The Year's Best Science Fiction, Volume 29

Summation: 2011

Like last year, the big story in 2011 continues to be the explosion in e-book sales, which have been dramatic enough, and accrued fast enough, to make some commentators speculate that e-books will eventually drive physical print books out of existence altogether. I don’t think that’s going to happen anytime soon, if it ever does, but the e-book revolution has been impressive nevertheless, and shows no sign of losing momentum, especially with new devices like the Kindle Fire coming on sale, and no doubt other even more sophisticated devices waiting in the wings.

According to BookStats, a joint-research venture between the Book Industry Study Group and the Association of American Publishers, e-book sales jumped to $863.7 million in 2010 from $61.8 million in 2008. No reliable overall figures for 2011 are yet available, but one publisher predicted that e-books could account for as much as 40 percent of total revenue by the end of 2012. Considering that it’s been estimated that one in five U.S. adults are reading e-books on a variety of devices, from dedicated e-readers to media tablets, and that there was a major surge in e-book sales after the 2011 holiday season (all those people looking for something to read on the devices they’d gotten for Christmas presents), that could well turn out to be true. The AAP report for September 2011 shows e-book sales up 100 percent to $80.3 million. Year-to-date figures show e-books up 137.9 percent at $727.7 million. Barnes & Noble’s second-quarter sales report (for the period ending October 29, 2011) shows NOOK sales (for both the devices themselves and for e-books) rising 85 percent to $220 million, “four times what they were in the comparable period last year,” according to CEO William Lynch.

None of this, impressive as it is, means that the print book industry has collapsed. There were still an enormous number of print books published in 2011, and many of them sold very well indeed. The U.S. Census Bureau’s preliminary figures for October 2011 show estimated bookstore sales of $886 million, down 43 percent from September 2011, but down only 7 percent from October 2010 figures. For the year-to-date, sales are up 2 percent at $12.91 billion. Overall retail sales were up 1 percent from September, and up 8 percent year-to-date.

The effect of the e-book revolution can best be seen in the changes in the kinds of books that are selling best. Hardcovers and trade paperbacks both saw their numbers increase, with a noticeable boost in new titles, but the traditional mass-market paperback reprints dropped significantly, as did new mass-market titles. The fact that e-book sales are dramatically increasing at a time when mass-market paperback sales have dropped suggests that e-books are to some degree filling the market niche once occupied by mass-market print books, particularly reprint titles.

Unexpectedly, sales of print books also surged during the holiday season, with Barnes & Noble showing a 4 percent rise, the first increase in five years. This suggests that many people still find a print book to be a more satisfactory Christmas present than the gift of an e-book—something physical to wrap and put under the tree.

For this reason, and the reason that for the foreseeable future there are going to be people who just prefer a print book they can hold in their hands to an e-book that must be read from a screen, and prefer browsing at a bookstore to shopping for books online, the publishing apocalypse that some commentators seem almost to yearn for, where all the publishing houses go out of business, physical brick-and-mortar bookstores disappear completely, and print books themselves become extinct (or at least rare artifacts), is probably not going to happen—although things in the publishing world are never going to go back to the way they were before the invention of the e-book either. (Another factor not usually taken into consideration in conversations about the future of books is that even here in the twenty-first century, there are still plenty of people who don’t have e-readers, don’t have notebook tablets, don’t have Internet access, don’t even have computers of any sort, and their numbers may even swell as economic times harden. To ignore them would be to abandon a considerable subset of potential customers. Even the poorest of people may occasionally be able to afford a paperback book, where they might not be able to afford a Kindle or an iPad.)

Besides which, it doesn’t really come down to a choice between print books and e-books. The most likely thing is that most customers will buy both print books and e-books, choosing one format or the other depending on the circumstances, convenience, their needs of the moment, even their whim. There are even some indications that in some cases people will buy both the e-book and print versions of the same book. The chances are fairly good that all of this will eventually lead to a general expansion of the book business in general, no matter what format the books are being sold in. More people seem to be reading more books, in whatever format, than ever before—and that can’t be bad news in the long run.

One of the other big stories of 2011 was the controversial move by Amazon to found their own publishing imprint, leading to accusations of antitrust practices, the charge being that Amazon’s immensely deep pockets (estimated at $40 billion in 2011) and its position as the leading online bookseller would enable it to engage in predatory pricing to destroy its retail competitors, the so-called Big Six publishing companies, by effortlessly outbidding them for bestsellers. This has led to what the Author’s Guild blog has called “a behind-the-scenes battle for control of the publishing industry,” a three-sided battle between Amazon, the Big Six publishers, and Barnes & Noble, whose NOOK is the Kindle’s rival for dominance of the e-book market.

Another big story, one which has an impact on the story above, was the bankruptcy and collapse of the giant bookstore chain Borders, with Borders stores closing across the country. This means that fewer books have places where they can be sold, with total rack space decreasing dramatically nationwide as the 650 Borders bookstores disappeared, something that was itself widely feared to be apocalyptic last year, although the surviving chains and, particularly, online sales from places like Amazon.com and the Barnes & Noble online bookstore, BN.com—(plus revenue from increased e-book sales)—seem to have minimized the impact to some extent. Nevertheless, the behind-the-scenes impact of the Borders closing, in terms of diminished sales and adjustments to the number of books bought and the amount of money paid for them, to say nothing of industry employees dismissed to cut costs, is likely to reverberate through the publishing world for years to come.

There’s some irony in the fact that many independent bookstores were driven out of business by the dominance of the big bookstore chains, and now the chains themselves may be being threatened by online bookstores like Amazon.com and by the e-book revolution. There’s even more irony in the fact that the problems the chains are having may be creating opportunities for more independent bookstores to come into existence and reclaim some of the market share they lost, and the last couple of years have shown exactly that happening. So the independent non-chain bookstore, once considered to be an endangered species, tottering on the brink of extinction, may, unexpectedly, be making something of a comeback.

Things were relatively quiet on the surface of the publishing industry in 2011, although changes and adaptations forced by the e-book explosion and the closing of Borders will no doubt be felt for many years to come. Random House added two new paperback YA/middle-grade imprints, Ember and Bluefire. Pyr also began publishing YA fiction, and Orion Children’s Books launched a new YA imprint, Indigo. HarperCollins announced a new imprint for Avon, Avon Impulse, concentrating primarily on e-books and print-on-demand books. Anthony Cheetham left his position as associate publisher and member of the board of directors at Atlantic Books to form his own book imprint, Head of Zeus. Nicholas Cheetham left his postion at Corvus to join his father at Head of Zeus, and was replaced as editorial director at Corvus by Sara O’Keeffe. Scott Shannon, mass-market publisher at Ballantine Bantam Dell, is moving to a new position as senior vice president and publisher for the entire Random House Publishing Group, although he will remain as publisher of Del Rey and Spectra; Libby McGuire, publisher of Ballantine Bantam Dell, will take over as head of the mass-market line. Hartmut Ostrowski stepped down as CEO of Bertselsmann, and was replaced by Thomas Rabe. Jennifer Heddle left Simon & Schuster to edit Star Wars books for Lucasfilm. Paula Guran stepped down as editor of Juno Books and became senior editor at Prime Books. Chris Schluep left his position as senior editor at Ballantine/Del Rey to join Amazon.com Books as a senior editor. Phyllis Grann retired as senior editor of Doubleday after a forty-year career in publishing. DongWon Song left his position at Orbit US; Tom Bouman joined Orbit US as an acquiring editor. John Helfers left his position as senior editor at Techno Books after sixteen years in that position. John Prebich left Dorchester as CEO, replaced by Robert Anthony. Linda K. Zecher has been hired as president, CEO, and director of Houghton Miffllin Hartcourt. Gillian Redfearn has been promoted to editorial director at Gollancz. Tricia Pasternak was named senior editor at Del Rey. Jessica Wade was promoted to senior editor at NAL. David Rosenthal was named president of the general imprint at Penguin Group. Allison Lorentzen joined Penguin Books as an editor. Michael Rowley has been hired as editorial director for SF/Fantasy at Ebury Publishing.

There were relatively few changes in the professional print magazine market. Realms of Fantasy died for the third time in three years, perhaps for good this time (since they obviously have a dedicated readership, but not one large enough to support the expense of a print edition, I really don’t understand why they don’t try this one as an online electronic magazine). Weird Tales was sold to Marvin Kaye, who took the unpopular step of dismissing the current staff of the recent Hugo winner and announcing that he was taking the magazine in a nostalgically retro direction, something that few industry insiders thought would work; most are predicting a short life and an early death for this venerable magazine under its new management.

Overall circulation of most of the professional print magazines is slowly creeping up, after years of decline, mostly because of sales of electronic subscriptions to the magazines, as well as sales of individual electronic copies of each issue. The figures are still too small for anything other than the most cautious of optimism, but it may just prove, as I suggested it would years ago, that the Internet will be the saving of the professional SF magazines.

Asimov’s Science Fiction had a very strong year as well, perhaps strong enough to earn Sheila Williams her second Hugo in a row. Excellent fiction by Paul McAuley, Kij Johnson, Michael Swanwick, Elizabeth Bear, Tom Purdom, Ian R. MacLeod, and Paul Cornell appeared in Asimov’s this year, as well as much good work by Robert Reed, John Kessel, Mary Robinette Kowal, Kristine Kathryn Rusch, Theodora Goss, Allen M. Steel, Nancy Kress, Nancy Fulda, and others; there was a high proportion of SF in the magazine this year, with only some fantasy, most of which was weaker than the SF. For the second year in a row, Asimov’s Science Fiction registered a gain in overall circulation, up 7.3 percent from 21,057 to 22,593. There were 12,469 print subscriptions, and 7,500 electronic subscriptions. Newsstand sales were 2,334, plus 290 digital copies sold on average each month in 2011. Sell-through was 28 percent. Digital editions became available on more platforms in 2011, including the iPad—via Zinio—and the Kindle Fire. Sheila Williams completed her seventh year as Asimov’s editor.

Analog Science Fiction and Fact had a somewhat weak year overall, although it still published strong stories by Alec Nevala-Lee, Sean McMullen, Juliette Wade, Kristine Kathyrn Rusch, Don D’Ammassa, Marissa Lingen, and others. Analog registered a 0.2 percent rise in overall circulation, from 26,493 to 26,440. There were 19,302 print subscriptions, and 4,100 digital subscriptions. Newsstand sales were 2,941; plus 150 digital copies were sold on average in each month of 2011. Sell-through was 30 percent. Stanley Schmidt has been editor there for thirty-two years, and 2011 marked the magazine’s eighty-first anniversary.

The Magazine of Fantasy & Science Fiction also had a strong year, publishing more SF than they usually do (although they also published a lot of fantasy, most of it better than the fantasy in Asimov’s); excellent stories by Robert Reed, Geoff Ryman, Carolyn Ives Gilman, Chris Lawson, and Peter S. Beagle appeared in F&SF this year, as well as good stuff by James Cambias, Robert Chilson, Karl Bunker, David Marcus, Albert E. Cowdrey, Kali Wallace, Ken Liu, Rick Norwood, and others. F&SF registered a 4.7 percent drop, from an overall circulation of 15,172 to 14,462. Print subscriptions dropped from 10,907 to 10,539. Newsstand sales dropped from 4,265 to 3,923. Sell-through was 38 percent. Figures for either digital subscriptions or digital sales of single issues weren’t available, although Gordon Van Gelder has been quoted as saying “our electronic sales… were strong in our first year on the Kindle.” Gordon Van Gelder is in his fifteenth year as editor, and eleventh year as owner and publisher.

Interzone is technically not a “professional magazine,” by the definition of the Science Fiction Writers of America (SFWA), because of its low rates and circulation, but the literary quality of the work published there is so high that it would be ludicrous to omit it. Interzone had a weak year overall, but still published good stories by Jim Hawkins, Lavie Tidhar, Mecurio D. Rivera, Jason Sanford, and others. As far as can be told, as exact circulation figures are not available, circulation there seems to have held steady, in the 3,000-copy range. The editors include publisher Andy Cox and Andy Hedgecock. TTA Press, Interzone’s publisher, also publishes the straight horror or dark suspense magazine Black Static, which is beyond our purview here, but of a similar level of professional quality.

