Introduction: To highlight the four-decade history of the Prometheus Awards, which the Libertarian Futurist Society is celebrating in 2019, we launched in September, 2019, a series of weekly Appreciations of past Prometheus Award-winners, starting with our Best Novel category.
Here’s the latest Appreciation for Fallen Angels, co-written by Michael Flynn, Larry Niven and Jerry Pournelle:
Fallen Angels imagines a heroic struggle set against a dark future in which the United States and other countries are fighting a losing battle amidst the “global cooling” of a new Ice Age.
With the government turned anti-science and anti-technology in a coalition among Greens, feminists and religious fundamentalists, and federal officials focusing on persecuting science-fiction fans as subversives while ignoring the welfare of much of the population in some of the most affected parts of the weather-besieged country, this provocative 1992 novel might have been just a depressing cautionary tale.
But the three co-authors offer some hope by focusing on a group of individualistic, science-loving and freedom-loving misfits. Continue reading 40th Anniversary Celebration: An Appreciation of Fallen Angels, the 1992 Prometheus Best Novel winner by Flynn, Niven and Pournelle
Introduction: To highlight the four-decade history of the Prometheus Awards, which the Libertarian Futurist Society is celebrating in 2019, we are posting a series of weekly Appreciations of past Prometheus Award-winners, starting with our earliest Best Novel awards.
Here’s the 11th appreciation/review, following recent appreciations for award-winning novels by (among others) F. Paul Wilson, L. Neil Smith, Vernor Vinge, Victor Koman and Brad Linaweaver:
By William H. Stoddard
Michael Flynn’s In the Country of the Blind came out in 1990, the same year as William Gibson and Bruce Sterling’s The Difference Engine. While the word “steampunk” was somewhat older (coined in 1987 by K.W. Jeter for Victorian fantasies generally), these two novels gave the genre one of its central themes: the use of Victorian technology and social transformation as an analog of (then-) recent computer technology, making steampunk parallel to cyberpunk.
For both novels, a central technology was Charles Babbage’s “analytical engine,” a proposed machine that would have been fully programmable in the manner of an electronic computer.
Gibson and Sterling made the analytical engine the basis for an alternate history – a literal “difference engine.” Flynn did something subtler: He made the analytical engine the basis for an only minimally fictionalized version of real-world history.
Most of his novel was set in the present or the near future; the actual Victorian past appeared only in short prologues to its three sections -though strikingly evocative prologues. Rather than an “alternate history,” Flynn presented a “secret history”: a tale of striking events hidden unsuspected within the known past (a genre later put to epic use in Neal Stephenson’s The Baroque Cycle).
Continue reading 40th Anniversary Celebration: An Appreciation of Michael Flynn’s In the Country of the Blind, the 1991 Prometheus Best Novel winner