An Irish Worldcon, Part 1: Thursday

Worldcon is what they call the World Science Fiction Convention. My past form with Worldcon write-ups is not great: my account of Loncon was impressionistic and my more in-depth multi-part report on 2017’s Helsinki Worldcon remains unfinished. Nevertheless, I am now going to attempt to describe my time at this year’s Worldcon, the 77th, which was for the first time held on the island of Ireland, in Dublin. Programme events took place mainly in the Convention Centre Dublin, with spillover events 15 minutes away in Point Square.

For me this was a rather different event to the previous two Worldcons I have attended. I went to London purely as an attendee while in Helsinki I found myself doing a small amount of work in connection with the Hugo Awards, but frankly not that much. In Dublin however I was pretty busy with important Worldcon business. On the one hand I had the wonderful title of Hugo Trophy Wrangler, which basically meant that I had the key to the rooms in which the trophies were stored and spent much of the convention taking trophies in and out of the rooms and in and out of their boxes. I also did some volunteering on the information desks. Together these meant that I had far less time to attend programme items than at previous Worldcons (and when I had the time I was often too frazzled). So in a way that makes this easier to write, as less programme items attended = less programme items to write about.

The first actual panel I attended was one of the ones taking place on Thursday morning, just as the convention opened. This saw Heidi Lyshol, Robert Silverberg, Jukka Särkijärvi and Jo Walton discussing this year’s Retro Hugo finalists. As you know, the Retro Hugos are awarded for years where there no Hugo Awards. Dublin was awarding Retro Hugos for works published in 1943 (which would have been awarded in 1944 in an alternate universe in which a Hugo-awarding Worldcon took place that year). I am fond of the Retro Hugos, as many of the authors and works they honour are ones whose output appeared in the SF anthologies I read when I was first exploring the genre. This year I found myself researching Retro eligible material that people might want to nominate for blog posts that appeared on the Worldcon website; I also found links to where most of the Retro Hugo finalists can be read online, so I felt particularly engaged with the process.

If you have read the Retro finalists then you will surely agree that the stand-out work is the novelette “Mimsy Were The Borogoves“, published under the pseudonym Lewis Padgett by C. L. Moore and Henry Kuttner. Moore and Kuttner, writing either together or separately were astonishingly prolific in 1943, managing to have at least one work in each of the four fiction categories. And yet the husband and wife team are not that well known today. Robert Silverberg offered two theories why this is so. Firstly after Kuttner’s early death his agent started demanding ludicrously inflated fees for reprints of his work, which meant that it tended not to appear in anthologies and so dropped out of public consciousness. C.L. Moore meanwhile did not suffer an untimely death, but her tendency to write under pseudonyms meant that she never acquired the reputation her work deserves. Perhaps the Retro Hugos will lead to an upsurge of interest in their work.

Beyond that there was much discussion on whether voters and nominators for the Retro Hugos should approach it with the mindset of today or attempt to do so as someone would in 1944. This is an argument that came up when I was researching the Retro eligible material (I recall someone telling me that Tintin comics should not be nominated as no one in US fandom in 1944 would have been aware of it). Hugo Administrator Nicholas Whyte spoke from the floor to say that no instructions are given to voters and nominators as to how to approach their task: as with real elections they can choose themselves the basis on which they will assign their vote. My own view however is that people of today can only vote as people of today and that it is simply impossible to realistically insert yourself into the mindset of the 1940s. Furthermore, the idea that people should vote in the Retro Hugos as a fan of the 1940s would vote is dangerously American-centric. SF fandom was basically a North American thing back then, and if we are to say that the Retro Hugos can only be voted on from a 1940s mindset then the votes of those of us from the rest of the world will be deemed less valid. Nevertheless, nominators and voters for the Retro Hugos are free to choose the approach they want; members of next year’s Worldcon will be able to nominate whatever material they like from 1944 for the 1945 Retro Hugos that will be awarded in New Zealand.