Realms of Fantasy, in what will theoretically be its last full year (see here), ran noteworthy stuff by Richard Parks, Lisa Goldstein, Thea Hutcheson, Alan Smale, and others.

The British magazine Postscripts has reinvented itself as an anthology, and is reviewed as such in the anthology section that follows, but I’ll list the subscription information here, for lack of anywhere else to put it, and because, unlike most other anthology series, you can subscribe to Postscripts.

If you’d like to see lots of good SF and fantasy published every year, the survival of these magazines is essential, and one important way that you can help them survive is by subscribing to them. It’s never been easier to do so, something that these days can be done with just the click of a few buttons, nor has it ever before been possible to subscribe to the magazines in as many different formats, from the traditional print copy arriving by mail to downloads for your desktop or laptop available from places like Fictionwise.com (www.fictionwise.com) and Amazon.com (www.amazon.com), to versions you can read on your Kindle, Nook, or iPad. You can also now subscribe from overseas just as easily as you can from the United States, something formerly difficult to impossible to do.

So in hopes of making it easier for you to subscribe, I’m going to list both the Internet sites where you can subscribe online and the street addresses where you can subscribe by mail for each magazine: Asimov’s web address is www.asimovs.com, and subscribing online might be the easiest thing to do, and there’s also a discounted rate for online subscriptions; its subscription address is Asimov’s Science Fiction, Dell Magazines, 267 Broadway, Fourth Floor, New York, NY 10007-2352. The annual subscription rate in the U.S. is $34.97, $44.97 overseas. Analog’s site is at www.analogsf.com; its subscription address is Analog Science Fiction and Fact, Dell Magazines, 267 Broadway, Fourth Floor, New York, NY 10007-2352. The annual subscription rate in the U.S. is $34.97, $44.97 overseas. The Magazine of Fantasy & Science Fiction’s site is at www.sfsite.com/fsf; its subscription address is The Magazine of Fantasy & Science Fiction, Spilogale, Inc., P.O. Box 3447, Hoboken, NJ 07030, $34.97 for an annual subscription in U.S., $44.97 overseas. Interzone and Black Static can be subscribed to online at www.ttapress.com/onlinestore1.html; the subscription address for both is TTA Press, 5 Martins Lane, Witcham, Ely, Cambridge CB6 2LB, England, UK. The price for a twelve-issue subscription is 42.00 Pounds Sterling each, or there is a reduced rate dual subscription offer of 78.00 Pounds Sterling for both magazines for twelve issues; make checks payable to “TTA Press.”

Most of these magazines are also available in various electronic formats through Fictionwise.com, or for the Kindle, the NOOK, and other handheld readers.

There were more losses from the print semiprozine market this year, with Zahir transitioning from print to electronic format and then dying altogether, Weird Tales being sold, with its future in doubt, and Electric Velocipede, Black Gate, and criticalzine The New York Review of Science Fiction on the verge of transitioning to electronic formats as well. I suspect that sooner or later most of the surviving print semiprozines will transition to electronic-only online formats, saving themselves lots of money in printing, mailing, and production costs.

The semiprozines that remained in print format mostly struggled to bring out their scheduled issues. Electric Velocipede, edited by John Kilma, managed two issues, publishing interestingly eclectic stuff from Peter M. Ball, Karl Bunker, Genevieve Valentine, William Shunn, and others; they announced their intention to go online exclusively in 2012. Sword and Sorcery print magazine Black Gate, edited by John O’Neill, managed one large issue with strong work by Chris Willrich, Emily Mah, and others, and also announced their intention to transition to electronic format in 2012. The longest running of all the fiction semiprozines, and usually the most reliably published, the Canadian On Spec, which is edited by a collective under general editor Diane L. Walton, managed only three of its scheduled four issues this year, somewhat atypically. Another collective-run SF magazine with a rotating editorial staff, Australia’s Andromeda Spaceways In-flight Magazine, managed only four issues this year. Lady Churchill’s Rosebud Wristlet, the long-running slipstream magazine edited by Kelly Link and Gavin Grant, managed only one issue in 2011, as did Neo-Opsis, and Ireland’s long-running Albedo One. Fantasy magazine Shimmer managed two issues, as did Space and Time Magazine and Weird Tales before being sold. The small British SF magazine Jupiter, edited by Ian Redman, produced all four of its scheduled issues in 2011, as did the fantasy magazine Tales of the Talisman. A new start-up SF magazine, Bull Spec, produced three issues. If there were issues of Aurealis, Greatest Uncommon Denominator, Sybil’s Garage, Space Squid, or Tales of the Unanticipated out this year, I didn’t see them.

With The New York Review of Science Fiction, a long-running critical magazine edited by David G. Hartwell and a staff of associate editors, scheduled to move to electronic format in 2012, the venerable newszine Locus: The Magazine of the Science Fiction and Fantasy Field is about all that’s left of the popular print critical magazine market. It was always the best of them, though, and certainly your best bet for value, a multiple Hugo winner, which for more than thirty years has been an indispensable source of news, information, and reviews. Happily, the magazine has survived the death of founder, publisher, and longtime editor Charles N. Brown and has continued strongly and successfully under the guidance of a staff of editors headed by Liza Groen Trombi, and including Kirsten Gong-Wong, Carolyn Cushman, Tim Pratt, Jonathan Strahan, Francesca Myman, Heather Shaw, and many others.

Most of the other surviving print critical magazines are professional journals more aimed at academics than at the average reader. The most accessible of these is probably the long-running British critical zine Foundation.

Subscription addresses are: Locus, The Magazine of the Science Fiction & Fantasy Field, Locus Publications, Inc., P.O. Box 13305, Oakland, CA, 94661, $72.00 for a one-year first-class subscription, 12 issues; The New York Review of Science Fiction, Dragon Press, P.O. Box 78, Pleasantville, NY 10570, $40.00 for a one-year subscription, 12 issues, make checks payable to “Dragon Press”; The Science Fiction Foundation, Science Fiction Foundation, Roger Robinson (SFF), 75 Rosslyn Avenue, Harold Wood, Essex RM3 ORG, UK, $37.00 for a three-issue subscription in the U.S.; Black Gate, New Epoch Press, 815 Oak Street, St. Charles, IL 60174, $29.95 for a one-year, four-issue subscription; On Spec, The Canadian Magazine of the Fantastic, P.O. Box 4727, Edmonton, AB, Canada T6E 5G6, for subscription information, go to www.onspec.ca; Neo-opsis Science Fiction Magazine, 4129 Carey Rd., Victoria, BC, Canada V8Z 4G5, $25.00 for a three-issue subscription; Albedo One, Albedo One Productions, 2, Post Road, Lusk, County Dublin, Ireland; $32.00 for a four-issue airmail subscription, make checks payable to “Albedo One” or pay by PayPal at www.albedo1.com; Lady Churchill’s Rosebud Wristlet, Small Beer Press, 150 Pleasant St., #306, Easthampton, MA 01027, $20.00 for four issues; Electric Velocipede, Spilt Milk Press, go to http://www.electricvelocipede.com for subscription information; Andromeda Spaceways Inflight Magazine, go to www.andromedaspaceways.com for subscription information; Tales of the Talisman, Hadrosaur Productions, P.O. Box 2194, Mesilla Park, NM 88047-2194, $24.00 for a four-issue subscription; Jupiter, 19 Bedford Road, Yeovil, Somerset, BA21 5UG, UK, 10 Pounds Sterling for four issues; Shimmer, P.O. Box 58591, Salt Lake City, UT 84158-0591, $22.00 for a four-issue subscription.

In only a few years, the online world of electronic magazines has become one of the most reliable places to find quality fiction; already more reliable than most of the print semiprozine market, they’re giving the top print professional magazines a run for their money too, and sometimes beating them.

The online magazine Subterranean (http://subterraneanpress.com), edited by William K. Schafer, perhaps didn’t have quite as strong a year as they did last year, but still published good stuff, SF and fantasy both, by Jay Lake, K. J. Parker, Catherynne M. Valente, Robert Silverberg, Daniel Abraham, Mike Resnick, Kristine Kathryn Rusch, and others.

Clarkesworld Magazine (www.clarkesworldmagazine.com), had a strong year, publishing good SF, fantasy, and slipstream stories by Yoon Ha Lee, Lavie Tidhar, Ken Liu, David Klecha and Tobias S. Bucknell, Cat Rambo, Jason Chapman, Nnedi Okorafor, Gord Sellar, and others. Sean Wallace, who announced that he was stepping down in 2010, is returning to join publisher and editor Neil Clarke as an editor on the magazine; apparently he has been working unofficially on Clarkesworld behind the scenes throughout 2011.

The new online magazine Lightspeed (www.lightspeedmagazine.com), edited by John Joseph Adams, was weaker in its sophomore year than it had been in its freshman year, although it still published worthwhile stuff by Robert Reed, David Farland, Vyler Kaftan, An Owomoyele, and Genevieve Valentine. The online magazine Fantasy, on the other hand, recently taken over by Lightspeed editor John Joseph Adams, had a strong year, publishing good fiction by Lavie Tidhar, James Alan Gardner, Sarah Monette, Cat Rambo, Tim Pratt, Kit Howard, Jeremiah Tolbert, Genevieve Valentine, and others. As mentioned earlier, Fantasy has now been merged with Lightspeed into one electronic magazine, called Lightspeed, that publishes both fantasy and science fiction.

I’d still like to see the long-running online magazine Strange Horizons (www.strangehorizons.com) publish more SF and less fantasy and slipstream, but they did run good stuff by Lewis Shiner, Gavin J. Grant, Nisi Shawl, Genevieve Valentine, Charlie Jane Anders, Tracey Canfield, and others. Karen Meisner stepped down as fiction editor of Strange Horizons.

Tor.com (www.tor.com) has established itself as one of the most eclectic genre-oriented sites on the Internet, a Web site that regularly publishes SF, fantasy, and slipstream, as well as articles, comics, graphics, blog entries, print and media reviews, and commentary. It’s become a regular stop for me, even when they don’t have new fiction posted. This year, they published too many promotional slices of upcoming novels, but also some good fiction by Michael Swanwick, Michael F. Flynn, Harry Turtledove, Catherynne M. Valente, Charlie Jane Anders, and others.

Abyss & Apex, (www.abyssapex.com), edited by Wendy S. Delmater, featured strong work by Howard V. Hendrix, Cat Rambo, C. W. Johnson, and others.

Apex Magazine (www.apexbookcompany.com/apex-online) had good stuff by Elizabeth Bear, Catherynne M. Valente, Genevieve Valentine, Kat Howard, and others. Catherynne M. Valente stepped down as editor of Apex Magazine after a brief tenure, and was replaced by Lynne M. Thomas.

An e-zine devoted to “literary adventure fantasy,” Beneath Ceaseless Skies (http://beneath-ceaseless-skies), edited by Scott H. Andrews, had worthwhile fiction by Marie Brennan, Richard Parks, Geoffrey Maloney, Siobhan Carroll, and others.

Ideomancer Speculative Fiction (www.ideomancer.com), edited by Leah Bobet, published interesting work, usually more slipstream than SF, by Erica Satifka, Georgina Bruce, Alter S. Reiss, and Anatoly Belilovsky.

The flamboyantly titled Orson Scott Card’s InterGalactic Medicine Show (www.intergalacticmedicineshow.com), edited by Edmund R. Schubert under the direction of Card himself, seemed somewhat weak this year, although they still ran interesting stuff from Aliette de Bodard, Stephen Kotowych, Naomi Kritzer, Jeffrey Lyman, and Tony Pi.

New SF and fantasy e-zine Daily Science Fiction (http://dailysciencefiction.com) devotes itself to the perhaps overly ambitious task of publishing one new SF or fantasy story every day for the entire year. Unsurprisingly, most are undistinguished, but there were some good ones by Lavie Tidhar, Jay Lake, and others.

