Municipal Fantasy – a bibliography

This is a rough bibliography of the works mentioned in my essay about “Municipal Fantasy”. All enumerations of works in a given universe are as of June 2017. I also quote two posts that I made elsewhere on the subject, one to the comments section at File770, and one in the comments section at Charlie Stross’s blog.

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Agent K is from the 1997 film Men in Black. It’s not fantasy at all, but it does have the ‘hidden reality’ trope.

“Sufficiently analyzed magic” is taken from Phil and Kaja Foglio’s webcomic, “Girl Genius”, about mad science.

Buffy the Vampire Slayer“, a 1997-2003 TV show, and also novels and comics. It’s about slaying vampires and fighting evil (and it does eventually make the changeover from Urban to Municipal, but that’s at the end of the last season of the show; you’d have to read the “Season Eight/Nine/Ten” comics to know more).

Anita Blake“, protagonist of 20+ novels by Laurell K. Hamilton, beginning with 1993’s “Guilty Pleasures” There’s also comics.

Harry Dresden, protagonist of 15+ novels by Jim Butcher, beginning with 2000’s Storm Front. There’s also short stories, comics, and a TV show.

Felix Castor, protagonist of five novels by Mike Carey, beginning with 2006’s The Devil You Know.

the “Rivers of London” series (also called the “Peter Grant” series) by Ben Aaronovitch, has six novels, beginning with 2011’s “Rivers of London” (published as “Midnight Riot” in North America). There’s also a comic.

the Shadow Police are the protagonists of three novels by Paul Cornell, beginning with 2012’s London Falling.

The Ministry of Magic appears in the Harry Potter novels by JK Rowling, and was first mentioned in 1997’s Harry Potter and the Philosopher’s Stone (published as Harry Potter and the Sorcerer’s Stone in the USA).

Mur Lafferty tells the story of travel writer Zoe Norris, beginning in 2013’s Shambling Guide to New York City.

Technically, the novels about Sookie Stackhouse by Charlaine Harris are the “Southern Vampire Mysteries”, beginning with 2001’s Dead Until Dark; True Blood was the TV adaptation.

Mercedes Lackey began the SERRAted Edge novels with 1992’s Born to Run.

Holly Lisle wrote the “Devil’s Point” novels, beginning with 1995’s Sympathy for the Devil.

The October Daye novels by Seanan McGuire begin with 2009’s Rosemary and Rue.

The Kate Daniels books by Ilona Andrews begin with 2007’s Magic Bites.

Tinker, published in 2004, is the first novel in Wen Spencer’s “Elfhome” series.

Andrew Swann’s Dragons of the Cuyahoga was published in 2001.

Geoffrey Landis‘s Hugo-nominated short story “Elemental” was published in Analog in December 1984.

The Shadowrun RPG was launched in 1989 by FASA Corporation; the first novels were published in 1991.

The “Magic Ex Libris” series by Jim Hines begins with 2012’s Libriomancer.

The Laundry novels by Charlie Stross begin with 2004’s ““Concrete Jungle” (available free and legal).

The Kitty Norville novels by Carrie Vaughn begin with 2005’s Kitty and the Midnight Hour.

The Craft Sequence, by Max Gladstone, begins with 2012’s Three Parts Dead

Robin McKinley’s Sunshine was published in 2003. There is no sequel.

Felix Gilman has written two books about the city of Ararat, beginning with 2007’s Thunderer.

China Miéville‘s books about the world of Bas-Lag, and specifically the city of New Crobuzon, begin with 2001’s Perdido Street Station.

The Commonweal novels by Graydon Saunders begin with 2014’s The March North.

Poul Anderson’s Operation Chaos was published in 1971.

The Lord Darcy stories by Randall Garrett begin with “The Eyes Have It”, published in Analog in January 1964.

Dave van Domelen began writing the Academy of Super-Heroes stories on rec.arts.comics.creative in 1994.

The Dragaera novels by Steven Brust begin with 1983’s Jhereg.

The Discworld novels by Terry Pratchett begin with 1983’s The Colour of Magic.

Five Twelfths of Heaven, by Melissa Scott, was published in 1985 and is the first in the Roads of Heaven series.

Recalled to Service“, by Alter S. Reiss, was published on Tor.com in 2016.