I had then hoped to attend a panel discussion on gothic literature (unlike SF a genre in which Ireland has historically excelled) but it was full, so instead I found myself at a manel on the Irish oddball writer Flann O’Brien (who also wrote as Myles na gCopaleen and whose real names were Brian O’Nolan and Brian Ó Nualláin), which featured Frank McNally, Nicholas Whyte, Pádraig Ó Méalóid and Nigel Quinlan. I was impressed that they managed to get half way through their panel before mentioning the thing in The Third Policeman about cyclists who have exchanged so many molecules with their bikes that they start displaying bicycle characteristics (while their bikes start going a bit human); this is pretty much the first thing everyone learns about Flann O’Brien.

When I came out of the Flann O’Brien panel I found the Convention Centre’s narrow corridors to be getting a bit overcrowded as people leaving panels became entangled with those queuing for the next ones; Dublin was starting to run into the congestion issues that had bedevilled the beginning of the Helsinki Worldcon. Fair dues however to the Con Ops people, they seemed to have this issues under control by the afternoon thanks to assiduous queue marshalling. In the meantime I paid a visit to Point Square, where I attended an interesting session of the Worldcon academic track. Unlike the panels, academic track sessions see brainy people present short papers. Academic track participants tend to be academics and not popular authors, but they make up for their lack of fame by being able to frame interesting arguments and the format allows for the well-developed exposition of intriguing ideas. At any Worldcon I have been to the academic track events are always a highlight, and Dublin was no exception.

At this academic session I caught three fascinating presentations, with the Nora E. Derrington’s discussion of Octavia Butler’s Kindred intriguing me so much that I subsequently bought the book as a birthday present for my sister. I also liked Eliza Bentley’s discussion of past signifiers in time travel classic Hot Tub Time Machine and Sorcha O’Brien’s exploration of design elements in Firefly/Serenity (a well-known TV series and film).

Space business meant that I was not able to enjoy much of the programme after that; my afternoon saw a lot of Hugo trophy related action in the run-up to the Retro Hugos being awarded as part of the opening ceremony. That saw me lurking backstage and handing trophies to the people who handed them to the presenters who handed them to the persons accepting the awards on behalf of the actual winners (all of whom have sadly shuffled off this mortal coil).

more Worldcon write-up action coming soon!

Henry Kuttner and C. L. Moore image source: (Lewis Padgett and Mimsy Were the Borogoves)

More of my amazing Worldcon pictures

Finding the other Retro Hugo finalists online

In Dublin this August the Hugo Awards for the best science fiction and related stuff from 2018 will be awarded. Dublin will also be awarding Retro Hugos for material from 1943. In a previous post I linked to where most of Retro Hugo finalists in the novel, novella, novelette, and short story categories can be found online. But what of the other categories? Sadly here things seem to be a bit more difficult, but there is still more than nothing that can be looked at online for free.

Best Graphic Story

Readers will I think struggle to find some of the finalists in this category. Jack Cole’s Plastic Man #1: The Game of Death is available in full on the Digital Comics Museum for online reading and downloading. Steve Dowling’s Garth is downloadable from the blog British Comic Compilations (the Garth 001 download contains the material from 1943).

They seem to be the only finalists readily available in full online. The blog The Wonders You Can Do has an interesting post summarising and analysing Wonder Woman #5: Battle for Womanhood (by William Moulton Marsden and Harry G. Peter), complete with some illustrations. The Black Gate blog meanwhile has an illustrated summary of Alex Raymond’s Flash Gordon: Fiery Desert of Mongo. Hergé’s The Secret of the Unicorn is available in many libraries and all good bookshops; a summary with sample illustrations can be seen on Tintin.com. Your local library may also have the 1969 edition of The Collected Works of Buck Rogers in the 25th Century, which contains Philip Nowlan and Dick Calkins’ Martians Invade Jupiter

Best Dramatic Presentation, Long Form

Heaven Can Wait and Münchhausen are both available in full on YouTube. The Internet Archive meanwhile appears to have Batman, Cabin in the Sky, and Phantom of the Opera. And OK.RU has A Guy Named Joe.

Better quality versions of these films may be available from commercial streaming services.