New SF e-zine M-Brane (www.mbranesf.com) is “on hiatus,” which usually means “out of business,” but we’ll see.

Fantasy magazine Zahir (www.zahirtales.com), which had transitioned from print to electronic in 2009, went out of business.

E-zine Redstone Science Fiction (http://redstonesciencefiction.com), edited by a collective, published interesting stuff by Lavie Tidhar, Jeremiah Tolbert, and others.

E-zine GigaNotoSaurus (http://giganotosaurus.org), edited by Ann Leckie, published one story a month by writers such as Katherine Sparrow, Cat Rambo, Ferrett Steinmetz, and Vylar Kaftan.

The Australian popular-science magazine Cosmos (www.cosmosmagazine.com) is not an SF magazine per se, but for the last few years it has been running a story per issue (and also putting new fiction not published in the print magazine on their Web site). Fiction editor Damien Broderick stepped down this year, but was replaced by SF writer Cat Sparks. Interesting stuff by Thoraiya Dyer, Greg Mellor, and others appeared there this year.

Shadow Unit (www.shadowunit.org) is a Web site devoted to publishing stories, often by top-level professionals such as Elizabeth Bear and Emma Bull, drawn from an imaginary TV show, sort of a cross between CSI and The X-Files. It seems to be inactive at the moment, or at least nobody has posted anything there since October of last year.

The e-zine Futurismic (http://futurismic.com) seems to no longer be publishing fiction. As far as I can tell, Escape Velocity (www.escapevelocitymagazine.com) and Shareable Futures (http://shareable.net/blog/shareable-futures) are defunct.

The World SF Blog (http://worldsf.wordpress.com), edited by Lavie Tidhar, is a good place to find science fiction by international authors, and also publishes news, links, roundtable discussions, essays, and interviews related to “science fiction, fantasy, horror, and comics from around the world.”

Weird Fiction Review (http://weirdfictionreview.com), edited by Ann VanderMeer and Jeff VanderMeer, which occasionally publishes fiction, bills itself as “an ongoing exploration into all facets of the weird,” including reviews, interviews, short essays, and comics.

Below this point, it becomes harder to find center-core SF, or even genre fantasy/horror, and most of the stories are slipstream or literary surrealism. Sites that feature those, as well as the occasional fantasy (and, even more occasionally, some SF) include Rudy Rucker’s Flurb (www.flurb.net), Revolution SF (www.revolutionsf.com), Coyote Wild (www.coyotewildmag.com); Heliotrope (www.heliotropemag.com); and the somewhat less slipstreamish Bewildering Stories (www.bewilderingstories.com).

In addition to original work, there’s also a lot of good reprint SF and fantasy stories out there on the Internet too, usually available for free. On all of the sites that make their fiction available for free, Strange Horizons, Tor.com, Fantasy, Subterranean, Abyss & Apex, and so on, you can also access large archives of previously published material as well as stuff from the “current issue.” Most of the sites that are associated with existent print magazines, such as Asimov’s, Analog, and The Magazine of Fantasy & Science Fiction, make previously published fiction and nonfiction available for access on their sites, and also regularly run teaser excerpts from stories coming up in forthcoming issues. Hundreds of out-of-print titles, both genre and mainstream, are also available for free download from Project Gutenberg (http://promo.net/pc/), and a large selection of novels and a few collections can also be accessed for free, to be either downloaded or read on-screen, at the Baen Free Library (www.baen.com/library). Sites such as Infinity Plus (http://www.infinityplus.co.uk) and The Infinite Matrix (www.infinitematrix.net) may have died as active sites, but their extensive archives of previously published material are still accessable.

An even greater range of reprint stories becomes available if you’re willing to pay a small fee for them. Perhaps the best, and the longest established, place to find such material is Fictionwise (www.fictionwise.com), where you can buy downloadable e-books and stories to read on your PDA, Kindle, or home computer; in addition to individual stories, you can also buy “fiction bundles” here, which amount to electronic collections; as well as a selection of novels in several different genres—you can also subscribe to downloadable versions of several of the SF magazines here, including Asimov’s, Analog, F&SF, and Interzone, in a number of different formats. A similar site is ElectricStory (www.electricstory.com), where in addition to the fiction for sale, you can also access free movie reviews by Lucius Shepard, articles by Howard Waldrop, and other critical material.

Even if you’re not looking for fiction to read, though, there are still plenty of other reasons for SF fans to go on the Internet. There are many general genre-related sites of interest to be found, most of which publish reviews of books as well as of movies and TV shows, sometimes comics or computer games or anime, many of which also feature interviews, critical articles, and genre-oriented news of various kinds. The best such site is easily Locus Online (http://www.locusmag.com), the online version of the newsmagazine Locus, where you can access an incredible amount of information—including book reviews, critical lists, obituary lists, links to reviews and essays appearing outside the genre, and links to extensive database archives such as the Locus Index to Science Fiction and the Locus Index to Science Fiction Awards—it’s rare when I don’t find myself accessing Locus Online several times a day. As mentioned earlier, Tor.com is giving it a run for its money these days as an interesting place to stop while surfing the Web. Other major general-interest sites include SF Site (www.sfsite.com), SFRevu (http://www.sfsite.com/sfrevu), SFCrowsnest (www.sfcrowsnest.com), SFScope (www.sfscope.com), io9 (http://io9.com), Green Man Review (http://greenmanreview.com), The Agony Column (http://trashotron.com/agony), SFFWorld (www.sffworld.com), SFReader (sfreader.com), SFWatcher (www.sfwatcher.com), Salon Futura (www.salonfutura.net), which runs interviews and critical articles; and Pat’s Fantasy Hotlist (www.fantasyhotlist.blogspot.com). A great research site, invaluable if you want bibliographic information about SF and fantasy writers, is Fantastic Fiction (www.fantasticfiction.co.uk). Reviews of short fiction as opposed to novels are very hard to find anywhere, with the exception of Locus and Locus Online, but you can find reviews of both current and past short fiction at Best SF (www.bestsf.net), as well as at pioneering short-fiction review site Tangent Online (www.tangentonline.com). Other sites of interest include: SFF NET (www.sff.net), which features dozens of home pages and “newsgroups” for SF writers; the Science Fiction Writers of America page (www.sfwa.org); where genre news, obituaries, award information, and recommended reading lists can be accessed; SciFiPedia (scifipedia.scifi.com), a Wiki-style genre-oriented online encyclopedia; Ansible (www.dcs.gla.ac.uk/Ansible), the online version of multiple Hugo winner David Langford’s long-running fanzine Book View Café (www.bookviewcafe.com) is a “consortium of over twenty professional authors,” including Vonda N. McIntyre, Laura Ann Gilman, Sarah Zittel, Brenda Clough, and others, who have created a Web site where work by them—mostly reprints and some novel excerpts—is made available for free.

An ever-expanding area, growing in popularity, are a number of sites where podcasts and SF-oriented radio plays can be accessed: at Audible (www.audible.com), Escape Pod (http://escapepod.org, podcasting mostly SF), Star Ship Sofa (www.starshipsofa.com), Pseudopod (http://pseudopod.org, podcasting mostly fantasy), and PodCastle (http://podcastle.org, podcasting mostly fantasy). There’s also a site that podcasts nonfiction interviews and reviews, The Dragon Page—Cover to Cover (www.dragonpage.com).

The three best SF anthologies of the year were all edited by Jonathan Strahan: Engineering Infinty (Solaris Books), Life on Mars: Tales from the New Frontier (Viking), and Eclipse Four: New Science Fiction and Fantasy (Night Shade Books). Engineering Infinity (my selection for the year’s single best SF anthology) contained excellent work by David Moles, Gwyneth Jones, Karl Schroeder, and Stephen Baxter, as well as good work by Hannu Rajaniemi, Peter Watts, John Barnes, and others. The YA anthology Life on Mars contained first-rate stuff by Ian McDonald, John Barnes, and Kage Baker, as well as good work by Nancy Kress, Alastair Reynolds, Stephen Baxter, Ellen Klages, and others. Eclipse Four, which, unlike the first two books mentioned here, features fantasy and slipstream as well as SF, had excellent work of various sorts by Andy Duncan, Damien Broderick, Gwyneth Jones, and Peter M. Ball, as well as good work by Caitlin R. Kiernan, Jo Walton, James Patrick Kelly, Kij Johnson, Rachel Swirsky, and others. All of this would be sufficient to make Strahan a good candidate for the 2011 Best Editor Hugo Short Form, in my opinion—although as an anthology editor whose anthologies may not have been seen by a large-enough proportion of the voting demographic, that may not be likely.

Although not as strong as the anthologies mentioned earlier, the reborn version of the old Solaris anthology series, now called Solaris Rising: The New Solaris Book of Science Fiction (Solaris Books) and edited by new editor Ian Whates, turned in a solid debut performance, consisting of almost all center-core SF, and featuring good work by Dave Hutchinson, Ian McDonald, Ken MacLeod, Alastair Reynolds, Stephen Palmer, Keith Brooke and Eric Brown, and others. Ian Whates also brought out two more minor but enjoyable original anthologies, Further Conflicts (NewCon Press) and Fables from the Fountain (NewCon). Print magazine MIT Technology Review published a special all-fiction issue, supposedly the start of an annual series, which featured intelligent core SF by Pat Cadigan, Ken MacLeod, Gwyneth Jones, Elizabeth Bear, Vandana Singh, Cory Doctorow, Paul Di Filippo, and others. Postscripts 24/25 (PS Publishing) featured mostly slipstream, fantasy, and soft horror, too much of it for my taste, but did also feature strong SF stories by Ken MacLeod, Keith Brooke, and Adam Roberts. Panverse Three (Panverse Publishing), an all-novella anthology edited by Dario Ciriello, featured strong novellas by Ken Liu and Don D’Ammassa. Welcome to the Greenhouse (OR Books), edited by Gordon Van Gelder, was somewhat disappointing overall, although it had interesting work by Chris Lawson, Bruce Sterling, Gregory Benford, Brian W. Aldiss, and others. There were two steampunk anthologies, Steampunk!: An Anthology of Fantastically Rich and Strange Stories (Candlewick Press), edited by Kelly Link and Gavin J. Grant and The Immersion Book of Steampunk (Immersion Press), edited by Gareth D. Jones and Carmelo Rafala, as well as the steampunkish Gaslight Arcanum: Uncanny Tales of Sherlock Holmes (Hades/EDGE Science Fiction and Fantasy Publishing), edited by J. R. Campbell and Charles Prepolec (and, in fantasy, the Dann and Gevers Ghosts by Gaslight, mentioned later).

Pleasant but minor SF anthologies included End of an Aeon (Fairwood Press), edited by Bridget McKenna and Marti McKenna, an anthology made up of stories leftover in inventory from the now-deceased small press magazine Aeon. Human for a Day (DAW Books), edited by Martin H. Greenberg and Jennifer Brozek, and The Wild Side: Urban Fantasy with an Erotic Edge (Baen), edited by Mark L. Van Name. L. Ron Hubbard Presents Writers of the Future Volume XXVII (Galaxy Press), edited by K. D. Wentworth, is the lastest in a long-running series featuring novice work by beginning writers, some of whom may later turn out to be important talents.

The best of the year’s fantasy anthologies (although an argument could be made for putting it in with the urban fantasy and paranormal anthologies discussed later) was probably Subterranean: Tales of Dark Fantasy 2 (Subterranean Press), edited by William Schafer, and featuring good stories by K. J. Parker, Bruce Sterling, William Browning Spencer, Jay Lake and Shannon Page, Norman Patridge, Kelley Armstrong, and others.

Pleasant but minor fantasy anthologies included Courts of the Fey (DAW Books), edited by Martin H. Greenberg and Russell Davis, and Hot and Steamy: Tales of Steampunk Romance (DAW Books), edited by Jean Rabe and Martin H. Greenberg.

