Hugo Award Nominations by Country

Posted September 18, 2015 by Lynn E. O'Connacht in Miscellaneous / 18 Comments

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Hugo Award Nominations by Country

This year, much has been said about the Hugo Awards. For those unaware (somehow?), the Hugo Awards are one of the most prestigious American awards for science fiction and fantasy published in English in the last year. They’re voted on by members of Worldcon, which is anyone from anywhere in the world as long as they pay. But most from the US. This post actually isn’t about what’s been said about and around the Hugos this year, but I’d be lying if I said it didn’t influence this post. So, if you’ve missed it or want a refresher, here’s a quick round-up with links to more detailed discussion by The Mary Sue. Quicker version: People disagreed with the Hugo nominations of the last few years and decided to game the system using slate voting. It kind of backfired. (Or did it? This too is an ongoing, ah, debate. That I’m trying to stay far away from. Anyway!)

The Daily Dot mentions early on in their report on this year’s Hugo Awards, that 2015 was “a banner year for translated works”. Out of the four written fiction categories (best novel, best novella, best novelette and best short story), only two managed to have a story that beat out No Award. Both these stories were written by non-American men: Cixin Liu and Thomas Olde Heuvelt, a Chinese and a Dutch author respectively.

This year also, and this is much less widely reported, saw the decision to honour translators and both Ken Liu and Lia Belt were given a Hugo Rocket for their work in translating these winning stories. 2015 also marks the first year that the Hugos name the translator of a piece.

2015 is a win for diversity in SFF. We’ve seen articles discussing the rise of marginalised writers in SFF erroneously because we have always been there. What’s changed is our visibility within the SFF community. It’s not that marginalised people have never been here. It’s that we’re speaking up about our presence. (And that the internet allows us to be heard in the first place.)

So, initially, when the Hugos were announced I was thrilled along with everyone else. I am still thrilled because it is a great thing worthy of celebration. Diversity creates strength and fosters innovation. But something in the back of my mind was niggling at me. There was something about the celebration that felt off to me. Something about translated works and English-language awards and voting. Something that, as far as I can tell, no one has mentioned in any of their articles. Something that I expect most people wouldn’t even think to check. Either because they’re too thrilled that ‘one of their own’ won a prestigious foreign award or because they just don’t see that there might be something to look at.

It’s fairly common knowledge that, despite claims to the contrary, the Hugo Awards are a predominantly American award. But is it? After all, despite the slate voting this year saw a lot of diversity and it still won the awards. That’s what was niggling me: how completely different that focus is from my experience. Were the Hugos more nationally diverse than my gut was telling me? Was I wrong in thinking about the Hugos as an American award? Was I wrong to think of it as an award only native speakers of English stood a chance at winning?

To that end, I decided to look at the nationalities of the all the authors nominated for a Best Novel Hugo Award. I also looked at the language a book was originally published in. Then, because it is also a generally accepted truth that it’s easier to find non-native speakers of English publishing in short story venues, I looked at the other prose fiction categories (novella, novelette and short story) as well.

This post is a recording of what I found.

So, before you read on to those actual findings, let me take a moment to explain what you’re in for and what you’re not.

You’re in for numbers. I have done my absolute best to keep my opinions, ideas and speculations out of this post and to let the numbers speak for themselves. They’re pretty self-evident, anyway. I have included some additional notes and factoids where appropriate and you’ll find a short (and very incomplete!) list of international authors whose work you might be interested in at the end. But you will not find a post filled with speculation on why these numbers turn out the way they did or the like.

While I have done my best to keep this post as neutral as possible, I cannot say the same for the comment section. Please treat fellow commenters with respect.

And just so we’re absolutely clear on this point: This post is not meant to suggest that we should ignore one group of marginalised authors in favour of other groups. We should not. I sincerely hope that collecting and presenting my information the way I have actually helps to illustrate why we shouldn’t do so.

Methodology

The very simple version is this: I took all the nominations, tallied up the number of authors, looked up their nationality, tallied up those numbers and had GDocs make me a pie chart of percentages. (That I then failed to embed the way I wanted to or to make graphics of the way I wanted to. Sorry about that!)

That’s it.