Best Dramatic Presentation, Short Form

The Ape Man, Frankenstein Meets the Wolfman, Der Fuehrer’s Face, and Super-Rabbit are all available on YouTube. The Seventh Victim is on Dailymotion.

That leaves I Walked With a Zombie, for which YouTube has just a trailer. It might be available from commercial streaming services.

Best Professional Editor, Short Form

Here are links to what the Internet Speculative Fiction Database lists the finalists as having edited in 1943. Have a look at each issue’s table of contents and see if it tickles your fancy. If you have infinite time, consider popping over to the Internet Archive to skim some of these issues.

John W. Campbell Jr.: Astounding Science Fiction & Unknown Worlds

Oscar J. Friend: Thrilling Wonder Stories

Mary Gnaedinger: Famous Fantastic Mysteries

Dorothy McIlwraith: Weird Tales

Raymond A. Palmer: Amazing Stories & Fantastic Adventures

Donald A. Wollheim: The Pocket Book of Science Fiction

Best Professional Artist

Samples of Hannes Bok‘s art can be seen here on the blog Monster Brains. Readers can also check out his illustrations to Robert W. Chambers’ “The Yellow Sign” in the September 1943 issue of Famous Fantastic Mysteries.

While primarily famous for her saucy covers for Weird Tales, Margaret Brundage appears to have had a fairly quiet year in 1943, producing just the one somewhat tame cover then. A Google image search gives a broader look at her career.

Virgil Finlay‘s work can be seen on the covers of the March 1943 issue of Famous Fantastic Mysteries and the February & May 1943 issues of Super Science Stories. Finlay is also noted for his interior art, examples of which can be seen in his illustrations for C.L. Moore & Henry Kuttner’s Earth’s Last Citadel (separately a finalist in the Best Novel category).

Unless you have been living under a stone you almost certainly are broadly familiar with the illustrations Antoine de Saint-Exupéry created for his own book The Little Prince, but if you need a refresher check out this post on the blog Faena Aleph.

J. Allen St. John‘s work can be seen on the covers of the January and February 1943 issues of Amazing Stories.

The art of William Timmins can be see on the covers of the February, June, and October 1943 issues of Astounding Science Fiction.

Fanzine and Fanwriter

FANAC.ORG is an amazing archive of fan stuff of yore. The people that run it created a portal page for fanzines from 1943 there, and there you will find links to scans of the finalists in both of the fan categories.

In case you can’t remember, the best fanzine finalists are:
Futurian War Digest, editor J. Michael Rosenblum
Guteto, editor Morojo (Myrtle R. Douglas)
The Phantagraph, editor Donald A. Wollheim
Voice of the Imagi-Nation, editors Jack Erman (Forrest J Ackerman) & Morojo (Myrtle Douglas)
YHOS, editor Art Widner
Le Zombie, editor Wilson “Bob” Tucker 

The Best Fan Writer finalists are:
Forrest J. Ackerman
Morojo (Myrtle Douglas)
Jack Speer
Wilson “Bob” Tucker
Art Widner
Donald A. Wollheim
 
So there you go. With voting in the Hugos and Retro Hugos closing on 31 July, this does not leave much time to research your ballot.

In the meantime, here is another picture of my cat, with SF books in background:

More cat action

edited with a link to a download of Garth and information on where Buck Rogers: Martians Invade Jupiter can be found (information provided by Ambyr), and also to correct an error in the listing of the nominees in the fanzine category.

Finding the 1944 Retro Hugo finalists online

Soon in Dublin the winners of this year’s Hugo Awards will be revealed, including the winners of the Retro Hugo Awards for science fiction published in 1943. This year unfortunately there is no voters packet for the Retro Hugos. However most of the publications in which the finalists appeared are available on the Internet Archive, where they can be read online or downloaded by Hugo Award voters. See below for links to where the various works can be found. Voting closes at midnight on 31July, so get reading.

Novels

Conjure Wife by Fritz Leiber, Jr. can be found in the April 1943 issue of Unknown Worlds.

Earth’s Last Citadel by C.L. Moore and Henry Kuttner originally appeared in the April 1943 issue of Argosy, but it was subsequently reprinted in the July 1950 issue of Fantastic Novels.

