, eh?, as I strongly suspect that if you want a good model for the problems that the book-publishing business is going to encounter tomorrow, you take a look at the problems that the music industry is dealing with today. (Already, the Science Fiction Writers of America is embroiled in a legal battle with pirate Web sites, with Harlan Ellison--good for you, Harlan!--being one of those leading the rush to the battlements ... although I suspect that as yet we've only seen some very early skirmishes in what's going to be a long and bloody war.) The turmoil in the stock market over the faltering dot.com market--with many big Internet players failing to meet expectations by huge margins and being forced to close up shop, and possible major trouble ahead forecast for others, like the online book-selling (and everything else-selling) superservice Amazon.com--also cast a long shadow into the SF world.
Major changes are looming over the publishing world like thunderheads coming up over the horizon, fundamental changes in the way that books reach the general reading public. This year you could hear those storms of change growling and rumbling off in the distance, mostly as yet producing only occasional gusts of wind and fitful bursts of rain, but not too many commentators would deny that those storms are going to break sooner or later--although you'll hear a wide range of predictions of how severe the weather is going to get, from soak-your-clothes-to-your-skin downpours to barely-wet-your-lawn passing showers. Print-on-demand publishers are appearing like mayflies--as are online sites that sell downloads to PCs, portable handheld computers, and other electronic text-readers--and they may turn out to have the life span of mayflies, too ... but it's a good bet that there will be others coming along behind them to replace those that falter and fall bythe wayside. And just behind these are marching other waves of change: new generations of better and more sophisticated handheld computers and electronic text-readers of all sorts (some of which may already be in stores by the time you read these words); print-on-demand systems in most major bookstores that can print most books in their extensive catalogues for you right on the spot, while you wait, "electronic paper"; genuinely reprogrammable "e-books" that will look and feel as much like print books as possible, and be as easy to carry around (even today, you can call into the Internet with a wireless modem and get new novels or stories downloaded into your handheld, as easily as making a phone call). And, no doubt, behind these changes there'll be coming other innovations and technologies that will end up having a major effect on the publishing world, stuff we haven't even heard of yet.
None but the most wild-eyed prognosticators believe that all this is going to make print books, or regular trade publishers, or bookstores that exist in the physical world, disappear (that's not going to happen in the foreseeable future, and likely will never happen at all). But it is going to mean big readjustments in market share, something that's already happening, and which isn't going to stop anytime soon.
Although cyber-optimists of the "Print books will be extinct by 2004! With Internet shopping, nobody will ever bother leaving their homes again!" sort may have been a bit too giddy, those semi-Luddites who have spent the last few months smugly anticipating the forecast demise of Amazon.com (proving that all this Internet stuff was "just a fad") are probably going to be disappointed as well. Amazon.com may (or may not) die, but there will still be online booksellers. That's not going to change, not now; too many people have become accustomed to the ease of ordering books online, one of the most rapidly growing areas in the whole book-selling industry, and somebody will appear to take up the slack and provide that service for them, even if Amazon.com and all the other present online booksellers went down. Books will continue to be produced and sold online, in one form or another, in one way or another, no matter how the fortunes of an individual publisher rise or fall; the technology is just too easy and too seductive not to use, and sooner or later somebody will figure out a reliable way to make money doing so. Although it may not be the Milk-and-Honey Promised Land of starry-eyed would-be dot.com millionaires, the High Road to Effortless Business Success, the Internet is not going away. It--or its successor technologies--will be a part of our lives (probably an ever-more-integral, indispensable, and yet taken-for-granted-and-largely-ignored part) for the foreseeable future, and for our children's future as well. Barring all-out war, an asteroid strike, a universally potent pestilence, environmental collapse, or some other disaster that sends civilization reeling back to the Dark Ages or worse, things are not going to go back to The Way They Were. The clock cannot be turned back, once you set it ticking--your only option is to smash the clock altogether.
So fasten your seat belts, it's going to be a bumpy decade. But it just might--with luck--end up taking us to some places worth going to.




It was another bad year in the magazine market, with sales down again almost across the board (in areas far outside the genre, as well), and with only a few hopeful notes to be found here and there.