Jonathan Strange & Mr Norrell, by Susanna Clarke, was published in 2004.

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I made the following post to Charlie Stross’s blog on October 14, 2014:

“SF set in a world perfused by mechanised, systematized magic”

The term I use, and am trying to spread around, is “municipal fantasy”. “Urban” fantasy is just an environment, but “municipal” fantasy implies a whole array of infrastructure and dependent businesses and regulations and humans being clever and figuring out how to exploit and use and adapt things, the way we have always done. In ‘Men in Black’, Agent K said that “A person is smart. People are dumb, panicky dangerous animals and you know it.” But panic doesn’t last, and when presented with new facts about the universe, people use them.

Key to the genre of municipal fantasy is that everyone knows about magic. Everyone knows about it, and it has become integrated into the stuff of modern life. There are no ‘muggles’. I was once at an urban fantasy panel at a con in Montreal, where first we discussed the ‘fantasy’ aspect’, and then the ‘urban’ aspect, and then the panelists said “wow, that’s everything, I guess we’re finished ten minutes early?”

and I realized that, no, there’s one other aspect crucial to urban fantasy and implicit in the name “urban fantasy”. There’s the urban, and there’s the fantasy, and there’s the space between them. In urban fantasy, the urban environment and the magical system are forcibly separated and held apart from each other. They have developed separately over the years (which is typically shown as leading to a certain degree of stagnation in the magic). The magic is hidden from the science and technology, and so it does not advance while they do.

If magic is real, and people know about it, then ultimately they will treat it as any other resource. Lord Darcy was municipal fantasy. So was Ghostbusters, and the Anita Blake stories, and the Southern Vampire stories, and Robin McKinley’s “Sunshine”.

All taxonomy is ultimately arbitrary, of course, and literary taxonomy more so (hard to make a dichotomous key when your subject has no particular physical existence!). That said, municipal fantasy requires more than just “everyone knows about magic”, otherwise we’d have to include stuff like Tolkien. I think another important trait is progress: that the society has had magic long enough, and/or understands it well enough, that they’ve actually made technology which uses it. Their society has gone beyond the crude imitation-medieval of the stereotypical fantasy novel. (Case in point: the later Discworld novels.)

So that’s my suggestion for what to name this subgenre. “Municipal fantasy”.

===============================================================

I made the following post to File 770 on May 20, 2015:

“Magic Inc.” isn’t urban fantasy per se, it’s alternate-timeline fantasy, since the magic is openly known and used and regulated

This is what I call “municipal fantasy” (a term that I’m trying to popularize). The key component is infrastructure, which ultimately requires public knowledge. Take down ‘the Veil’, stop with ‘the Masquerade’, and let things happen instead of trying to preserve the status quo. Agent K may have been right that “people are dumb panicky animals”, but panic doesn’t last. And eventually people start to figure out how things really work. That’s the other half of his quote: “a person is smart”.

You introduce a new component into the lives of seven billion humans, and they WILL adapt to it and get used to it and figure out ways to integrate it into their daily lives. And then comes legislation, and businesses, and organized crime, and public works projects. Anita Blake, Sookie Stackhouse, Felix Castor, Rae Seddon, Peter Venkman, Adora Belle Dearheart, Isaac Dan der Grimnebulin, Tara Abernathy.

“Urban fantasy” has three components: the urban, the fantasy, and the space between — the forcible separation between the first two. Without that space, so much more becomes possible because we’re not just trying to maintain the status quo, and because I should really write an article about this instead of trying to squeeze it all into a single post in a thread.

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Montreal’s Element AI to boost projects with $102M financing deal

Montreal Gazette  BERTRAND MAROTTE

Element CEO Jean-François Gagné, centre, speaks with staff in Montreal. His firm said new funding will allow it to hire hundreds of top researchers and expand worldwide with AI-based solutions. JOHN MAHONEY

Montreal-based Element AI, a key player in the city’s burgeoning artificial-intelligence sector, has clinched a major financing deal to fund future growth and job creation.

Element is set to announce on Wednesday that it has raised US$102-million from a group of investors led by San Francisco venture capital fund Data Collective (DCVC).

The deal is the largest Series A funding round for an AI company in history, according to Element.