Gather, Darkness! by Fritz Leiber, Jr. can be found serialised in the May, June and July 1943 issues of Astounding Science-Fiction.

Das Glasperlenspiel [The Glass Bead Game] by Hermann Hesse (originally published by Fretz & Wasmuth) is readily available from bookshops and libraries.

Perelandra by C.S. Lewis (originally published by John Lane, The Bodley Head) is also readily available from bookshops and libraries.

The Weapon Makers by A.E. van Vogt was serialised in the February, March and April 1943 issues of Astounding Science-Fiction.

Novellas

“Attitude” by Hal Clement appeared in the September 1943 issue of Astounding Science-Fiction.

“Clash by Night” by Lawrence O’Donnell (Henry Kuttner & C.L. Moore) appeared in the March 1943 issue of Astounding Science-Fiction.

“The Dream-Quest of Unknown Kadath” by H.P. Lovecraft originally appeared in the collection Beyond the Wall of Sleep from Arkham House and is now readily available from bookshops and libraries; it can also be seen here, on the H.P. Lovecraft Archive.

The Little Prince by Antoine de Saint-Exupéry was originally published by Reynal & Hitchcock and is available everywhere.

The Magic Bed-Knob; or, How to Become a Witch in Ten Easy Lessons by Mary Norton was originally published by Hyperion Press and can possibly be sourced from bookshops and libraries.

“We Print the Truth” by Anthony Boucher appeared in the December 1943 issue of Astounding Science-Fiction.

Novelette

“Citadel of Lost Ships” by Leigh Brackett appeared in the March 1943 issue of Planet Stories.

“The Halfling” by Leigh Brackett appeared in the February 1943 issue of Astonishing Stories.

“Mimsy Were the Borogoves” by Lewis Padgett (C.L. Moore & Henry Kuttner) appeared in the February 1943 issue of Astounding Science-Fiction.

“The Proud Robot” by Lewis Padgett (Henry Kuttner) appeared in the October issue of Astounding Science-Fiction.

“Symbiotica” by Eric Frank Russell also appeared in the October issue of Astounding Science-Fiction.

“Thieves’ House” by Fritz Leiber, Jr appeared in the February issue of Unknown Worlds.

Short Story

“Death Sentence” by Isaac Asimov appeared in the appeared in the November 1943 issue of Astounding Science-Fiction.

“Doorway into Time” by C.L. Moore appeared in the September 1943 issue of Famous Fantastic Mysteries.

“Exile” by Edmond Hamilton originally appeared in the May 1943 issue of Super Science Stories. That appears not to have been uploaded to the Internet Archive but the text of the story can be seen here and here.

“King of the Gray Spaces” (“R is for Rocket”) by Ray Bradbury appeared in the December 1943 issue of Famous Fantastic Mysteries.

“Q.U.R.,” by H.H. Holmes (Anthony Boucher) March 1943 issue of Astounding Science-Fiction.

“Yours Truly – Jack the Ripper” by Robert Bloch appeared in the July 1943 issue of Weird Tales.

I will do another post with links to where people can see some of the finalists in the other categories. In the meantime, Jeff Vandermeer once said that you should always include a picture of your cat in social media posts, so here is Billy Edwards.

Patrolling the mean streets of Dublin city.

more cats

1943 Comics and the Retro Hugos

I wrote some pieces on 1943 publications for the Dublin Worldcon blog, as a guide to people who are nominating for the Retro Hugo awards, which will be awarded at the World Science Fiction Convention in Dublin this year. One of these posts included a discussion of 1943 comics. Comics are a visual medium but I did not include images there for fear of getting Worldcon into copyright trouble. I have no such fears regarding my own blog, so here is a discussion of 1943 comics, with added images.