There were a number of anthologies exploring the confusing and sometimes contradictory area now known as “urban fantasy,” including Naked City: Tales of Urban Fantasy (St. Martin’s Press), edited by Ellen Datlow; Supernatural Noir (Dark Horse Books), edited by Ellen Datlow; Down These Strange Streets (Ace), edited by George R. R. Martin and Gardner Dozois; Ghosts by Gaslight (HarperCollins Voyager), edited by Jack Dann and Nick Gevers; Welcome to Bordertown: New Stories and Poems of the Borderlands (Random House), edited by Holly Black and Ellen Kushner; and Home Improvement: Undead Edition (Ace), edited by Charlaine Harris and Toni L. P. Kelner. Original horror anthologies included Teeth: Vampire Tales (Harper), edited by Ellen Datlow and Terry Windling; Blood and Other Cravings (Tor), edited by Ellen Datlow; A Book of Horrors (Jo Fletcher Books), edited by Stephen Jones; Zombiesque (DAW Books), edited by Stephen L. Antczak, James C. Basser, and Martin H. Greenberg; and a mixed reprint and original shapeshifter anthology, Bewere the Night (Prime Books), edited by Ekaterina Sedia.

Less easily classifiable stuff, dancing on the edge of one genre or another, included the entertaining and vaguely steampunkish The Thackery T. Lambshead Cabinet of Curiosities (Harper Voyager), edited by Ann and Jeff VanderMeer; Kafkaesque (Tachyon Publications), edited by John Kessel and James Patrick Kelly; and Tesseracts Fifteen: A Case of Quite Curious Tales (Hades/EDGE Science Fiction), edited by Julie E. Czerneda and Susan MacGregor.

Shared-world anthologies included In Fire Forged (Baen Books), edited by David Weber; Golden Reflections: Stories of the Mask (Baen Books), edited by Joan Spicci Saberhagen and Robert E. Vardeman; and Under the Vale and Other Tales of Valdemar (DAW Books), edited by Mercedes Lackey.

Short fiction stalwarts such as Robert Reed, Michael Swanwick, and Ken MacLeod published a lot of good work this year, as usual, but so did prolific younger writers such as Lavie Tidhar, Ken Liu, Cat Rambo, Catherynne M. Valente, and Genevieve Valentine. Stories about Mars seemed popular this year, as did stories about ecological terrorists, and stories where SF was disguised as fantasy or even as fairy tales.

(Finding individual pricings for all of the items from small presses mentioned in the Summation has become too time-intensive, and since several of the same small presses publish anthologies, novels, and short-story collections, it seems silly to repeat addresses for them in section after section. Therefore, I’m going to attempt to list here, in one place, all the addresses for small presses that have books mentioned here or there in the Summation, whether from the anthologies section, the novel section, or the short-story collection section, and, where known, their Web site addresses. That should make it easy enough for the reader to look up the individual price of any book mentioned that isn’t from a regular trade publisher; such books are less likely to be found in your average bookstore, or even in a chain superstore, and so will probably have to be mail-ordered. Many publishers seem to sell only online, through their Web sites, and some will only accept payment through PayPal. Many books, even from some of the smaller presses, are also available through Amazon.com. If you can’t find an address for a publisher, and it’s quite likely that I’ve missed some here, or failed to update them successfully, Google it. It shouldn’t be that difficult these days to find up-to-date contact information for almost any publisher, however small.)

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PS Publishing, Grosvener House, 1 New Road, Hornsea, West Yorkshire, HU18 1PG, England, UK www.pspublishing.co.uk;

Golden Gryphon Press, 3002 Perkins Road, Urbana, IL 61802, www.goldengryphon.com;

NESFA Press, P.O. Box 809, Framingham, MA 01701-0809, www.nesfa.org/press;

Subterranean Press, P.O. Box 190106, Burton, MI 48519, www.subterraneanpress.com;

Old Earth Books, P.O. Box 19951, Baltimore, MD 21211-0951, www.oldearthbooks.com;

Tachyon Press, 1459 18th St. #139, San Francisco, CA 94107, www.tachyonpublications.com;

Night Shade Books, 1470 NW Saltzman Road, Portland, OR 97229, www.nightshadebooks.com;

Five Star Books, 295 Kennedy Memorial Drive, Waterville, ME 04901, www.galegroup.com/fivestar;

NewCon Press, via www.newconpress.com;

Small Beer Press, 176 Prospect Ave., Northampton, MA 01060, www.smallbeerpress.com;

Locus Press, P.O. Box 13305, Oakland, CA 94661;

Crescent Books, Mercat Press Ltd., 10 Coates Crescent, Edinburgh, Scotland EH3 7AL, www.crescentfiction.com;

Wildside ress/Borgo Press, P.O. Box 301, Holicong, PA 18928-0301, or go to www.wildsidepress.com for pricing and ordering;

Edge Science Fiction and Fantasy Publishing, Inc. and Tesseract Books, Ltd., P.O. Box 1714, Calgary, Alberta, T2P 2L7, Canada, www.edgewebsite.com;

Aqueduct Press, P.O. Box 95787, Seattle, WA 98145-2787, www.aqueductpress.com;

Phobos Books, 200 Park Avenue South, New York, NY 10003, www.phobosweb.com;

Fairwood Press, 5203 Quincy Ave. SE, Auburn, WA 98092, www.fairwoodpress.com;

BenBella Books, 6440 N. Central Expressway, Suite 508, Dallas, TX 75206, www.benbellabooks.com;

Darkside Press, 13320 27th Ave. NE, Seattle, WA 98125, www.darksidepress.com;

Haffner Press, 5005 Crooks Rd., Suite 35, Royal Oak, MI 48073-1239, www.haffnerpress.com;

North Atlantic Press, P.O. Box 12327, Berkeley, CA 94701;

Prime Books, P.O. Box 36503, Canton, OH 44735, www.primebooks.net;

Fairwood Press, 5203 Quincy Ave. SE, Auburn, WA 98092, www.fairwoodpress.com;

MonkeyBrain Books, 11204 Crossland Drive, Austin, TX 78726, www.monkeybrainbooks.com;

Wesleyan University Press, University Press of New England, Order Dept., 37 Lafayette St., Lebanon, NH 03766-1405, www.wesleyan.edu/wespress;

Agog! Press, P.O. Box U302, University of Wollongong, NSW 2522, Australia, www.uow.ed.au/~rhood/agogpress;

Wheatland Press, via www.wheatlandpress.com;

MirrorDanse Books, P.O. Box 3542, Parramatta NSW 2124, www.tabula-rasa.info/MirrorDanse;

Arsenal Pulp Press, 103–1014 Homer Street, Vancouver, BC, Canada V6B 2W9, www.arsenalpress.com;

DreamHaven Books, 912 W. Lake Street, Minneapolis, MN 55408;

Elder Signs Press/Dimensions Books, order through www.dimensionsbooks.com;

Chaosium, via www.chaosium.com;

Spyre Books, P.O. Box 3005, Radford, VA 24143;

SCIFI, Inc., P.O. Box 8442, Van Nuys, CA 91409–8442;

Omnidawn Publishing, order through www.omnidawn.com;

CSFG, Canberra Speculative Fiction Guild, www.csfg.org.au/publishing/anthologies/the_outcast;

Hadley Rille Books, via www.hadleyrillebooks.com;

ISFiC Press, 707 Saplilng Lane, Deerfield, IL 60015-3969, or www.isficpress.com;

Suddenly Press, via suddenlypress@yahoo.com;

Sandstone Press, P.O. Box 5725, One High St., Dingwall, Ross-shire, IV15 9WJ;

Tropism Press, via www.tropismpress.com;

SF Poetry Association/Dark Regions Press, www.sfpoetry.com, send checks to Helena Bell, SFPA Treasurer, 1225 West Freeman St., Apt. 12, Carbondale, IL 62401;

DH Press, via diamondbookdistributors.com;

Kurodahan Press, via www.kurodahan.com;

Ramble House, 443 Gladstone Blvd., Shreveport, LA 71104;

Interstitial Arts Foundation, via www.interstitialarts.org;

Raw Dog Screaming, via www.rawdogscreaming.com;

Three Legged Fox Books, 98 Hythe Road, Brighton, BN1 6JS, UK;

Norilana Books, via www.norilana.com;

coeur de lion, via coeurdelion.com.au;

PARSECink, via www.parsecink.org;

Robert J. Sawyer Books, via www.sfwriter.com/rjsbooks.htm;

Rackstraw Press, via http://rackstrawpress;

Candlewick, via www.candlewick.com;

Zubaan, via www.zubaanbooks.com;

Utter Tower, via www.threeleggedfox.co.uk;

Spilt Milk Press, via www.electricvelocipede.com;

Paper Golem, via www.papergolem.com;

Galaxy Press, via www.galaxypress.com.;

Twelfth Planet Press, via www.twelfthplanetpress.com;

Five Senses Press, via www.sensefive.com;

Elastic Press, via www.elasticpress.com;

Lethe Press, via www.lethepressbooks.com;

Two Cranes Press, via www.twocranespress.com;

Wordcraft of Oregon, via www.wordcraftoforegon.com;

Down East, via www.downeast.com.

E-books have not yet driven print books out of existence, as some commentators insist that they eventually will, not by a long shot, although there are indications that they’re definitely having an effect, especially on mass-market paperbacks, and taking an increasing share of the market. There were still plenty of print books around in 2011. In fact, in spite of the recession and the e-book revolution, the number of novels published in the SF and fantasy genres increased for the fifth year in a row.

According to the newsmagazine Locus, there were a record 3,071 books “of interest to the SF field” published in 2011, up slightly from 3,056 titles in 2010. New titles hit a new high for the third year in a row, up 2 percent to 2,140, 70 percent of the total, while reprints dropped 3 percent for 931, their lowest point since 2000. (It’s worth noting that this total doesn’t count e-books, media tie-in novels, gaming novels, novelizations of genre movies, or print-on-demand books—all of which would swell the overall total by hundreds if counted.) The number of new SF novels was up 7 percent to 305 titles as opposed to 2010’s 285. The number of new fantasy novels was up by 7 percent, to 660 titles as opposed to 2010’s total of 614. Horror novels were down 9 percent to 229 titles as opposed to 2010’s 251 titles. Paranormal romances were up 8 percent to 416 titles as opposed to 2010’s 384 titles, second in numbers only to fantasy (although sometimes it’s almost a subjective call whether a particular novel should be pigeonholed as paranormal romance, fantasy, or horror).

All of these genres showed a sharp increase in young adult novels, up to 24 percent from 2010’s 20 percent in science fiction, up to 35 percent from 2010’s 34 percent in fantasy, and up to 31 percent from 2010’s 24 percent for horror. In SF, dystopian and postapocalyptic YA SF novels were one of the year’s hottest trends.

As usual, busy with all the reading I have to do at shorter lengths, I didn’t have time to read many novels myself this year, so I’ll limit myself to mentioning those novels that received a lot of attention and acclaim in 2011.