The investment will allow Element to “accelerate its capabilities and invest in large-scale AI projects internationally, solidifying its position as the largest global AI company in Canada and creating 250 jobs in the Canadian high-tech sector by January 2018,” it said in a news release.

Element was founded last year by tech entrepreneurs Jean-François Gagné and Nicolas Chapados, Montreal venture capital fund Real Ventures, and Université de Montréal AI scientist Yoshua Bengio.

The company aims to make cutting-edge AI research and innovation available to other companies seeking to tap into AI and also help develop new firms in the rapidly growing field.

“Artificial intelligence is a ‘must have’ capability for global companies,” Element chief executive Gagné said. “Without it, they are competitively impaired if not at grave risk of being obseleted in place.

“Seasoned AI investors at DCVC understood this, and supported us to democratize the AI firepower reserved today for only the largest of tech corporations.”

The new funding will allow Element to hire hundreds of top researchers as well as expand internationally with AI-based solutions

for customers in such areas as cybersecurity, fintech, manufacturing, logistics, transportation and robotics, the company said.

Element boasts that it has “pioneered a unique, non-exploitative model of academic co-operation” whose talent and advanced research “matches or exceeds even the largest tech corporations’ reach and budgets.”

“The most serious problems facing global industry and government today involve too much complex and rapidly changing data for the cognitive capacity of even large numbers of human experts working together,” said DCVC managing partner Matt Ocko.

A central aspect of AI is machine learning, which involves the creation of computer neural networks that mimic human brain activity and can program themselves to solve complex problems rather than having to be programmed.

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Sometimes you don’t need SF

National Geographic has posted an album of 26 incredible images from photographer Thomas Peschak.

For photographer Thomas Peschak, whose job it is to capture images of the unique and the unexplored, the concept of adventure can almost become routine. Yet Namibia is a destination that he considers unrivalled in its mystery. He calls it “Planet Namibia” and says is the closest he might get to space travel.

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Adam West has passed away

Posted by Variety, June 10, 2017 | 08:19AM PT

Adam West — an actor defined and also constrained by his role in the 1960s series “Batman” — died Friday night in Los Angeles. He was 88. A rep said that he died after a short battle with leukemia.

“Our dad always saw himself as The Bright Knight, and aspired to make a positive impact on his fans’ lives. He was and always will be our hero,” his family said in a statement.
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With its “Wham! Pow!” onscreen exclamations, flamboyant villains and cheeky tone, “Batman” became a surprise hit with its premiere on ABC in 1966, a virtual symbol of ’60s kitsch. Yet West’s portrayal of the superhero and his alter ego, Bruce Wayne, ultimately made it hard for him to get other roles, and while he continued to work throughout his career, options remained limited because of his association with the character.

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Summer movies

Today’s Gazette had a couple of articles that would interest MonSFFen. There was  a review of the Mummy that was a little more positive than most, and a look at the summer offerings. I’ve copied the movies that looked most appealing to our membership.  The review of the Mummy movie follows.  There are trailers on Youtube, I linked to the most recent ones.

SUMMER MOVIE SAMPLER

We give you the elevator pitches

SONY Young British actor Tom Holland stars in the latest superhero remake in Spider-Man: Homecoming.

Beyond a rebooted (again) webslinger, this summer is lighter than usual on superhero fare. But as usual there are lively animated movies, some crime stories and a few R-rated ladies-night-out parties. Also in the mix are some sequels, remakes, comedies and an epic escape yarn. Release dates are subject to change:

CARS 3 (JUNE 16)

The pitch: Lightning McQueen (voiced by Owen Wilson) gears up for a new challenge with encouragement from slickster sponsor Mr. Sterling (Canadian Nathan Fillion).

Hit or miss: More animated fun for fans of the anthropomorphic speedy riders.

TRANSFORMERS: THE LAST KNIGHT (JUNE 23)

The pitch: More of the same — meaning another special effects clatter and clash of the robot titans once best known as toys.

Hit or miss: The fifth in the Michael Bay series confirms that nothing succeeds like another international success.

DESPICABLE ME 3 (JUNE 30)

The pitch: Gru (Steve Carell) discovers long-lost brother Dru (also voiced by Carell) as new villain Balthazar Bratt (South Park’s Trey Parker) tries to overshadow Minions everywhere.