There were two major losses in the magazine market in 2000, the demise of Science Fiction Age (which happened early enough in 2000 that we covered it in last year's anthology) and then, toward the end of the year, the death of Amazing Stories--which was axed in its recent incarnation as a glossy mixed SF/media magazine soon after parent company Wizards of the Coast was sold to Hasbro (Hasbro also axed its card-gaming magazine, Top Deck; apparently a severe slump in the card-gaming market was responsible for both decisions). This was perhaps not quite as much of a hammer blow to the market as the cancellation of Science Fiction Age, since Amazing Stories in its current version was less central and important to the genre than Science Fiction Age had become, but it still sent shock waves through the field. There was a flicker of hope late in the year, as the online site GalaxyOnLine announced that they were going to buy Amazing Stories and reinvent it as an online site selling versions of the magazine in CD format, but this deal fell through when GalaxyOnLine itself died (see below). Amazing Stories has died and then come miraculously back to life several times in the twenty-five years I've been editing Best of the Year anthologies, but this may finally be the end of the line for the grand old magazine, which has existed in one form or another (with occasional breaks in continuity), since 1926. (On the other hand, I've said that before, only to watch the magazine rise from the ashes again, so we'll just have to wait and see, and hope that Amazing Stories can somehow pull off the Lazarus trick one more time. That probably wouldn't be the way to bet it, though.)
The other big change in the magazine market this year is potentially positive: late in the year, The Magazine of Fantasy & Science Fiction was bought by its current editor, Gordon Van Gelder, from its longtime owner and publisher, Edward L. Ferman. If Gordon can cope with the extra work and problems that will come with assuming the role of publisher as well, and if he has deep enough pockets to weather any financial setbacks that might be caused by the transition, then this might well give F&SF a new lease on life--the Fermans were getting near retirement age, and there has been speculation as to what would happen to the magazine when they did retire. Without someone like Gordon willing to assume the stewardship of the magazine, a big job, it might well have died. Now it has a decent chance of surviving, for as long as Gordon can keep it going, anyway.
The news in the rest of the magazine market was no more cheerful than it has been for the last several years. Overall sales were down almost everywhere, with Asimov's Science Fiction, Analog Science Fiction & Fact, The Magazine of Fantasy & Science Fiction, and Realms of Fantasy reaching all-time lows (sales were down across the entire range of the magazine market, in fact, far beyond genre boundaries--it shows up more noticeably with the genre magazines because their initial audience bases were lower to begin with). Asimov's Science Fiction registered a 12.3% loss in overall circulation in 2000, 3,348 in subscriptions, and 1062 in newsstand sales. Analog Science Fiction & Fact registered a 7.5% loss in overall circulation in 2000, 1461 in subscriptions, and 2,435 in newsstand sales. The Magazine of Fantasy & Science Fiction registered an 8.1% loss in overall circulation,1,294 in subscriptions, and 1,360 in newsstand sales. Realms of Fantasy registered a 12.1% loss in overall circulation, rising 2,313 in subscriptions, but dropping by 7,157 in newsstand sales. As it has for several years, now, Interzone held steady at a circulation of about 4,000 copies, more or less evenly split between subscriptions and newsstand sales.
I've mentioned before that these figures probably look worse than they actually are. Most of the subscriptions that have been lost, to date, are not of the core subscribers who regularly renew their subscriptions at full rate, the most profitable subscribers for a magazine, but rather Publishers Clearing House-style cut-rate stamp-sheet subscriptions, which can actually cost more to fulfill than they actually bring in in revenue. The good news, then, is that the core subscribers who do remain seem loyal, dedicated, and, according to surveys, enthusiastic about the product that they're receiving. Helping also to keep the digest-size or near-digest-size magazines (Asimov's, Analog, F&SF) profitable in spite of declining circulation, is the fact that they're so cheap to produce in the first place that you don't have to sell very many of them to make a profit, the advantage that has kept digest-size magazines alive for decades when more expensive-to-produce magazines, which need to sell a far greater number of copies in order to be profitable, have faltered and died. Nevertheless, this continued decline in circulation is distressing, and if the slide continues long enough, must ultimately threaten the existence of these magazines; without at least a trickle of new subscribers coming in, you can't counterbalance the inevitable attrition of your subscriber base due to death and circumstance, and sooner or later you're left with no subscribers at all, or at least not enough to keep the magazine in the black.