Comics have sometimes been a bit of a problem category for the Retro Hugos. Lots of people like comics and lots of comics were published in years eligible for Retro Hugo recognition, but many 1940s comics were extremely ephemeral, never reprinted and only read in more recent years by serious collectors. There are online databases containing scans of vintage comics now in the public domain, notably Comic Book Plus and the Digital Comic Museum, but they are a bit terrifying in the amount of material they offer. The Digital Comic Museum unfortunately does not have an obvious means of searching its database by year, but Comic Book Plus does at least allow readers to see comics published month by month in 1943. If readers start here they will see comics books whose precise 1943 cover date is unknown. Clicking on next brings up January 1943 comics, and so on. Comics here can be downloaded (after registering) or viewed online. So, trawling there might uncover comics worth nominating, but beware: many big comics of the era are still in copyright and are not included in Comic Book Plus (or indeed in the Digital Comics Museum). Batman and Superman appeared in a variety of titles and formats in 1943 but neither of them are to be found in these datasets.

One comic that is not in either of those databases, presumably because it remains in copyright, is The Victory Garden, which appeared in Walt Disney’s Comics and Stories #31. This sees a popular anthropomorphic duck’s attempts to grow vegetables being thwarted by some greedy crows. The Victory Garden is noteworthy as the first Donald Duck comic drawn by Carl Barks. Carl Barks also gave us The Mummy’s Ring (originally appearing in Four Color Comics #29) in which Donald and his nephews find themselves caught up in Egyptological adventures.

Wonder Woman and Plastic Man have appeared separately in two 1943 comics that have received some praise. Plastic Man and the Game of Death (by Jack Cole for Quality Comics) sees the stretchable superhero take on a death cult, Japanese spies (with the usual problematic stereotyping) and cowboys in a series of bizarre adventures. Meanwhile in Battle for Womanhood (by created by William Moulton Marston and Harry G. Peter for All-American Publications and appearing in Wonder Woman #5) Wonder Woman faces up against Dr. Psycho, who attempts to undermine the US war effort by creating a spectral George Washington who warns against the employment of women in war industries. Dr. Psycho’s motivation seems to be straightforward misogyny rather than axis-sympathies, with this villainous genius wanting to reverse the gains women have achieved in American society. Marva, his wife, is bound to him by his hypnotic powers and he is keen to reduce all women to a state of servitude, something Wonder Woman is keen to prevent (although she is briefly enslaved by Dr. Psycho herself). As befits Marston’s feminist views, the story ends with Dr. Psycho’s defeat and Marva freed to receive a message of female empowerment.

Newspaper strips were an important part of the comics firmament in 1943. The year saw the conclusion of the Flash Gordon series Fiery Desert of Mongo (by Alex Raymond for King Features Syndicate).

Two Buck Rogers strips concluded this year, Martians Invade Jupiter and Mechanical Bloodhound (both by Dick Calkins for National Newspaper Syndicate); these were subsequently collected as Volume 9 of the Buck Rogers In The 25th Century: Dailies.
The Brick Bradford newspaper strip On the Throne of Titania, created by Clarence Gray and William Ritt for the Central Press Association, finished its run of more than two years in 1943. Like Flash Gordon, Brick Bradford started life as a Buck Rogers knock-off before embarking on his own travels through both time and space, eventually becoming better known in Europe than in the USA. As well as the daily strips, Gray and Ritt also produced a weekly Brick Bradford strip for the Sunday newspapers, with The Men Of The North and Ultrasphere both finishing in 1943.
1943 also saw the conclusion of the Sunday newspaper strip John Carter of Mars, adapted by John Coleman Burroughs from his father’s books and distributed by United Feature Syndicate. The strip was less successful than Rice Burroughs’ novels and was sadly cancelled in midstream in March 1943; readers never did get to see Dak Kova’s prize).
A more popular newspaper strip in 1943 was Prince Valiant, created by Hal Foster for King Features Syndicate. Readers may have encountered Fantagraphics’ reprints of Prince Valiant, volume 4 of which includes stories from 1943. Little Orphan Annie (by Harold Gray, for Tribune Media Services) was also widely read.
In 1943 as now comics were not just being published in the Anglophone world. In Nazi-occupied Belgium, Hergé was writing Tintin comics, with Secret of the Unicorn published in book form by Casterman and its sequel Red Rackham’s Treasure serialised in Le Soir. Unlike some other Tintin titles, neither of these deal particularly with science fictional or explicitly fantastic themes, yet there is a strange outlandishness to all of Tintin’s adventures that could slide them into Hugo eligibility.