Hit or miss: Surrender to the cute.

SPIDER-MAN: HOMECOMING (JULY 7)

The pitch: Tom Holland impressed with his Spider-Man introduction in Captain America: Civil War. Now he’s a standalone with able assistance from Iron Man (Robert Downey Jr.)

Hit or miss: Spidey’s slinging for the fences.

A GHOST STORY (JULY 7)

The pitch: Casey Affleck and Rooney Mara play a couple getting by in a secluded home when spooky things start going bump in the night.

Hit or miss: Most enjoy a good “Boo!”

WAR FOR THE PLANET OF THE APES (JULY 14)

The pitch: As special effects get better, the story veers as Caesar (Andy Serkis) is on a path of revenge. Hit or miss: The appeal continues.

VALERIAN AND THE CITY OF A THOUSAND PLANETS (JULY 21)

The pitch: Based on the French sci-fi comic series Valérian and Laureline, the film version stars Dane DeHaan as Valerian and Cara Delevingne as Laureline. They are operatives trying save the City of a Thousand Planets, and the universe, from a dark force.

Hit or miss: Director Luc Besson happily returns to sci-fi fantasy after the success of 1997’s The Fifth Element.

 THE DARK TOWER (AUG. 4)

The pitch: Stephen King’s horror fantasy makes it to the big screen with Idris Elba and Matthew McConaughey surrounded by fancy scare tactics.

Hit or miss: How can it miss?

THE MUMMY’S BAD RAP HAS BEEN UNDESERVED

 Dark Universe saga looks to be off to a solid start

THE MUMMY

★★★ 1/2 out of five Cast: Tom Cruise, Annabelle Wallis, Sofia Boutella, Russell Crowe Director: Alex Kurtzman Duration: 1 h 50 m

UNIVERSAL PICTURES
Sofia Boutella, left, stars with Tom Cruise in The Mummy. As Princess Ahmanet, she has powers others can barely understand, including the ability to learn English and figure out 21st-century technology.

Already, The Mummy is getting a bad rap. As soon as the studio embargo dropped, the critics’ gloves came off: By Thursday morning the score at rottentomatoes.com was 23 per cent and falling.

But I’m here to tell you it’s not all bad. The Mummy is more coherent than Suicide Squad, less grim than Batman v Superman, and easily 16 times better than Fantastic Four.

That may sound like faint praise, but Universal’s first chapter in its so-called Dark Universe franchise of gods and monsters is off to a fair start. Whether it can better the DC or Marvel series remains to be seen.

The movie opens on a dour note, with an ancient prayer of resurrection, followed by a lengthy Egyptology lesson from Russell Crowe, who plays Henry, a doctor with some severe angermanagement issues. Among the information he doles out: Several thousand years ago Princess Ahmanet (Sofia Boutella) made a pact with the god of death and was mummified alive for her troubles. Pay attention: There may be a test later.

Cut (at last!) to the present day, where Nick Morton (Tom Cruise) and Chris Vail (Jake Johnson) are hoping to relieve Iraq of some of her valuable antiquities. There’s more than a little Raiders of the Lost Ark in their escapades — even Brian Tyler’s score nods to it — but if you recall that franchise you’ll realize that Cruise’s character is more Belloq than Indy.

When the lads uncover a mummy, scientist Jenny Halsey (Annabelle Wallis) shows up to study it. But this is where things start to go bad. First, the plane transporting the sarcophagus — “the chick in the box,” according to the decidedly lowbrow Nick — crashes in England.

Nick goes down with the aircraft, mysteriously surviving but suddenly able to see and even converse with Chris’s chatty ghost. In another throwback moment, their interactions have a very American Werewolf in London vibe.

He’s now in a race against time to figure out why he’s still alive, whether Ahmanet has something to do with it, and what she might want from him. Henry, who looks like he might become the Nick Fury of this franchise, has managed to capture the mummy in his underground lair, but she has powers he can barely understand, including a remarkably quick ability to learn English and figure out 21st-century technology.

