Many people in the YA community were less than enthused when the Locus Awards announced their 2016 finalists. The YA finalists were all men, one of whom was nominated twice, and several of whom it’s questionable to classify as YA authors at all. The recommended reading list they were chosen from was itself 55% male, even though YA is vastly female-dominated, again full of authors dubiously classified as YA, and riddled with glaring omissions: No Renee Ahdieh, no Victoria Aveyard, and no Sabaa Tahir to name just a few, even though they’re all bestselling, critically acclaimed authors beloved by the YA community.
Notably, the recommended reading lists are variable length and the YA list had an odd-numbered 19 entries. So the Locus Awards didn’t exclude these and the dozens of other female authors of YA fantasy due to limited space; they simply didn’t think they were worthy of consideration for the award.
And then it came to light that in the award’s 13 years, 9 times the award has gone to a white man (not counting one coauthored book). Only two women and one man of color have ever won. Seven times–more than half–the award went to the same three men (Neil Gaiman, Terry Pratchett, and China Miéville).
"YA lit is dominated by women."
The Locus Awards for best YA lit: 11 men, 3 women. pic.twitter.com/B2LMtC1eot
— Shannon Hale (@haleshannon) May 3, 2016
Coming just two weeks after the Hugos fell victim to their second ballot-stuffing debacle in as many years, this time hilariously leading to the nomination of the Chuck Tingles dinosaur erotica story Space Raptor Butt Invasion, the Locus Awards were the last holdout of respectability for SFF awards. Naturally, voices in the sci-fi community were quick to leap on them as an exemplar of how awards should be conducted.
Locus Awards. a) Interesting and good. b) Indicative of what a Hugos without racist vandals would look like. https://t.co/YiE6CwdwDv
— Damien Walter (@damiengwalter) May 4, 2016
When YA authors, so rarely given a seat at the grown-up’s table in the SFF community, expressed their objections, they were met with a shrug, even from usually sympathetic quarters. Sure, it’s too bad that the award completely excludes women, so the response from Neil Gaiman went, but nobody cheated, so that’s just how the cookie crumbles.
— Neil Gaiman (@neilhimself) May 4, 2016
Yes, we have fallen so far that an absence of slate voting is a major plus instead of an assumed baseline.
But let’s look at the middle sentence of Gaiman’s response: “But also award-winning authors who wrote popular books.” In other words, the nominations are fair because all the nominated authors deserved to win, a sentiment I saw echoed by other people as well. Let’s take it as fact for a moment (setting aside the question of whether those authors should have been in the YA category at all, or whether Joe Abercrombie was really twice as deserving as all the snubbed authors put together). This is common logic that gets applied to everything from who gets into college to who wins an Oscar. On the surface, it seems sound. Who can argue with deserving people getting rewarded? But the underlying assumptions are more complex and less innocent than they appear.
The Hugos have overshadowed this fact, but true award snubs, where an obvious shoo-in loses out to an obviously undeserving contender, aren’t terribly common. Most of the time, there are several strong contenders for an award, and while you might maintain that one of the losers should have won, you can’t usually unequivocally say that the winner shouldn’t have. The white male authors who edge out women and minorities for recognition aren’t usually guys like Chuck Tingles; they’re usually people like Neil Gaiman and Terry Pratchett, who are good writers and do deserve awards.
Thus, it’s hard to pinpoint bias in any individual case because you’d have to claim that Coraline, for instance, didn’t deserve an award. It’s only when you look at the entire landscape that a pattern develops where the deserving winners are almost always white men, while the equally deserving women and minorities walk away empty-handed time and time again.
Where are the female Gaimans and Pratchetts? The household names whose every release is a major event guaranteed to sweep the awards? There’s no lack of talented women, but without the recognition of power brokers like the ones who created the recommended reading list, they have little chance of achieving that kind of widespread recognition. Sure, there’s two-time Locus winner Catherynne Valente, but as the only solo female winner, she’s a token. She deserves better than to exist as proof that women can technically win the award. (For that matter, Gaiman deserves better than to win awards because he’s the default choice of readers who simply aren’t aware of any of the women who might provide serious competition.) Besides, she can’t be used to excuse this year’s all-male nominees.
The sentiment that it’s fair for white men to win all the awards as long as they’re sufficiently talented sends the message that women and minorities are supposed to sit down and shut up until the white men have gotten all the attention they deserve. And it sends another message, too: That the Locus Awards are just one more way the sci-fi community is out of touch.