One mildly hopeful note is that in the last couple of years most of the SF magazines are pulling in at least a trickle of new subscribers over the Internet from audiences that probably haven't been tapped much by them before, including people who had probably never heard of the magazines before coming across them online (most people, even many habitual science fiction readers, have no idea that the SF magazines--which receive no advertising or promotion at all, in most cases--even exist), and people from other parts of the world, where interested readers have formerly found it difficult to subscribe because of the difficulty of obtaining American currency and because of other logistical problems. Asimov's, Analog, and F&SF have also all made deals with PeanutPress (http://www.peanutpress.com) that enables readers to download electronic versions of the magazines into Palm Pilot handheld computers, with the choice of either buying an electronic "subscription," or of buying them individually on an issue-by-issue basis, and a small but steady flow of new subscribers drawn from new audiences is coming in from this source as well.
With today's chaotic newsstand situation, which keeps most SF magazines off most newsstands, I have a feeling that if anything is going to save the magazines, it'll be the use of the Internet as a promotional tool, using Web sites to push sales of the physical product through subscriptions, and so I'm going to list the URLs for those magazines that have Web sites: Asimov's site is at http://www.asimovs.com. Analog's site is at http://www.analogsf.com. The Magazine of Fantasy & Science Fiction's site is at http://www.sfsite.com/fsf/. Interzone's site is at http://www.sfsite.com/interzone/. (Realms of Fantasy doesn't have a Web site per se,although content from it can be found on scifi.now.com ... although you could surf the whole site and be hard-pressed to find even a mention of the magazine's name; if you persist, though, you can eventually find a place to subscribe to it online.) The amount of activity varies on these sites, with the Asimov's and Analog sites perhaps the busiest and the Interzone site perhaps the least active, but the important thing about all of the sites is that you can subscribe to the magazines there, electronically, online, with just a few clicks of some buttons, no stamps, no envelopes, and no trips to the post office required. It would be hard for us to make it any easier for you.
All of these magazines (and a half dozen others) deserve your support. One of the best things you can do to ensure that short science fiction remains alive and plentiful in the market is to subscribe to whatever magazine you like best. In fact, subscribe to as many of them as you can--it'll still turn out to be a better reading bargain, more fiction of reliable quality for less money, than buying the year's hit-or-miss crop of original anthologies could possibly supply. Do it now, while you're thinking about it, and while it still has a chance to help. If you're a fan of short SF, as someone reading this book presumably is, and you don't bother to do it, you're taking a chance that there could be a lot less short SF around to enjoy in the future.
There were another couple of upbeat notes in this troubled market this year. The year 2000 saw a very impressive and promising debut made by a new Scottish SF magazine, Spectrum SF, edited by Paul Fraser, which published four issues in 2000. By rights, since the circulation is still low, this should be mentioned in the semiprozine section, but as Spectrum SF was not only totally professional in content, but very high-end professional at that, featuring two of the year's best stories, by Charles Stross and Alastair Reynolds, as well as good work by Jack Deighton, Eric Brown, Garry Kilworth, Mary Soon Lee, and others, and the serialization of the late Keith Roberts's as-yet-otherwise-unpublished last novel, Drek Yarman, that I'm going to go ahead and list it here in the professional section instead, and you can send me complaining letters about that if you want. Spectrum SF was certainly the most promising debut of a British magazine since Interzone--and, like Interzone, one that's especially welcome to me because it's one of the few British magazines to concentrate on core science fiction; most British magazines emphasize slipstream and/or horror instead. Fraser clearly doesn't have a lot of money to work with--this is obviously a labor of love--so let's hope that he can build a subscription base quickly before he runs out of funds, cash, and hope, since this is a tasty little magazine that deserves to survive, and another magazine that deserves your support.