A Dance with Dragons (Bantam), by George R. R. Martin; Earthbound (Ace), by Joe Haldeman; City of Ruins (Pyr), by Kristine Kathryn Rusch; Embassytown (Del Rey), by China Miéville; Cowboy Angels (Pyr), by Paul McAuley; The Wise Man’s Fear (DAW Books), by Patrick Rothfuss; Among Others (Tor), by Jo Walton; This Shared Dream (Tor), by Kathleen Ann Goonan; Hex (Ace), by Allen Steele; Deep State (Orbit), by Walter Jon Williams; The Children of the Sky (Tor), by Vernor Vinge; Rule 34 (Ace), by Charles Stross; Planesrunner (Pyr), by Ian McDonald; Vortex (Tor), by Robert Charles Wilson; Betrayer (DAW Books), by C. J. Cherryh; Home Fires (Tor), by Gene Wolfe; Count to a Trillion (Tor), by John C. Wright; The Magician King (Viking), by Lev Grossman; All the Lives He Led (Tor), by Frederik Pohl; Daybreak Zero (Ace), by John Barnes; After the Golden Age (Tor), by Carrie Vaughn; Kitty’s Big Trouble (Tor), by Carrie Vaughn; Leviathan Wakes (Orbit), by James S. A. Corey; 7th Sigma (Tor), by Steven Gould; The Dragon’s Path (Orbit), by Daniel Abraham; Deathless (Tor), by Catherynne M. Valente; The Heroes (Orbit), by Joe Abercrombe; Bronze Summer (Gollancz), by Stephen Baxter; Stone Spring (Gollancz), by Stephen Baxter; Endurance (Tor), by Jay Lake; The Tempering of Men (Tor), by Sarah Monette and Elizabeth Bear; Goliath (Simon Pulse), by Scott Westerfeld; The Cold Commands (Del Rey), by Richard Morgan; Grail (Spectra), by Elizabeth Bear; Fuzzy Nation (Tor), by John Scalzi; The Islanders (Gollancz), by Christopher Priest; Reamde (HarperCollins), by Neal Stephenson; By Light Alone (Gollancz) by Adam Roberts; Firebird (Ace), by Jack McDevitt; The Hammer (Orbit), by K. J. Parker; The Highest Frontier (Tor), by Joan Slonczewski; The Kings of Eternity (Solaris), by Eric Brown; Remade (William Morrow), by Neal Stephenson; The Kings of Eternity (Solaris), by Eric Brown; Raising Stony Mayhall (Del Rey), by Daryl Gregory; 11/23/63 (Scribner), by Stephen King; and Snuff (HarperCollins), by Terry Pratchett.

I still hear the complaint that there are no SF books left to buy these days, that they’ve all been driven off the shelves by fantasy books, but although there’s a good deal of fantasy in the titles given here, the Haldeman, the Rusch, the Miéville, the McAuley, the Goonan, the Steele, the Williams, the Vinge, the Stross, the McDonald, the Wilson, the Wright, the Corey, the Pohl, the McDevitt, and a number of others are unquestionably core science fiction, and many more could be cited from the lists of small press novels and first novels. There’s still more good core SF out there than any one person could possibly have time to read in the course of a year.

Small presses are active in the novel market these days, where once they published mostly collections and anthologies. Novels issued by small presses this year included: The Clockwork Rocket (Night Shade Books), by Greg Egan; Dancing with Bears (Night Shade Books), by Michael Swanwick; Osama: A Novel (PS Publishing), by Lavie Tidhar; Wake Up and Dream (PS Publishing), by Ian R. MacLeod; The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making (Feiwel and Friends), by Catherynne M. Valente; The Folded World (Night Shade Books), by Catherynne M. Valente; The Uncertain Places (Tachyon Publications), by Lisa Goldstein; The Other (Underland Press), by Matthew Hughes; Heart of Iron (Prime Books), by Ekaterina Sedia; Infidel (Night Shade Books), by Kameron Hurley; Scratch Monkey (NESFA Press), by Charles Stross; and Dark Tangos (Subterranean Press), by Lewis Shiner.

The year’s first novels included: Robopocalypse (Doubleday), by Daniel H. Wilson; Ready Player One (Crown Publishers), by Ernest Cline; Soft Apocalypse (Night Shade Books), by Will McIntosh; Debris (Angry Robot), by Jo Anderton; Mechanique (Prime Books), by Genevieve Valentine; Necropolis (Night Shade Books), by Michael Dempsey; The Falling Machine (Pyr), by Andrew Mayer; The Traitor’s Daughter (Spectra), by Paula Brandon; No Hero (Night Shade Books), by Jonathan Wood; The Girl of Fire and Thorns (Greenwillow), by Rae Carson; 2030: The Real Story of What Happens to America (St. Martin’s Press), by Albert Brooks; God’s War (Night Shade Books), by Hurley Kameron; Reality 36 (Angry Robot), by Guy Haley; Spellcast (DAW Books), by Barbara Ashford; Sword of Fire and Sea (Pyr), by Erin Hoffman; Low Town (Doubleday), by Daniel Polansky; Kindling the Moon (Pocket Books), by Jenn Bennett; Farlander (Tor), by Col Buchanan; Revolution World (Night Shade Books), by Katy Stauber; A Discovery of Witches (Viking), by Deborah Harkness; The Tiger’s Wife (Random House), by Téa Obreht; The Night Circus (Doubleday), by Erin Morgenstern; The Desert of Souls (Thomas Durine Books), by Howard Andrew Jones; The Unremembered (Tor), by Peter Orullilan; Seed (Night Shade Books), by Rob Ziegler; Of Blood and Honey (Night Shade Books), by Stina Leicht; Among Thieves (Roc), by Douglas Hulick; Awakenings (Tor), by Edward D. Lazellari; Miserere: An Autumn Tale (Night Shade Books), by Teresa Frohock; and The Whitefire Crossing (Night Shade Books), by Courtney Schafer. Unlike last year, when Hannu Rajaniemi’s The Quantum Thief soaked up most of the attention, none of these novels seemed to have a real edge in attention or acclaim.

Night Shade Books obviously published a lot of novels this year, particularly for a small press, and was particularly active in first novels.

The strongest novella chapbook of the year, by a good margin, was Silently and Very Fast (WSFA Press), by Catherynne M. Valente, but there were other good novella chapbooks as well, such as Jesus and the Eightfold Path (Immersion Press), by Lavie Tidhar; Angel of Europa (Subterranean Press), by Allen Steele; Blue and Gold (Subterranean Press), by K. J. Parker; Gravity Dreams (PS Publishing), by Stephen Baxter; The White City (Subterranean Press), by Elizabeth Bear; A Brood of Foxes (Aqueduct), by Kristin Livdahl; The Affair of the Chalk Cliffs (Subterranean Press), by James P. Blaylock; and The Ice Puzzle (PS Publishing), by Catherynne M. Valente.

Novel omnibuses this year included: Flandry’s Legacy (Baen Books), by Poul Anderson; Rise of the Terran Empire (Baen Books), by Poul Anderson; Introducing Garrett, P.I. (Roc), by Glen Cook; Galactic Courier (Baen Books), by A. Bertram Chandler; The Crystal Variation (Baen Books), by Sharon Lee and Steve Miller; Moonsinger’s Quest (Baen Books), by Andre Norton; and Kurt Vonnegut: Novels and Stories 1963–1973 (The Library of America), an omnibus of four novels, three stories, and three nonfiction pieces by Vonnegut. Novel omnibuses are also frequently made available through the Science Fiction Book Club.

Not even counting print-on-demand books and the availability of out-of-print books as e-books or as electronic downloads from Internet sources such as Fictionwise, a lot of long out-of-print stuff has come back into print in the last couple of years in commercial trade editions. Here are some out-of-print titles that came back into print this year, although producing a definitive list of reissued novels is probably impossible. Tor reissued The Dragons of Babel, by Michael Swanwick; A Fire Upon the Deep, by Vernor Vinge; Gods of Riverworld, by Philip Jose Farmer; Territory, by Emma Bull; Mindscan, by Robert J. Sawyer; Sati, by Christopher Pike; The Season of Passage, by Christopher Pike; Fleet of Worlds, by Larry Niven and Edward M. Lerner; The Darkest Part of the Woods, by Ramsey Campbell; and A Transatlantic Tunnel, Hurrah!, by Harry Harrison. Orb reissued: Stations of the Tide, by Michael Swanwick; A Bridge of Years, by Robert Charles Wilson; The Chronoliths, by Robert Charles Wilson; Stand on Zanzibar, by John Brunner; and Trouble and Her Friends, by Melissa Scott. Tor Teen reissued Sister Light, Sister Dark, by Jane Yolen. Baen Books reissued Starman Jones, by Robert A. Heinlein. Night Shade Books reissued An Ill Fate Marshalling, Reap the East Wind, and A Matter of Time, all by Glen Cook. Small Beer Press reissued The Child Garden, by Geoff Ryman, Stories of Your Life and Others, by Ted Chiang; and Solitaire, by Kelley Eskridge. Angry Robot reissued Infernal Devices and Morlock Night, both by K. W. Jeter. Subterranean Press reissued Yours Truly, Jack the Ripper, by Robert Bloch. Tachyon Publications reissued Promises to Keep, by Charles de Lint. Ace reissued The Terminal Experiment, by Robert J. Sawyer. Ballantine Spectra reissued The Difference Engine, by William Gibson and Bruce Sterling. Ballantine Del Rey reissued Conan the Barbarian, by Robert E. Howard. William Morrow reissued American Gods, The Tenth Anniversary Edition, by Neil Gaiman. Harper Perennial reissued The Graveyard Book, by Neil Gaiman. HarperCollins reissued Abarat, by Clive Barker. Prime Books reissued The Bone Key: The Necromantic Mysteries of Kyle Murchison Booth, by Sarah Monette. Houghton Mifflin Harcourt reissued The Divine Invasion, by Philip K. Dick. Titan Books reissued Anno Dracula, by Kim Newman. Harper reissued On Stranger Tides, by Tim Powers. St. Martin’s Griffin reissued The Space Merchants, by Frederik Pohl and C. M. Cornbluth.

Many authors are now reissuing their old back titles as e-books, either through a publisher or all by themselves, so many that it’s impossible to keep track of them all here. Before you conclude that something from an author’s backlist is unavailable, though, check with the Kindle and NOOK stores, and with other online vendors.

2011 was another good year for short-story collections. The year’s best nonretrospective collections included: After the Apocalypse (Small Beer Press), by Maureen McHugh; Gothic High-Tech (Subterranean Press), by Bruce Sterling; Paradise Tales (Small Beer Press), by Geoff Ryman; The Bible Repairman and Other Stories (Tachyon Publications), by Tim Powers; The Universe of Things (Aqueduct Press), by Gwyneth Jones; The Inheritance and Other Stories (Harper Voyager), by Robin Hobb and Megan Lindholm; Unpossible and Other Stories (Fairwood Press), by Daryl Gregory; and Sleight of Hand (Tachyon Publications), by Peter S. Beagle. Also good were Wind Angels (PS Publishing), by Leigh Kennedy; Kitty’s Greatest Hits (Tor), by Carrie Vaughn; The Wild Girls (PM Press—omnibus of one story, two essays, one interview, and four poems), by Ursula K. Le Guin; Yellowcake (Allen & Unwin), by Margo Lanagan; Professor Moriarty: The Hound of the D’Urbervilles (Titan Books), by Kim Newman; Translation Station (The Merry Blacksmith Press), by Don D’Ammassa; Diana Comet and Other Improbable Stories (Lethe Press), by Sandra McDonald; Dragon Virus (Fairwood Press), by Laura Anne Gilman; Somewhere Beneath These Waves (Prime Books), by Sarah Monette; Love and Romanpunk (Twelfth Planet Press), by Tansy Rayner Roberts; Manhattan in Reverse (Pan MacMillan), by Peter F. Hamilton; Steel and Other Stories (Tor), by Richard Matheson; Something More and More (Aqueduct Press—omnibus of two stories, three essays, and an interview), by Nisi Shawl; The Great Big Beautiful Tomorrow (PM Press—omnibus of a long novella, plus essays and interviews), by Cory Doctorow; Never at Home (Aqueduct Press), by L. Timmel Duchamp; and Aurora in Four Voices (ISFIC Press), by Catherine Asaro.

Noted without comment is When the Great Days Come (Prime Books), by Gardner Dozois.

Career-spanning retrospective collections this year included: Admiralty: Volume 4 of the Collected Short Works of Poul Anderson (NESFA Press), by Poul Anderson; Shannach—The Last: Farewell to Mars (Haffner Press), by Leigh Brackett; The Collected Stories of Robert Silverberg, Volume Six: Multiples 1983–1987 (Subterranean Press), by Robert Silverberg; Hunt the Space-Witch: Seven Adventures in Time and Space (Paizo/Planet Stories), by Robert Silverberg; At the Human Limit, The Collected Stories of Jack Williamson, Volume Eight (Haffner Press), by Jack Williamson; The Universe Wreckers, The Collected Edmond Hamilton (Haffner Press), by Edmond Hamilton; The Collected Captain Future, Man of Tomorrow, Volume Two (Haffner Press), by Edmond Hamilton; The Collected Captain Future, Man of Tomorrow, Volume Three (Haffner Press), by Edmond Hamilton; Terror in the House: The Early Kuttner, Volume One (Haffner Press), by Henry Kuttner; The Miscellaneous Writings of Clark Ashton Smith (Night Shade Books), by Clark Ashton Smith; Scream Quietly: The Best of Charles L. Grant (PS Publishing), by Charles L. Grant; Collected Ghost Stories (Oxford University Press), by M. R. James; The Inhabitant of the Lake and Other Unwelcome Tenants (PS Publishing), by Ramsey Campbell; and Two Worlds and In Between: The Best of Caitlín R. Kiernan (Volume One) (Subterranean Press), by Caitlín R. Kiernan.