Of course, nothing is ever quite that simple, so here’s a more detailed look at what I did. Caveat of a sorts: My spreadsheet skills are rudimentary. Someone else could probably provide much tidier and much more detailed and advanced spreadsheets. (If you decide to do this, please let me know and share them with me! I would like to marvel at it and your awesomeness. I’d also like to share them with people if you’re okay with that. ^_^)

I started off looking at the Best Novel category. I excluded the Retro Hugos because they’re Retro Hugos. They’re slightly different and since they include only 6 or so new authors — most of them American — I elected to exclude them entirely. There isn’t much to gain from their inclusion.

Prior to 1959, only the winners of the category are known, so no nominee data has been presented for those years. I’ve also excluded any and all withdrawn or ineligible works from my tallies.

I nabbed the list of winners and nominees for Best Novel off Wikipedia and threw the names into a spreadsheet. I counted up all the nominations an author received, put the number in a ‘Nominations’ column and deleted all but one mention of the name. This was to ensure a quick and easy way to gauge how many individual authors have been nominated. To this end authors nominated under pseudonyms and duos publishing under a single name are counted as a single person, but duo efforts are counted twice. There are about 3 authors writing under known pseudonyms and 2 writing teams (that I know of).

After tidying up the list this way, I looked up the language in which the book was originally written and noted that in its own column. Then it was time to look up author nationalities.

And the trouble started. Nationality, at its simplest, looks fairly easy, but in practice it’s rarely easy. You get questions like “Should I count Lithuanian-American authors as Lithuanian or American or should I count both nationalities?” Authors like Jo Walton, who is Welsh-Canadian, or Gordon R. Dickson, who is Canadian-American, proved especially tricky. I mostly wound up picking where the author spent the most formative years and added any relevant notes.

While this means we get a good look at the global diversity that makes it onto the ballot for one of the most prestigious English-language SFF awards, it doesn’t take into account any potential diversity within the regions of the US and the UK. You won’t find those numbers in this post. I’m too insecure about the quality of those regional charts and I’m not comfortable definitely saying “This data is accurate and any errors I’ve made are statistically irrelevant” when, to my feeling, they’re a complete mess.

I admit to getting most of the biographical information from the author’s Wikipedia pages, supplemented with information from the Internet Speculative Fiction Database and author’s own websites. Not only nationalities are complex, but pseudonyms are too. To this end, as I’ve said, authors who were nominated under different names were only counted once and notes about their pseudonym have been added to the full list of names.

For the other three categories I looked at, I’ve adopted a very similar approach. The biggest difference between them and Best Novel is that I lumped Best Novella, Best Novelette and Best Short Story into one big “not-a-novel” group. I’ve done this largely because the Hugo Awards have grouped some of these categories together in the past. These three categories were not separate until 1968. Prior to that they fluctuated from not existing, to existing, to being grouped together. For example: the 1958 Hugo Awards had one category that covered both novels and novellas. Consequently any novellas from 1958 have been counted amidst the Best Novel numbers.

These three categories total over 800 nominations spread across 281 authors. I have elected against including the language in which these authors wrote their story originally.

Furthermore, the rise of the internet impacted publishing in a big way. It affected short fiction publishing even more significantly. This is why there’s a general feeling nowadays that non-American authors are easier to find in short fiction: there are many more options to get short fiction published and far fewer (and lower) hurdles for these authors to jump. This means that prior to the internet, the short fiction Hugo nominees are bound to be from the dominant English-speaking areas and including those years and numbers without comment risks creating a misleading representation of the state of SFF short fiction.

To that end, I have made a smaller chart that omits those years. The internet came to global prominence somewhere around the 1990s, so I have taken the 1996 Hugos as a cut-off point. By 1995 international authors could reasonably be expected to start submitting to short fiction venues, though I hasten to add that variation between global areas existed then and persists to this day. I have done no year-by-year analysis of the ballot.

Where I could not determine an author’s nationality, I have marked them as ‘unknown’. And, of course, these numbers look only at the nominations that made it onto the final ballot. They don’t account for any fiction that may have been nominated and didn’t make it onto that shortlist. (The PDF of the 2015 Hugo Award statistics counts about 4 authors who didn’t make it onto the final ballot.)

PLEASE NOTE: Despite my best efforts to ensure accurate numbers, I will most likely have messed them up somewhere. These errors are liable to be reasonably small and shouldn’t have much impact on the overall percentages, but it would be remiss of me not to mention this up-front. I am also not a statistician. All of this should influence how you take these numbers. And ideally if you like numbers do your own checking. Please? And if you do would you pretty please link me to it, so I can see? (Put differently: Please, please, please prove me wrong. I want diversity in SFF awards to be doing better than my informal analysis suggests.)