Another noteworthy Belgian comic of 1943 is Le Rayon U (translated much later into English as The U Ray) by Edgar P. Jacobs (more famous for his subsequent Blake & Mortimer comics). Le Rayon U appeared in the pages of Bravo and is a fantasy/science fiction tale in the Flash Gordon mould, which it was produced to replace, as the US entry into the war meant that Flash Gordon comics could no longer be imported into Europe.

image sources:

The Victory Garden (The Disney Wiki)

The Mummy’s Ring (Pencil Ink)

Battle for Womanhood (The Wonders You Can Do: Doctor Psycho: One of Wonder Woman’s Vilest Villains)

Flash Gordon & Desira (Black Gate: Blogging Alex Raymond’s Flash Gordon, Part Nineteen – “Fiery Desert of Mongo”)

Brick Bradford (Comic Art Fans)

John Carter of Mars, the final episode (The Daily Cartoonist: First and Last – John Carter of Mars Comic Strip)

Prince Valiant (The Comics Journal)

Tintin & co. land on an island (Tintin official site: Red Rackham’s Treasure)

Le Rayon U (Cool French Comics)

1943 Science Fiction and Fantasy Art

As you know, the World Science Fiction Convention is coming to Dublin this year. At this the Hugo Awards for science fiction (and fantasy) works produced in 2018 will be bestowed, but so too will the Retro Hugos, for works produced in 1943. I wrote blog posts for Worldcon on eligible 1943 material, as an assistance to nominators. One of these posts included a list of professional artists who had produced eligible work in 1943. Because I was unsure of the copyright situation regarding hotlinked images and did not want to set the intellectual property cops onto Worldcon, I did not include any pictures in that post. However I do not really care about the copyright cops coming after me, so here are those Retro Hugo eligible artists again, this time with samples of their work. Unless otherwise stated, the images are either from the Internet Speculative Fiction Database or from Galactic Central (which was in turn linked to from the ISFDB).

Many science fiction and fantasy artists of 1943 earned their living creating covers for magazines, some of which could be pretty lurid.

A. R. Tilburne: Weird Tales, January 1943, Weird Tales, September 1943, & Weird Tales, November 1943

Earle K. Bergey: Startling Stores, June 1943 Captain Future, Summer 1943, & Thrilling Wonder Stories, April 1943

George Gross: Jungle Stories, April 1943, Jungle Stories, February 1943, & Jungle Stories, Summer 1943


George Rozen: Planet Stories, Fall 1943 & Planet Stories, May 1943

Harold W. McCauley: Fantastic Stories, May 1943, Amazing Stories, May 1943, & Fantastic Adventures, June 1943

J. Allen St. John: Amazing Stories, January 1943 & Amazing Stories, February 1943

Jerome Rozen: Planet Stories, March 1943

Lawrence: Famous Fantastic Mysteries: December 1943

Margaret Brundage: Weird Tales, May 1943(pretty tame by Brundage’s usual standards)

Milton Luros: Astonishing Stories, February 1943, Future Fantasy and Science Fiction, February 1943, & Science Fiction, July 1943

Robert Fuqua: Amazing Stories, March 1943, Amazing Stories, April 1943, & Amazing Stories, August 1943

Robert Gibson Jones: Fantastic Adventures, February 1943, Fantastic Adventures, March 1943, & Amazing Stories, November 1943

Virgil Finlay: Famous Fantastic Mysteries, March 1943, Super Science Stories, February 1943, & Super Science Stories, May 1943

William Timmins: Astounding Science Fiction, February 1943, Astounding Science Fiction, June 1943, & Astounding Science Fiction, October 1943

Mervyn Peake would subsequently gain a measure of fame as the author of the Gormenghast novels, but in 1943 he was attempting to earn a living as an artist. His eerie illustrations for an edition of Coleridge’s Rime of the Ancient Mariner appear to be Retro Hugo eligible.
(image from Mervyn Peake, the Official Site)

Children’s book illustrations might also be the kind of thing that appeals to Retro Hugo nominators. Antoine de Saint-Exupéry‘s own illustrations for The Little Prince are a big part of that book’s appeal. Enid Blyton’s The Magic Faraway Tree would not be the same without Dorothy M. Wheeler‘s illustrations.
(Antoine de Saint-Exupéry image from Faena Aleph, Dorothy Wheeler from The Enid Blyton Society)

Boring disclaimer: this list of Retro Hugo eligible artists is not definitive and there may well be other, better artists whose readers’ own researches will uncover.