As has become usual, small presses again dominated the list of short-story collections, with Haffner Press and Subterranean Press being particularly active in the issuing of retrospective collections.

A wide variety of “electronic collections,” often called “fiction bundles,” too many to individually list here, are also available for downloading online, at sites such as Fictionwise and ElectricStory, and the Science Fiction Book Club continues to issue new collections as well.

As usual, among the most reliable buys in the reprint anthology market are the various Best of the Year anthologies, although this is an area in constant flux, with old series disappearing and new series being born. This year seemed to be relatively stable. At the moment, science fiction is being covered by three anthologies (actually, technically, by two anthologies and by two separate half anthologies): the one you are reading at the moment, The Year’s Best Science Fiction series from St. Martin’s Press, edited by Gardner Dozois, now up to its twenty-ninth annual collection; the Year’s Best SF series (Harper Voyager), edited by David G. Hartwell and Kathryn Cramer, now up to its sixteenth annual volume; the science fiction half of The Best Science Fiction and Fantasy of the Year: Volume Five (Night Shade Books), edited by Jonathan Strahan; and the science fiction half of The Year’s Best Science Fiction and Fantasy: 2011 Edition (Prime Books), edited by Rich Horton (in practice, of course, these books probably won’t divide neatly in half with their coverage, and there’s likely to be more of one thing than another). The annual Nebula Awards anthology, which covers science fiction as well as fantasy of various sorts, functions as a de facto Best of the Year anthology, although it’s not usually counted among them; this year’s edition was Nebula Awards Showcase 2011 (Tor), edited by Kevin J. Anderson. (A similar series covering the Hugo winners began in 2010, but swiftly died.) There were three Best of the Year anthologies covering horror: The Best Horror of the Year, Volume Three (Night Shade Books), edited by Ellen Datlow; The Mammoth Book of Best New Horror: 22 (Running Press), edited by Stephen Jones; and The Year’s Best Dark Fantasy and Horror, 2011 Edition (Prime Books), edited by Paula Guran. This year there was also The Horror Hall of Fame: The Stoker Winners (Cemetery Dance Publications), edited by Joe R. Lansdale, although it’s unclear whether this is going to be a continuing series. Fantasy is covered by the fantasy halves of the Stranhan and Horton anthologies (plus whatever stories fall under the Dark Fantasy part of Guran’s anthology), but with the death of Kevin Brockmeier’s Best American Fantasy series last year, the only remaining Best of the Year anthology dedicated solely to fantasy is David G. Hartwell and Kathryn Cramer’s Year’s Best Fantasy series—Year’s Best Fantasy 10 was announced as forthcoming by Kathryn Cramer in her blog, but I haven’t actually seen a copy, and it isn’t listed on Amazon, so whether this will actually appear is anyone’s guess. There was also The 2011 Rhysling Anthology (Science Fiction Poetry Association), edited by David Lunde, which compiles the Rhysling Award–winning SF poetry of the year.

There were a large number of good stand-alone reprint anthologies this year. Although it’s a bit of an oddity, a discussion of reprint anthologies published in 2011 wouldn’t be complete without mention of Sense of Wonder: A Century of Science Fiction (Wildside Press), edited by Leigh Ronald Grossman, which earns the odd distinction of being perhaps the largest SF anthology ever published: almost a thousand pages, roughly the size of an old-fashioned telephone directory, weighing five pounds, containing 148 stories and 62 specialized essays about various authors and categories of science fiction. At almost fifty bucks, this will probably be too expensive for most casual readers (there is an e-book version available for forty bucks), but it’s a great choice for libraries and serious collectors, practically being a one-volume library, containing memorable stories by Damon Knight, Cordwainer Smith, Alfred Bester, Robert A. Heinlein, Joanna Russ, Samuel R. Delany, Octavia Butler, Edgar Pangborn, Terry Bisson, Pat Murphy, James Patrick Kelly, Gene Wolfe, Howard Waldrop, Maureen McHugh, Greg Bear, Michael Swanwick, Bruce Sterling, Jack Vance, L. Sprague de Camp, Nancy Kress, Nalo Hopkinson, Ted Chiang, Pat Cadigan, Cory Doctorow, Connie Willis, Karen Joy Fowler, Kim Stanley Robinson, and many others.

Another enormous reprint anthology that spans decades of genre work, examining fantasy-horror rather than science fiction, is The Weird: A Compendium of Strange and Dark Stories (Corvus), edited by Ann VanderMeer and Jeff VanderMeer, which devotes 1,152 pages to 110 stories from many historic periods by writers such as H. P. Lovecraft, Neil Gaiman, Stephen King, Kelly Link, George R. R. Martin, Mervyn Peake, William Gibson, China Miéville, Angela Carter, Michael Chabon, and many, many others.

Also good—although considerably smaller—is Alien Contact (Night Shade Books), edited by Marty Halpern, stories about contacts with aliens, all of them science fiction (and all of them considerably more varied, subtle, and intelligent than the flood of shoot- ’em-up alien invasion movies we got over the last year or so), featuring work by Bruce Sterling, Michael Swanwick, Bruce McAllister, Molly Gloss, Pat Cadigan, Nancy Kress, Neil Gaiman, George Alec Effinger, Cory Doctorow, Stephen Baxter, Mike Resnick, Harry Turtledove, and thirteen others. Brave New Worlds (Night Shade Books) is a reprint anthology of dystopian stories edited by John Joseph Adams, most of them pretty depressing but also pretty powerful, including stories by Shirley Jackson, Geoff Ryman, Kate Wilhelm, Kim Stanley Robinson, Alex Irvine, Cory Doctorow, Harlan Ellison, and others. Lightspeed: Year One (Prime Books), edited by John Joseph Adams, is a collection of the first year’s worth of stories from electronic online magazine Lightspeed, featuring good work by Carrie Vaughn, Yoon Ha Lee, Ted Kosmatka, Vylar Kaftan, and others, and reprints by Ursula K. Le Guin, George R. R. Martin, Robert Silverberg, Joe Haldeman, and others. Future Media (Tachyon Publications), edited by Rick Wilber, is an anthology of views of the media age, featuring reprint stories by Pat Cadigan, Gregory Benford, James Tiptree, Jr., and others, plus essays by Marshall McLuhan, Vannevar Bush, and others. Battlestations (Prime Books), edited by David Drake and Bill Fawcett, is an omnibus of two previously published anthologies of military SF.

Less dark and more lighthearted is Happily Ever After (Night Shade Books), an anthology of retold fairy tales edited by John Klima, and featuring strong work by Howard Waldrop, Gregory Frost, Bruce Sterling, Nancy Kress, Neil Gaiman, Jane Yolen, Theodora Goss, Garth Nix, and others. People of the Book: A Decade of Jewish Science Fiction and Fantasy (Prime Books), edited by Rachel Swirsky and Sean Wallace, features SF and fantasy stories (mostly fantasy), by Peter S. Beagle, Theodora Goss, Jane Yolen, Alex Irvine, Neil Gaiman, Benjamin Rosenbaum, and Michael Chabon.

There were a lot of reprint horror anthologies this year, including several urban fantasy/paranormal anthologies. The best of these was probably The Urban Fantasy Anthology (Tachyon Publications), edited by Peter S. Beagle and Joe R. Lansdale, which featured good stories by Neil Gaiman, Peter S. Beagle, Tim Powers, Thomas M. Disch, Bruce McAllister, Joe R. Lansdale, Susan Palwick, Charles de Lint, Suzy McKee Charnas, Carrie Vaughn, Patty Briggs, Emma Bull, and others. The somewhat grittier Crucified Dreams (Tachyon Publications), edited by Joe R. Lansdale, features strong reprints by Harlan Ellison, Lucius Shepard, Joe Haldeman, Octavia Butler, Stephen King, and others. And 2011 brought us two reprint anthologies that give us an interesting overview of the recent work of younger writers who have been influenced by H. P. Lovecraft enough to want to play in his Cthulhu mythos universe, The Book of Cthulhu (Night Shade Books), edited by Ross E. Lockhart, and New Cthulhu: The Recent Weird (Prime Books), edited by Paula Guran. The best stories in The Book of Cthulhu include works by Michael Shea, Gene Wolfe, T.E.D. Klein, Bruce Sterling, and Laird Barron. The best stories in New Cthulhu: The Recent Weird include works by Neil Gaiman, Elizabeth Bear and Sarah Monette, Caitlin R. Kiernan, Laird Barron, and Paul McAuley. Stories by Charles Stross, Elizabeth Bear, and Cherie Priest appear in both volumes. There were two reprint anthologies of zombie stories, Zombies!, Zombies!, Zombies! (Vintage Black Lizard), edited by Otto Penzler, and Z: Zombie Stories (Night Shade Books), edited by J. M. Lassen, and a book of vampire stories, Vampires: The Recent Undead (Prime Books), edited by Paula Guran.

There were also two massive reprint anthologies, The Century’s Best Horror Fiction, Volume One: 1901–1950 and The Century’s Best Horror Fiction, Volume Two: 1951–2000 (Cemetery Dance Publications), both edited by John Pelan.

It was a solid but unexciting year in the genre-oriented nonfiction category. There were a number of books of essays by or about genre authors, including Bugf#ck: The Useless Wit and Wisdom of Harlan Ellison (Spectrum Fantastic Art), by Harlan Ellison, edited by Arnie Fenner; The Ecstasy of Influence: Nonfictions, Etc. (Doubleday), by Jonathan Lethem; Unstuck in Time: A Journey Through Kurt Vonnegut’s Life and Novels (Seven Stories Press), by Gregory D. Sumner; And So It Goes: Kurt Vonnegut: A Life (Henry Holt and Co.), by Charles J. Shields; Context (Tachyon Publications), by Cory Doctorow; The Sookie Stackhouse Companion (Ace), by Charlaine Harris (which also contains a previously unpublished Sookie Stackhouse novella); The Hollows Insider (Harper Voyager) by Kim Harrison; In Other Worlds: SF and the Human Imagination (Doubleday), by Margaret Atwood; Becoming Ray Bradbury (University of Illinois Press), by Jonathan R. Eller; and Musings and Meditations: Reflections on Science Fiction, Science, and Other Matters (Nonstop Press), by Robert Silverberg.

There was an autobiography, Nested Scrolls: The Autobiography of Rudolf von Bitter Rucker (Tor), by Rudy Rucker; an assembly of lectures by genre figures, Thirty-Five Years of the Jack Williamson Lectureship (Haffner Press), compiled by Patrice Caldwell and Stephen Haffner; two books of reviews, Sightings: Reviews 2002–2006 (Beccon Publications), by Gary K. Wolfe, and Pardon This Intrusion: Fantastika in the World Storm (Beccon Publications), by John Clute; and, as usual, several books about science fiction itself, including Evaporating Genres: Essays of Fantastic Literature (Wesleyan University Press), by Gary Wolfe; Science Fiction and the Prediction of the Future (McFarland & Company, Inc.), edited by Gary Westfahl, Wong Kin Yuen, and Amy Kit-sze Chan; and Science Fiction: A Very Short Introduction (Oxford University Press), by David Seed. A study of the steampunk subgenre was The Steampunk Bible: An Illustrated Guide to the World of Imaginary Airships, Corsets and Goggles, Mad Scientists, and Strange Literature (Abrams Image), by Jeff VanderMeer with S. J. Chambers (which probably earns the award for most colorful title of the year).