One of the complaints critics have with The Mummy is that it’s not nearly as terrifying as a monster movie could (or should) be. This is true — there are jump scares and a few scenes of mummies face-sucking the life out of others, but it’s all pretty bloodless. On the plus side, while Cruise continues to do his own falling-aircraft and underwater stunts, at no point does he jump on a motorcycle.

Boutella, meanwhile, is creepy and intense as Princess Ahmanet, with extra irises (don’t call her “four eyes”) and a plethora of facial markings, as if she’d walked into a New Kingdom tattoo parlour and told them to give her the Heliopolis phone book. Though I have to wonder which of The Mummy’s six writers thought it would be a good idea to have Cruise “dump” her with an it’snot-me-it’s-you speech? And wouldn’t a better line have been: “You had me at hello, but you lost me at hell”?

One of those writers is director Alex Kurtzman, whose only previous movie was 2012’s People Like Us, though he does have producing credits on everything from Star Trek to Spider-Man. He manages the pacing of this one nicely, keeping the whole thing down to a manageable hour and 50 minutes so you won’t feel you’ve been buried for millennia.

Mind you, things get a little wonky at the end, when the screenplay scrambles to set up its endless sequels. There’s a quick glimpse of a skull that would seem to suggest the Wolfman, or maybe Dracula, while another character lopes off into the sunset all but promising to return. There may even have been an Invisible Man reference, but I didn’t see it.

And to all those reviewers warning you away, I ask: How are you going to follow this franchise if you don’t sit through the compulsory Mummies 101?

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2017 Mythopoeic Awards Finalists

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The annual Mythopoeic Awards were first presented at Mythcon II in 1971. They came in two categories: one for fantasy fiction and one for scholarship. In 1992 the categories were increased to four: fiction was split into adult and juvenile categories, and the original scholarship category in Inklings studies was joined by one for general myth and fantasy studies, reflecting the broadening basis of Society scholarship. Fiction awards go to a work published during the previous year that best exemplifies “the spirit of the Inklings”. The scholarship awards go to books published in the previous three years. Each year the Awards are chosen by volunteer juries of Society members, then announced and presented in a ceremony at the Mythcon banquet. The actual award is a reproduction of one of the lion statues that rest outside the entrance of the New York Public Library. Inevitably, it became known as the “Aslan.”

The Mythopoeic Society has announced the finalists for the 2017 Mythopoeic Awards.

Mythopoeic Fantasy Award for Adult Literature

  • Andrea Hairston, Will Do Magic For Small Change (Aqueduct Press, 2016)
  • Mary Robinette Kowal, Ghost Talkers (Tor, 2016)
  • Patricia A. McKillip, Kingfisher (Ace, 2016)
  • Maggie Stiefvater, The Raven Cycle: The Raven Boys (Scholastic, 2012); The Dream Thieves (Scholastic, 2013); Blue Lily, Lily Blue (Scholastic, 2014); and The Raven King (Scholastic, 2016)
  • Jo Walton, Thessaly Trilogy: The Just City (Tor, 2015); The Philosopher Kings (Tor, 2015); Necessity (Tor, 2016)

Mythopoeic Fantasy Award for Children’s Literature

  • Adam Gidwitz, The Inquisitor’s Tale: Or, The Three Magical Children and their Holy Dog (Dutton, 2016)
  • S. E. Grove, The Mapmakers Trilogy: The Class Sentence (Viking 2014); The Golden Specific (Viking, 2015); The Crimson Skew (Viking, 2015)
  • Bridget Hodder, The Rat Prince (Farrar, Straus, & Giroux, 2016)
  • Grace Lin, When the Sea Turned to Silver (Little, Brown, 2016)
  • Delia Sherman, The Evil Wizard Smallbone (Candlewick, 2016)

Mythopoeic Scholarship Award in Inklings Studies

  • Lisa Coutras, Tolkien’s Theology of Beauty: Majesty, Splendor, and Transcendence in Middle Earth (Palgrave-Macmillan, 2016)
  • Sørina Higgins, ed. The Chapel of the Thorn by Charles Williams (Apocryphile Press, 2015)
  • Leslie Donovan, ed. Approaches to Teaching Tolkien’s The Lord of the Rings and Other Works (Modern Language Association, 2015)
  • Christopher Tolkien, ed. Beowulf: A Translation and Commentary, together with Sellic Spell by J.R.R. Tolkien (Houghton Mifflin, 2014)
  • Philip Zaleski and Carol Zaleski, The Fellowship: The Literary Lives of J.R.R. Tolkien, C.S. Lewis, Owen Barfield, Charles Williams (Farrar, Straus and Giroux, 2015)