PS Publishing (http://www.editorial-services.co.uk/pspublishing), a British small press, brought out some of the year's best novellas, in individual chapbook form, as part of a series, edited by Peter Crowther, that included Tendeléo's Story, by Ian McDonald, Watching Trees Grow, by Peter F. Hamilton, Making History, by Paul J. McAuley, Reality Dust, by Stephen Baxter, and others, with more to come next year. These novellas will eventually be gathered in omnibus collections, first published in Britain, and then in the United States. Keep your eye out for them, and for the new novellas that will be coming out, for so far they've included some of the best work to be found anywhere in the genre this year.
As usual, short SF and fantasy also appeared in many magazines outside genre boundaries, from Ellery Queen's Mystery Magazine to Playboy. The science magazine Nature, in honor of the millennium, published a very short science fiction story (some of them by very Big Names) in every weekly issue for the past 52 weeks--most of them were too short to have much impact as fiction, but they certainly managed to introduce some sophisticated genre conceptualization and concepts to wide nongenre audiences that were probably unfamiliar with them, and the staff of Nature is to be commended for that. On the other hand, on a sour note, Playboy fired longtime fiction editor Alice Turner, saying that maintaining a full-time fiction editor was "a luxury" that they could no longer afford, and that future stories would be selected by a committee. They didn't ask me, and don't care what my opinion is, but I think that this was a mistake--at a time when endless numbers of photos of naked women can be downloaded from the Internet for far less than the cost of an issue of Playboy, they need to emphasize those touches of class and quality that differentiate them from the average online porn site if they want to survive, not throw them away. At any rate, Alice will be missed.
(Subscription addresses follow: The Magazine of Fantasy & Science Fiction, Spilogale, Inc., PO Box 3447, Hoboken, NJ 07030, annual subscription--$38.97 in U.S.; Asimov's Science Fiction, Dell Magazines, P.O. Box 54033, Boulder, CO 80322-4033--$39.97 for annual subscription in US; Analog Science Fiction and Fact, Dell Magazines, P.O. Box 54625, Boulder, CO 80323--$39.97 for annual subscription in US; Interzone, 217 Preston Drove, Brighton BN1 6FL, United Kingdom, $60.00 for an airmail one-year (twelve issues) subscription. Realms of Fantasy, Sovereign Media Co. Inc., P.O. Box 1623, Williamsport, PA 17703--$16.95 for an annual subscription in the U.S.; Spectrum SF, Spectrum Publishing, PO Box 10308, Aberdeen, AB11 6ZR, United Kingdom--17 pounds sterling for a four-issue subscription, make checks payable to "Spectrum Publishing". PS Publishing, 98 High Ash Drive, Leeds L517 8RE, England, UK--$17 each for Tendeleo's Story, by Ian McDonald, Watching Trees Grow, by Peter F. Hamilton, Making History, by Paul J. McAuley; and Reality Dust, by Stephen Baxter. Note that many of these magazines can also be subscribed to online, at their various Web sites.)
It was a wild year in the young field of "online electronic publishing," with some upbeat stories to partially balance some major reversals and disappointments--things change so fast in this ephemeral market, though, that what I write here is likely to be already obsolete by the time this book sees print, so if you're interested, keep that in mind, and keep a close eye on the markets themselves.
The big stories here this year were probably the terminal decline of GalaxyOnLine, and the rise of SCI FICTION. GalaxyOnLine, supervised by veteran editor/writer Ben Bova, and introduced in early 2000, was perhaps the most glossy and ambitious such site to date, featuring a distinguished lineup of columnists such as Harlan Ellison, Mike Resnick, Joe Haldeman, Jack Dann, Kristine Kathryn Rusch, and many others, running scientific articles and book and movie reviews as well as original short SF stories, and promising eventually to provide everything from downloadable novels to online movies to animation to Web TV. By the middle of the year, though, their money had run out, their venture capitalists had dried up (the same thing that had killed the Event Horizon site the year before),new investors could not be found--and GalaxyOnLine was dead before the end of the year. A major disappointment, and another major blow to the dream that such sites can be made self-sustaining. Another ambitious fiction site, which was creating an anticipatory buzz and already drawing the work of top authors, The Infinity Matrix, to be edited by SF writer Eileen Gunn, also ran out of backing money, and had the plug pulled on it just before we went to press, losing the SF online world a site of great potential. It was the same story with yet another site with large-scale plans, Bookface, which was making books available to the online community for free (as long as you read them on screen online, the idea being to entice people into buying a download of a book, after they'd "browsed" it), and which was also "publishing" some original short fiction by young writers, but which also ran out of money, and was unable to find sufficient amounts of "Web advertising" revenue to replace it, and had also closed down shop by the end of the year.