An offbeat item is a collection of essays about pioneering genre movies by the late Kage Baker, Ancient Rockets: Treasures and Trainwrecks of the Silent Screen (Tachyon Publications), by Kage Baker, edited by Kathleen Bartholomew. An even more offbeat item—in fact, perhaps the oddest book you’ll read this year—was posthumously assembled from the extensive notebooks left behind by the late Philip K. Dick, The Exegesis of Philip K. Dick (Houghton Mifflin Harcourt), edited by Pamela Jackson, Jonathan Lethem, and Erik Davis. I made my way through ten or twenty pages of this, and put the book down feeling that it left the question of whether Dick was a genius or completely insane up in the air—but, whichever it was, I was much too stupid to successfully absorb his Exegesis. I suspect all but the most dedicated Phil Dick fans (or those who are geniuses themselves) will probably bounce off it as well.

Not technically genre-oriented, but a book that will interest many genre readers, and one that is sorely needed, in these credulous times when more Americans believe in angels than in evolution, and many don’t even believe that the moon shines by reflected light from the sun, is Denying Science: Conspiracy Theories, Media Distortions, and the War Against Reality (Prometheus Books), by SF writer John Grant.

2011 was another weak year in the art-book market, even weaker than the year before. As usual, your best bet was probably the latest in a long-running Best of the Year series for fantastic art, Spectrum 18: The Best in Contemporary Fantastic Art (Underwood Books), edited by Cathy Fenner and Arnie Fenner. Also quite good were Masters of Science Fiction and Fantasy Art (Rockport Publishers, Inc.), assembled by Karen Haber; Exposé 9: Finest Digital Art in the Known Universe (Ballistic Publishing), by Daniel P. Wade; A Tolkien Tapestry: Pictures to Accompany The Lord of the Rings (HarperCollins); and Fantasy + 3: Best Hand-Painted Illustrations (CYPI/Gingko Press), edited by Vincent Zhao.

There were a few excellent books collecting the works of single artists, the best of which was probably Hardware: The Definitive SF Works of Chris Foss (Titan), by Chris Foss, although Jeffrey Jones: A Life in Art (IDW Publishing), by Jeffrey Jones, was also very good, and Mark Schultz: Various Drawings, Volume 5 (Flesk), by Mark Schultz, was worthwhile as well. Girl Genius Book Ten: Agatha Heterodyne and the Guardian Muse is the latest in the Hugo-winning series by Phil Foglio and Kaja Foglio, and Lost & Found: Three by Shaun Tan (Arthur A. Levine Books) is a collection of picture books by the creator of last year’s Oscar-nominated short film, The Lost Thing, which is included.

An odd item, straddling the line between nonfiction and art, is Out of This World: Science Fiction but Not as You Know It (British Library), by Mike Ashley, a catalogue of this year’s British Library SF exhibition, a mixture of text and art that covers six centuries of speculative art from 1482 to the present.

According to the Box Office Mojo Web site (www.boxofficemojo.com), seven out of ten of the year’s top-earning movies were genre films of one sort or another, if you accept animated films and superhero movies as being “genre films.” (Somewhat unusually these days, there were two nongenre movies in the top ten: The Hangover Part II and Fast Five.) Four out of five of the year’s top five box-office champs were genre movies by the above somewhat loose definition, as were twelve out of the top twenty earners, twenty-seven of the top fifty, and roughly forty out of the top one hundred, more or less (I might have missed one here or there, and there are some fuzzy calls in classification). Three of the top five were fantasy movies, Harry Potter and the Deathly Hallows: Part 2, The Twilight Saga: Breaking Dawn—Part 1, and Pirates of the Caribbean: On Stranger Tides, and one was a science fiction movie (albeit a rather silly one), Transformers: Dark of the Moon. (The Hangover Part II was the only nongenre movie to break the top five, coming in fourth.) The following five were made up of an animated movie (Cars 2), a superhero movie (Thor), and a science fiction movie (Rise of the Planet of the Apes), with the nongenre Fast Five and Mission: Impossible—Ghost Protocol cutting in at sixth place and seventh place overall out of ten. Further down the list were superhero movie Captain America: The First Avenger at twelth place, the steampunkish Sherlock Holmes: A Game of Shadows (technically not a genre movie, although the physical action was unlikely enough that you could make a not unreasonable case for considering it a fantasy, and Holmes has always been associated with the genre) at ninth, animated film Kung Fu Panda 2 at fifteenth place, animated film Puss in Boots at sixteenth, superhero movie X-Men: First Class at seventeenth, semi-animated (it also featured human actors, interacting with the CGI characters) film The Smurfs at nineteenth, and Spielberg/monster-movie homage Super 8 at twenty-first.

This shouldn’t surprise anybody—genre films of one sort or another have dominated the box office top ten for more than a decade now. You have to go all the way back to 1998 to find a year when the year’s top earner was a nongenre film, Saving Private Ryan.

The year’s number one box office champ was Harry Potter and the Deathly Hallows: Part 2, which so far has earned a staggering $1,328,111,219 worldwide. Transformers: Dark of the Moon also earned more than a billion dollars worldwide, as did Pirates of the Caribbean: On Stranger Tides, with a steep drop-off thereafter to The Twilight Saga: Breaking Dawn—Part 1, which earned “only” $702,316,133.

In spite of these immense sums, it wasn’t a particularly good year at the box office overall for the movie industry. Overall profits were down 3.8 percent to 10.17 billion from 2010, and ticket sales fell 4.7 percent to 1.28 billion, the worst since 1995. I suspect that, in the grip of a worsening recession, it’s getting to be just too expensive to go to the movies for an average family, especially when most movies will be available on DVD or on the Internet in only a matter of months. The ability of 3-D to make moviegoers pay more per ticket, something that’s been propping up profits, seems to be wearing thin as well, probably because there are so few films that 3-D actually adds anything to; often, in fact, it makes the moviegoing experience worse, muddying the colors and darkening the paleatte. It should also perhaps make the movie industry uneasy that the highest-grossing nonsequel of the year was Thor; all the rest of the top ten movies were sequels. Which makes you wonder how many times you can go to the same well before it runs dry.

There were a few actual SF movies by my definition (as opposed to junk popcorn bad-science SF extravaganzas like Transformers: Dark of the Moon), and a few of them were even pretty good, but few of them were wild successes at the box office. Of the movies that got some kind of critical respect, the one that did the best was Super 8, which finished at twenty-first. It was half of a good movie, with the early Spielberg homage stuff, following kids who are trying to make an amateur monster movie, brilliant and effective; when the real monster starts showing up, things go downhill, and I couldn’t help but feel that it would have been a better movie without the monster altogether. Similarly, Cowboys and Aliens, which only made it to thirtieth on the list, was also half of a good movie, with the cowboy setup interesting, but suffered increasingly from bad writing and the ridiculous motivations for the actions of the aliens (which really made no sense) as it went along; they might have been better off making it as a straight cowboy movie if they couldn’t do a better job with the “aliens” part. Real Steel, perhaps the film that came closest this year to being a core SF movie, based on a Richard Matheson story about boxing robots, widely described as “Rocky with robots,” only finished thirty-fifth on the list. Contagion was a somber and realistic look at the spread of a worldwide pandemic, without extraneous car chases and gun battles thrown in—which is perhaps why it only made it to forty-fifth on the list. The Adjustment Bureau only made it to fifty-sixth place, perhaps indicating that people are getting tired of Philip K. Dick movies. The two best-reviewed genre movies of the year, Woody Allen’s time-travel love letter to 1920s Paris, Midnight in Paris, and Martin Scorsese’s steampunkish homage to Georges Melies (perhaps the closest anyone has yet come to putting a Howard Waldrop story on film), Hugo, finished fifty-ninth and fifty-second respectively. Paul, a mixture of slob comedy with Area 51/alien stuff in the form of a road picture, came in eighty-first.

The two worst-reviewed, most critically savaged, genre movies of the year were probably Green Lantern (twenty-fourth) and The Green Hornet (thirty-second)—although it is perhaps a bit too much to hope that this indicates that superhero movies are wearing thin too. (You’ll be seeing a lot more of them next year.)

Most of the buzz about movies coming up in 2012 so far seems to be going to The Hobbit, the Peter Jackson–directed prequel to the Lord of the Rings movies, to Prometheus, the prequel to Alien, to the Avengers movie, to the new Star Trek movie (although that probably will be in 2013 rather than in 2012), and to The Dark Knight Rises, the last of the Christopher Nolan–directed Batman movies. John Carter, a film version of Edgar Rice Burroughs’s A Princess of Mars, is a movie I would have been absolutely wild to see when I was thirteen. There’s is a film version of the bestselling YA series, The Hunger Games, and a reboot of the pioneering TV vampire soap opera Dark Shadows as a movie, starring Johnny Depp. People seem to be divided between anticipation and dread for the reboot of the Spider-Man franchise, The Amazing Spider-Man. Nobody seems to be looking forward to another Men in Black sequel, but that won’t stop them from making it anyway. There’s also going to be the second half of the last Twilight movie, which, although it totally unexcites me, will no doubt be among the box office champs of 2012.

The big story of 2011, as far as SF and fantasy shows on television are concerned, was the huge success of HBO’s A Game of Thrones, based on the bestselling Song of Ice and Fire series of fantasy novels by George R. R. Martin. Response to A Game of Thrones was immense, generating buzz far beyond the usual boundaries of the genre, generating commentary in places like The New York Times, and inspiring references in comic strips, game shows, The Big Bang Theory, and even drawing a satire from The Onion—and making George R. R. Martin, who was already famous within the SF/fantasy genre, a widely recognizable figure outside it as well. HBO’s other genre show, the campy vampire show True Blood, had a disappointing fourth season that turned off many of its core viewing demographic; let’s hope they can do better with the upcoming fifth season (what they primarily need is to increase the quality of the writing, which sagged this season, and bring it back up to its former high standard; the actors are mostly pretty good, but they can only work with what they’re given).

The two biggest debuts of SF shows in 2011 were probably Terra Nova, in which scientists escape through time from a doomed and ruined Earth to attempt to restart the human race in a prehistoric era, and Falling Skies, in which embattled guerilla militiamen battle alien invasion forces who have destroyed much of the Earth and killed most of the people, both expensive shows for television, and both produced by movie director Steven Spielberg, in his first foray into television. Falling Skies, which is perfectly valid as a genuine bit of military SF, although offering nothing that print SF fans haven’t seen dozens of times before, seems to have established itself, but Terra Nova, the more expensive of the two to produce, because of all those CGI dinosaurs, is wobbling badly in the ratings, and may not make it. Another Spielberg-produced show, The River, which looks like a Lost-flavored horror series, is coming up.

Cult favorite SF show Fringe, another expensive show to produce, is also wobbling in the ratings, and may not make it. If Fringe and Terra Nova do die, they’ll be following many another expensive special effects heavy shows such as Battlestar Galactica, Caprica, Firefly, and Stargate and its sequels into oblivion—the clear lesson being that supernatural shows, which are far less expensive to produce than SF shows (all you really need is some creature makeup), are more likely to survive on television than SF shows, particularly ones that take place in outer space. Supernatural, The Vampire Diaries, The Walking Dead, Teen Wolf, and American Horror Story are all coming back, to be joined by new supernatural shows, such as The Secret Circle, about witches, The Fades, House of Anubis, and the dueling fairy-tale series, Grimm and Once Upon a Time.

No Ordinary Family and The Cape died, and the long-running Smallville finished its final season, leaving the airways momentarily cleared of superheroes, although that probably won’t last long. V died. Spy spoof Chuck will finish its fifth and final half season in 2012. A Gifted Man, a rather peculiar attempt to cross the doctor show and the ghost show, featuring a doctor who is haunted by the nagging ghost of his wife, is sinking, and may already be gone by the time you read this. A new show, Touch, which, as far as I can tell from the coming attractions is about an autistic boy with preternatural powers of some sort, started early in the year; too early to tell how it’s going to be received.