Mythopoeic Scholarship Award in Myth and Fantasy Studies

  • Aisling Byrne, Otherworlds: Fantasy and History in Medieval Literature (Oxford University Press, 2015)
  • Richard Firth Green, Elf Queens and Holy Friars: Fairy Beliefs and the Medieval Church (University of Pennsylvania Press, 2016)
  • Michael Levy and Farah Mendlesohn, Children’s Fantasy Literature: An Introduction (Cambridge University Press, 2016)
  • Gabrielle Lissauer, The Tropes of Fantasy Fiction (McFarland, 2015)
  • Jack Zipes, Grimm Legacies: The Magic Spell of the Grimms’ Folk and Fairy Tales (Princeton University Press, 2014)

The Mythopoeic Fantasy Award for Adult Literature is given to the fantasy novel, multi-volume, or single-author story collection for adults that best exemplifies the spirit of the Inklings. Books are eligible for two years after publication if not selected as a finalist during the first year of eligibility.

The Mythopoeic Fantasy Award for Children’s Literature honors books for beginning readers to age thirteen, in the tradition of The Hobbit or The Chronicles of Narnia. Rules for eligibility are otherwise the same as for the Adult literature award.

The Mythopoeic Scholarship Award in Inklings Studies is given to books on Tolkien, Lewis, and/or Williams that make significant contributions to Inklings scholarship. For this award, books first published during the last three years are eligible, including finalists for previous years. The Mythopoeic Scholarship Award in Myth and Fantasy Studies is given to scholarly books on other specific authors in the Inklings tradition, or to more general works on the genres of myth and fantasy. The period of eligibility is three years, as for the Inklings Studies award.

The winners will be announced during Mythcon 48, to be held from July 28-31, 2017.

Local Sensors detect…

The Stop Motion Festival of Montreal has issued its infoletter, which can be viewed here.

A bit of fun: Patrick Stewart, Adrian Scarborough and Sarah Solemani perform a satirical take on the Tory party’s human rights policy, inspired by the classic Monty Python sketch that asks ‘what has the European Convention on Human Rights ever done for us?’ Apart from the right to a fair trial, freedom from slavery, freedom from torture ..

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Voting Opens for Year’s Best Military and Adventure SF Readers’ Choice Award

Voting Opens for Year’s Best Military and Adventure SF Readers’ Choice Award

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Today Baen Books released The Year’s Best Military and Adventure SF, Vol. 3, edited by David Afsharirad, and started taking votes for the third annual Year’s Best Military and Adventure Science Fiction Readers’ Choice Award. The public will pick one of the 15 short stories in the anthology as the award-winner:

  • ”Cadet Cruise” by David Drake
  • “Tethers” by William Ledbetter
  • “Unlinkage” by Eric Del Carlo
  • “Not in Vain” by Kacey Ezell
  • “Between Nine and Eleven” by Adam Roberts
  • “Sephine and the Leviathan” by Jack Schouten
  • “The Good Food” by Michael Ezell
  • “If I Could Give this Time Machine Zero Stars, I Would” by James Wesley Rogers
  • “Wise Child” by Sharon Lee & Steve Miller
  • “Starhome” by Michael Z. Williamson
  • “The Art of Failure” by Robert Dawson
  • “The Last Tank Commander” by Allen Stroud
  • “One Giant Leap” by Jay Werkheiser
  • “The Immortals: Anchorage” by David Adams
  • “Backup Man” by Paul Di Filippo

Registration with Baen Ebooks is required to vote. Alternatively, people may send a postcard or letter with the name of their favorite story from this volume and its author to Baen Books Year’s Best Award, P.O. Box 1188, Wake Forest, NC 27587. Voting closes August 31, 2017.

The winning story will be announced at Dragoncon in Atlanta, held over Labor Day Weekend 2017, and at Baen.com. The author will receive an inscribed plaque and a $500 prize.

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Montreal Science Fiction and Fantasy Association