The faltering of the "dot.com" market, one of the year's big financial stories, is probably the proximate cause of the failure of most of these sites. All of them were funded by big initial rushes of money from venture capitalists back when the market was hot (amounting to multiple millions of dollars in some cases), all ran through their money without being able to find an effective way of bringing any money back in, and then, once the market had soured and venture capitalists had become cautious and conservative again, were unable to find new investors to keep things going.
The big problem in this market is still a simple one: nobody has yet figured out how you can reliably make money "publishing" fiction online. The Last Great Hope here, the model that suggested that you could draw in enough income with "Web-advertising" to pay your expenses and even make a profit, seems to have been pretty thoroughly discredited, and the "patronage model," that big companies will support the arts online as part of their Public Relations campaigns, to improve their image, depends on a prosperous and growing economy; once belts start being seriously tightened, art for the sake of improving your image is probably the first thing to go. For the most part, with fiction sites, you either support it yourself, as what amounts to a hobby (an old tradition among print semiprozines, where magazines like Crank! were paid for for years out of the editor's own pockets), you absorb the costs because you hope to get an equal value in promotion, publicity, and prestige for some other product back out of it, you use it as a place to sell subscriptions or some other physical product that exists in the real world--or you find some way to make the customers pay for accessing the fiction, and hope you can get them to cough up in sufficient numbers to keep you afloat. This last is the tricky one, although many are working on it. Sites that sell "e-books" and even individual stories, to be downloaded to various "Palm-Pilot"-type platforms, may be on to a potentially successful model, especially as a wave of new and supposedly greatly improved technology in this area is just about to break upon us.
Although we've run through a lot of grim news so far, not all the stories in this market were negative, though, by any means. Early in 2000, the Sci-Fi Channel site (scifi.com) went through an extensive expansion and renovation, which included buying the long-running e-zine Science Fiction Weekly (the new editor of which is former Science Fiction Age editor Scott Edelman, replacing Craig Engler,who has moved up the corporate ladder in the SCI FI organization), and also launching a major new Web site, SCI FICTION, a fiction site within the larger umbrella of the Sci-Fi Channel site, edited by Ellen Datlow, the former Fiction Editor of Omni, as well as of the now-defunct web sites Omni Online and Event Horizon. As she did before with those other sites, Ellen has quickly established SCI FICTION as one of the best places on the Internet to find reliably professional-quality short fiction, putting up one new story and one "classic reprint" story every week (all of which are kept archived). This year SCI FICTION published good original stories this year by Severna Park, Steven Utley, Nancy Kress, Howard Waldrop, Robert Reed, Elizabeth Hand, A. R. Morlan, Linda Nagata, and many others, most of this work at a level of quality and professionalism unrivaled almost anywhere else online. Since the Sci-Fi Channel seems to be operating here on the "promotion, publicity, and prestige" model, SCI FICTION is not expected to make money (nor is there any real way for it to make money), which makes it far less vulnerable than Omni Online or Event Horizon had been, and the chances are good that it will probably survive as long as the parent company itself remains prosperous and healthy. Certainly the Sci-Fi Channel is getting its money's worth as far as promotion, publicity, and prestige is concerned, since SCI FICTION to date has generated a great deal of all three for them, and in areas outside the usual media-fan circles, where people may not even have heard of the Sci-Fi Channel or paid much attention to it, before this.
Another good new fiction site is Strange Horizons (http://www.strangehorizons.com), edited by Jed Hartman. Strang