The SF comedies Eureka and Warehouse 13 are returning, as are Doctor Who and Primeval and the British version of Being Human, although the fates of the American spin-offs of Torchwood and Being Human are uncertain, and they may both be dead. The animated SF satire Futurama, after being canceled for a couple of years and spinning off a couple of special features, is returning to regular production. Another animated series, Star Wars: The Clone Wars, is also returning. Mention should probably be made here of The Big Bang Theory, which, although not strictly a genre show, is so chockful of sly geek knowledge references to movie and television SF, print SF, online gaming, science, and comic books that I can’t imagine that it doesn’t appeal to the majority of genre readers.

A miniseries version of Kim Stanley Robinson’s Red Mars has been promised for a couple of years now, but has yet to make an appearance.

The 69th World Science Fiction Convention, Renovation, was held in Reno, Nevada, from August 17 to August 21, 2011. The 2011 Hugo Awards, presented at Renovation, were: Best Novel, Blackout/All Clear, by Connie Willis; Best Novella, “The Lifecycle of Software Objects,” by Ted Chiang; Best Novelette, “The Emperor of Mars,” by Allen M. Steele; Best Short Story, “For Want of a Nail,” by Mary Robinette Kowal; Best Related Work, Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It, edited by Lynne M. Thomas and Tara O’Shea; Best Editor, Long Form, Lou Anders; Best Editor, Short Form, Sheila Williams; Best Professional Artist, Shaun Tan; Best Dramatic Presentation (short form), Doctor Who: “The Pandorica Opens/The Big Bang”; Best Dramatic Presentation (long form), Inception; Best Graphic Story, Girl Genius, Volume 10: Agatha Heterodyne and the Guardian Muse, by Kaja and Phil Foglio, art by Phil Foglio; Best Semiprozine, Clarkesworld; Best Fanzine, The Drink Tank; Best Fan Writer, Claire Brialey; Best Fan Artist, Brad W. Foster; plus the John W. Campbell Award for Best New Writer to Lev Grossman.

The 2010 Nebula Awards, presented at a banquet at the Washington Hilton Hotel in Washington, D.C., on May 21, 2011, were: Best Novel, Blackout/All Clear, by Connie Willis; Best Novella, “The Lady Who Plucked Red Flowers Beneath the Queen’s Window,” by Rachel Swirsky; Best Novelette, “That Leviathan Whom Thou Hast Made,” by Eric James Stone; Best Short Story (tie), “Ponies,” by Kij Johnson and “How Interesting: A Tiny Man,” by Harlan Ellison; Ray Bradbury Award, Inception; the Andre Norton Award to I Shall Wear Midnight, by Terry Pratchett; and Solstice Awards to Alice Sheldon (aka James Tiptree, Jr.) and Michael Whelan.

The 2011 World Fantasy Awards, presented at a banquet on October 30, 2011, in San Diego, California, during the Twentieth Annual World Fantasy Convention, were: Best Novel, Who Fears Death, by Nnedi Okorafor; Best Novella, “The Maiden Flight of McCauley’s Bellerophon,” by Elizabeth Hand; Best Short Story, “Fossil-Figures,” by Joyce Carol Oates; Best Collection, What I Didn’t See and Other Stories, by Karen Joy Fowler; Best Anthology, My Mother She Killed Me, My Father He Ate Me, edited by Kate Bernheimer; Best Artist, Kinuko Y. Craft; Special Award (Professional), to Marc Gascoigne, for Angry Robot; Special Award (Nonprofessional), to Alisa Krasnostein, for Twelfth Planet Press; plus the Life Achievement Award to Peter S. Beagle and Angélica Gorodischer.

The 2010 Bram Stoker Awards, presented by the Horror Writers of America on June 19, 2011, at the Long Island Marriott Hotel in Uniondale, New York, were: Best Novel, A Dark Matter, by Peter Straub; Best First Novel, Black and Orange, by Benjamin Kane Ethridge and Castle of Los Angeles, by Lisa Morton; Best Long Fiction, Invisible Fences, by Norman Prentiss; Best Short Fiction, “The Folding Man,” by Joe R. Lansdale; Best Collection, Full Dark, No Stars, by Stephen King; Best Anthology, Haunted Legends, edited by Ellen Datlow and Nick Mamatas; Nonfiction, To Each Their Darkness, by Gary A. Braunbeck; Best Poetry Collection, Dark Matters, by Bruce Boston; plus Lifetime Achievement Awards to Ellen Datlow and Al Feldstein.

The 2011 John W. Campbell Memorial Award was won by The Dervish House, by Ian McDonald.

The 2011 Theodore Sturgeon Memorial Award for Best Short Story was won by “The Sultan of the Clouds,” by Geoffrey A. Landis.

The 2011 Philip K. Dick Memorial Award went to The Strange Affair of Spring Heeled Jack, by Mark Hodder.

The 2011 Arthur C. Clarke Award was won by Zoo City, by Lauren Beukes.

The 2011 James Tiptree, Jr. Memorial Award was won by Baba Yaga Laid an Egg, by Dubravka Ugresic.

The 2011 Sidewise Award went to When Angels Wept, by Eric G. Swedin (Long Form) and “A Clash of Eagles,” by Alan Smale (Short Form).

The Cordwainer Smith Rediscovery Award went to Katherine MacLean.

Dead in 2011 or early 2012 were: Science Fiction Hall of Fame inductee and SFWA Grandmaster Anne McCaffery, 85, the first woman to win a Hugo and Nebula Award, author of more than a hundred books, including the famous and bestselling Pern series, whose best-known works are probably “Weyr Search,” “Dragonriders,” and The White Dragon, the first SF novel to make the New York Times Best Seller List, a friend; Hugo, Nebula, and Tiptree award-winner

Joanna Russ, 74, SF writer and critic, author of such acclaimed books as The Female Man, Picnic on Paradise, and And Chaos Died, as well as much short fiction years ahead of its time, such as “Nobody’s Home,” “When It Changed,” “Souls,” and the Alyx stories, and also of many books of critical essays, a friend; distinguished fantasist

Diana Wynne Jones, 76, winner of the World Fantasy Convention’s Lifetime Achievement Award, and author of forty books, including the Chrestomanci series, Archer’s Goon, Howl’s Moving Castle, which was later made into an animated film by Hayao Miyazaki, and satirical nonfiction work, The Tough Guide to Fantasyland;

Russell Hoban, 86, author of more than fifty children’s books, including a long-running series about Frances the badger, perhaps best known to genre audiences for his adult SF novel Riddley Walker, which won the John W. Campbell Memorial Award and the Ditmar Award;

Thomas J. Bassler, 79, who wrote SF as T. J. BASS, best known for his work in the 1970s such as the SF novels Half Past Human and The Godwhale;

horror writer and editor Alan Ryan, 68, World Fantasy Award-winning author of many short stories that were collected in books such as The Bones Wizard, a friend;

prolific SF writer Larry Tritten, 72, particularly known for his humorous short stories;

Brian Jacques, 71, children’s fantasist, author of the well-known twenty-volume Redwall series;

prominent Australian fantasy author Sara Warneke, 54, who wrote many bestselling novels as Sara Douglass;

prominent German SF writer, agent, and editor Hans Joachim Alpers, 67;

British writer Euan Harvey, 38, a frequent contributor to Realms of Fantasy and elsewhere;

Gilbert Adair, 66, Scottish writer, critic and translator;

Colin Harvey, 51, British SF writer, author of six novels and more than thirty short stories;

William Sleator, 66, children’s and YA novelist;

Juan Carlos Planells, 61, Spanish author and critic;

Leslie Esdaile Banks, 51, popular urban fantasy author who published as L. A. Banks;

Joel Rosenberg, 57, SF and mystery author;

John Frederick Burke, 89, British SF and mystery author who wrote as Jonathan Burke; Vittorio Curtoni, 61, Italian SF writer, editor, and translator;

Minoru Komatsu, 80, Japanese SF writer, screenwriter, and essayist, who wrote under the name Sakyo Komatsu;

Ion Hobana, 80, Romanian SF writer;

Moacyr Scliar, 73, Brazilian fantasy author;

John Glasby, 82, British SF and fantasy author;

Wim Stolk, 61, Dutch fantasy artist and writer who wrote as W. J. Maryson;

Lisa Wolfson, 47, YA and SF author who wrote as L. K. Madigan;

John M. Iggulden, 93, Australian SF author;

British SF writer Lionel Percy Wright, 87, who wrote as Lan Wright;

Richard Bessière, 88, French SF author;

Louis Thirion, 88, French SF author;

Thierry Martens, 69, Belgian author, editor, anthologist, and comics historian;

Mark Shepherd, 49, SF author;

Les Daniels, 68, comics historian and author of Comix: A History of Comic Books in America, who also wrote a series of vampire novels;

Glenn Lord, 80, U.S. agent for the Howard estate, author of The Last Celt: A Bio-Bibliography of Robert Ervin Howard;

Theodore Roszak, 77, SF writer and essayist, author of The Making of a Counter Culture: Reflections on the Technocratic Society;

H.R.F. Keating, 84, mystery writer who also occasionally wrote SF;

Craig Thomas, 69, Welsh technothriller writer of Firefox, which was later made into a well-known movie;

Martin Woodhouse, 78, British author and screenwriter;

Robert C. W. Ettinger, 92, cryonics advocate and occasional SF writer, author of the nonfiction books The Prospect of Immortality and Man into Superman;

Martin H. Greenberg, 70, prolific anthologist and academic, involved in the editing of more than a thousand anthologies, founder of the book-packaging company Tekno Books;

Margaret K. McElderry, 98, children’s editor and publisher, founder of children’s imprint Margaret K. McElderry Books;

Philip Rahman, 59, cofounder of the weird fiction publisher Fedogan and Bremer;

Malcolm M. Ferguson, 91, writer, bookseller, librarian, and collector;

Darrell K. Sweet, 77, one of the most acclaimed SF and fantasy cover artists of modern times;

Jeffrey Catherine Jones, 67, prominent fantasy cover artist;

Gene Szafran, 69, SF cover artist and illustrator;

Cliff Robertson, 88, movie and TV actor, probably best known to genre audiences as the lead in Charly, the film version of “Flowers for Algernon,” and for his role as Uncle Ben in the Spider-Man movies;

Harry Morgan, 96, movie and TV actor probably best known to everybody as ‘Colonel Potter’ from the TV show M*A*S*H, but who also appeared in many films, including Inherit the Wind and The Ox-Bow Incident;

Peter Falk, 83, film and television actor probably best known for his long-running role as the rumpled detective in Columbo, but who will also be familiar to genre audiences for roles in The Princess Bride, Murder by Death, and Tune in Tomorrow;

Nicol Williamson, 75, British stage and film actor, probably best known to genre audiences for his roles as Merlin in Excalibur, as Sherlock Holmes in The Seven-Per-Cent Solution, and as Little John in Robin and Marian;

James Arness, 88, film and television actor best known as Matt Dillion on Gunsmoke, but who also appeared as The Thing in The Thing from Another World and in Them!;

John Wood, 81, stage and screen actor, probably best known to genre audiences for roles in WarGames, The Purple Rose of Cairo, and Chocolat;

Bob Anderson, 89, former Olympic fencer, fight director, stunt performer, and swordmaster, who staged many of cinema’s most famous duels in films such as The Princess Bride, The Adventures of Robin Hood, and the Star Wars movies;

James “Rusty” Hevelin, 89, longtime fan, fanzine publisher, collector, and huckster, a friend;

Michael D. Glickson, 64, longtime Canadian convention and fanzine fan, who won a Hugo in 1973 for his fanzine Energumen, a friend;

Susan Palermo-Piscitello, 59, musician and longtime fan, a friend;

Terry Jeeves, 88, British fan artist, writer, and publisher;

John Berry, 80, longtime Irish fan;

Paul Gamble, 61, British fan and bookseller;

Steve Davis, 72, husband of author and editor Grania Davis;

musician Marty Burke, 68, husband of SF author Diana Gallagher;

Elzer Marx, 86, father of SF writer Christy Marx;

April B. Derleth, 56, daughter of August Derleth and co-owner of Arkham House.