Worldcon is coming to Dublin

Next year the World Science Fiction Convention is coming to Dublin. This is the first time Worldcon has taken place in Ireland, which makes this an exciting event. But what is this Worldcon? Well, Worldcon is a science fiction convention that takes place in a different city each year. The first Worldcon was in New York in 1939, taking its name from the World Fair of that year. After taking a few years off for the Second World War it has been running continuously since 1946. Worldcon moved outside the United States for the first time in 1948, when it took place in Toronto, and made its first trip away from North America in 1957 when the first London Worldcon took place.

The first Worldcon saw just 200 science fiction fans meet at the Caravan Hall in New York. Since then the event has expanded enormously. The 2017 Worldcon in Helsinki had an attendance of just under 6,000 while the 2016 Worldcon in Kansas City had some 4,600 people attending. There will most likely be numbers of that magnitude attending Worldcon next year in the Dublin Convention Centre.

The scale of a Worldcon can be stunning to a first time attendee and Dublin 2019 will be no different. There will be thousands of science fiction fans attending, loads and loads of authors and hundreds of multi-tracked programme items. Worldcon attendees will have a vast range of events to choose from, including panel discussions (which I think of as the real meat of the convention though others may disagree), film screenings, author interviews, readings & signings, presentations by academics (brainy people saying brainy things about science fiction and fantasy), art shows and so on. There will be dealers selling books and other items and places for attendees to eat, drink and hang out. Some people will be dressed up as their favourite characters and the Masquerade event will see the most spectacular costumes compete against each other.

A key event at any Worldcon is the Hugo Awards ceremony. The Hugos, named after early science fiction editor and publisher Hugo Gernsback, are voted by Worldcon members and are the most prestigious prizes in science fiction (do not listen to disgruntled winners of other awards who have yet to receive a Hugo). In Dublin, awards will be given for works published in 2018, which will include categories for novels, short novels, short stories, films, artworks, and other things, with both professional and fan works being honoured. The Dublin Worldcon is also taking up the option of awarding Hugos for items published in 1943, to make up for there being no Hugo Awards in 1944. If like me you are not great at keeping up with contemporary science fiction you might find you have read more of the works nominated for these Retro Hugos.

Unlike some other conventions, Worldcon has no Mr Big behind it raking in the $$$$s. Worldcon is fan-run, with a chair and organising committee that changes each year. People who attend buy membership rather than an admission ticket. In fact, apart from the guests of honour, everyone at Worldcon has bought their own membership. George R.R. Martin attends every Worldcon and is probably the biggest author of science fiction and fantasy in the world right now, but he pays more to attend than a first-time Worldcon attendee.

At time of writing, Worldcon membership is €110 for a first time attendee. That sounds like a lot, but for that you are in for the full five days of the convention and get to attend everything at it – there are no hidden extra charges. That will also get you the Hugo Awards voter packet (digital copies of all or most of the nominated works, depending on generosity of the rights holders), whose value can be considerable. It is possible to pay by instalments and there a fund to support people who would like to attend but are unable to afford to do so.

Worldcon membership is due to go up in September, so buy now at the lower rate while you can. However I understand that the price increase will be only incremental, so if you do not get round to buying membership until next week do not think that it will have increased drastically to a completely unaffordable level.

More information on the Dublin Worldcon can be found here, with it being possible to join this important event here. If you are still curious as to what goes on at a Worldcon then I have a sadly incomplete series of posts about the 2017 Helsinki Worldcon here.

I hope you decide to join us. If you have any interest in science fiction you will not want to miss this.