This is the first such BSFA booklet to contain nominations for the Best Book for Younger Readers. The extracts seem to be mostly first chapters from the nominees. I didn’t read any of those since I doubt I’ll ever go on to read the whole book for any of them. I may get round to some of the Best Novel contenders – already have done so for Aliya Whiteley’s Skyward Inn – but probably not all.

As to the Best Shorter Fiction we have:

Fireheart Tiger by Aliette de Bodard¹
Thanh is the daughter of the Queen of Bình Håi, but had spent time in the overseas country of Ephteria effectively as a hostage. Strange instances of small fires plague her. She is assisting her mother at a trade meeting with representatives of Ephteria when she is surprised by one of the delegates, Princess Eldris, and even more surprised when Eldris reveals she wishes to rekindle the affair they had had in Ephteria. This ends inconclusively, as if it were an extract from a longer piece – but it isn’t labelled as an extract.

Light Chaser by Peter F Hamilton and Gareth Powell²
This too ends inconclusively. Perhaps they’re all extracts. Interstellar legend Amahle the Light Chaser travels the Domain at near light speed on a cycle through the worlds. The story begins with her deliberately crashing her ship the Mnemosyne into a red giant to create a quark star before moving into a scene from one of her trading visits.

O₂ Arena by Oghenechovwe Donald Ekpeki³
For some reason this story is preceded by a “Content Warning; Cancer, Death or dying, Sexual assault, Terminal Illness, Violence.” Leaving aside the fact that these could be said to apply to just about all modern Science Fiction at least one of them isn’t true. There is no sexual assault described in the story. Sexual harassment and requests/demands for sexual favours in return for good exam grades are imputed by two of the characters as applying to another (minor) one but no actual assault occurs in the narrative. (The other warnings stand.)

But to the business of the story (which does have an ending.)
Global warming has killed off phytoplankton. Oxygen is so scarce it is rationed by cost. Currency is by means of O₂ credits. Our narrator has gone through University but is now at a strict law school so as to get the best job possible to earn credits. (The school is riddled with sexism and favour-seeking lecturers.) His friend Ovuke is also a student but is dying of ovarian cancer and her family is running out of money, leading the narrator to resort to desperate measures to get some. The story here is fine but its execution is marred by excessive info dumping and unnecessary insertion of acronyms.

Things Can Only Get Better by Fiona Moore⁴ also comes to an ending. It is one of those light-touch would-be humorous tales that can be extremely irritating if they don’t work. Moore just about gets away with it. Our narrator is an autologist called in by the police to investigate a case of illegal gambling in a syndicate centred on the hospital where she used to work. This is in a future where people and machine intelligences (Things) both work on the wards.

I also read the bits from the non-fiction works. These are mostly precis/preambles to the full work. How anyone can choose between such diverse works which is the best is a moot point.

The winners were announced here.

Pedant’s corner:- ¹“sharp inhale of breath” (inhalation,) vermillion (x 2, vermilion,) “laying low” (lying low,) “that room Giang falling to her knees” (needs a comma between room and Giang,) unneeded paragraph indentations and line breaks. ²“was very different beast” (was a very different beast,) stranglet (later ‘strangelet’,) relatavistically (relativistically.) ³ “Not that the air there was any better there” (has one ‘there’ too many,) “letting her lay back” (lie back.) ⁴ “even if the only things to which that description could be implied was to Wills and me” (were to Wills and me,) no full stop at the story’s end.

In response to Gareth Powell’s list Ian Sales has posted his own. Typically of Ian his choices are idiosyncratic. I note he sneaks in more than ten too.

My strike rate here is much lower.

Judgment Night, CL Moore (1952)
Empire Star, Samuel R Delany (1966)
Valérian and Laureline, Pierre Christin and Jean-Claude Mézières (1967 – present)
The Children of Anthi and Requiem for Anthi, Jay D Blakeney (1985 – 1990)
Master of Paxwax and The Fall of the Families, Phillip Mann (1986 – 1987)
Take Back Plenty, Colin Greenland (1990)
An Exchange of Hostages, Prisoner of Conscience and Hour of Judgement, Susan R Matthews (1997 – 1999)
The Prodigal Sun, The Dying Light and A Dark Imbalance, Sean Williams & Shane Dix (1999 – 2001)
The Risen Empire and The Killing of Worlds, Scott Westerfeld (2003)
Spirit, or the Princess of Bois Dormant, Gwyneth Jones (2008)

Another list.

According to Wikipedia “Space Opera is a subgenre of science fiction that often emphasizes romantic, often melodramatic adventure, set mainly or entirely in outer space, usually involving conflict between opponents possessing advanced abilities, weapons, and other technology.”

Partly as a comment on the sub-genre and also as an attempt to subvert it I provided my own novel A Son of the Rock with the tagline “A Space Libretto” mainly because – while it roamed the spaceways and deployed technology – advanced abilities and weapons were largely, if not completely, absent.

As to Space Opera itself, Gareth Powell has posted a list of what he considers a Top Ten of Space Operas on his website. It leans heavily towards relatively recent works.

As you can see I’ve read all but three of them.

Nova by Samuel R. Delany
The Centauri Device by M. John Harrison
Consider Phlebas by Iain M. Banks
A Fire Upon The Deep by Vernor Vinge
Revelation Space by Alastair Reynolds
Ancillary Justice by Ann Leckie
The Reality Dysfunction By Peter F. Hamilton
Leviathan Wakes by James SA Corey
Space by Stephen Baxter
Excession by Iain M. Banks