I think that about covers it? Let me know if I missed anything! These numbers are a relatively quick look at this aspect and my reliance on Wikipedia may well gall people. (The use of Wikipedia was still hotly debated when I was at uni, so I think it merits specific mention. I would certainly like to think that basic biographical information is accurate.) To reiterate, I encourage people to do their own research and double-check what I’ve done!

Best Novel

Turns out, I have no idea how to embed pie charts, so I’ll be providing you with the numbers as they break down and linking to the spreadsheet later on. I am sad. I wanted to share my pie charts OF DOOM with you all in a shiny post. ’cause they’re pie charts. OF DOOM.

Yes, yes, I know I could embed the whole spreadsheet. I don’t want to embed the whole file. I want to embed one chart per section so you have a visual to go with it and I don’t know how to do that save making multiple files. And I could make screenies and include the images, but that’s a hotlinking risk I’m not willing to take. So you’ll just have to do without unless someone offers me a better solution, sorry! T_T

US: 82.2% (106 authors)
UK: 12.4% (16 authors)
Canada: 3.1% (4 authors)
China: 0.8% (1 author)
France: 0.8% (1 author)
Jamaica: 0.8% (1 author)

For those wanting to check the numbers, you’ll note that the overall percentage, courtesy of rounding down, actually comes to 100.1% and not a clean 100%. I expect this to be the same across the charts, so I’m only going to note it this once and assume it clear that, due to rounding up and down to get a single number after the dot, percentages are unlikely to be a neat 100% when tallied up. Never understood that about maths, but there you go. I’m just letting GDocs do its calculating thing for me.

If you want to see the languages for Best Novel, those look like this:

English: 98.4% (127 books)
French: 0.8% (1 book)
Chinese: 0.8% (1 book)

To note, the two exceptions on this list are:

  • Jean Bruller’s Sylva, nominated in 1963 and the very first translated novel ever to be nominated for a Hugo Award. Also the very first author not from the US or the UK to make it onto the Hugo ballot.
  • Liu Cixin’s The Three-Body Problem, nominated in 2015. It is the second translated novel to ever make it onto the Hugo ballot and the first to win. It is also the first Asian novel nominated for a Hugo.

Jean Bruller’s Sylva was, as far as I could discover, translated by Rita Barisse. Liu Cixin’s The Three-Body Problem was translated by Ken Liu, an award-winning author in the English SFF community in his own right.

And there you go. That covers the Best Novel category.

Best Novella, Best Novelette and Best Short Story

To remind everyone: these categories are grouped together because of their relative interchangablity and the way the Hugos has grouped them together or split them up in various ways up to 1968 after which they settled into being separate categories.

US: 74.5% (205 authors)
UK: 10.2% (28 authors)
Canada: 3.3% (9 authors)
Australia: 1.1% (3 authors)
France: 0.4% (1 author)
Netherlands: 0.4% (1 author)
Unknown: 10.2% (28 authors)

Given the impact of the internet, I’ve elected to narrow the field down to the awards from 1996-2015. This, I feel, offers a fairer overview of the state of international SFF within the Hugo nominations. These numbers do not look at year-to-year changes, though I will note that there does appear to be a slight increate in the nominations of non-US and non-UK authors (that can be ascribed largely to the presence of Thomas Olde Heuvelt and Aliette de Bodard within the field).

US: 76.9% (103 authors)
UK: 8.2% (11 authors)
Canada: 4.5% (6 authors)
Australia: 2.2% (3 authors)
France: 0.7% (1 author)
The Netherlands: 0.7% (1 author)
Unknown: 6.7% (9 authors)

On the US/UK-focused Pie Charts

Just to reiterate, I haven’t included these more regional breakdowns because I have too little confidence in their accuracy. I did make some, so if you really really want to see them, let me know. As it stands, I just don’t feel comfortable sharing those numbers publicly.

They seem to follow the same general trend as the percentages I’ve shown you here. I’d love to see a proper analysis of how these numbers break down, so if you’ve done or or are inclined to do so, please don’t hesitate to let me know!

I’m really sorry that I’ve had to exclude these pie charts from the list because I think they add an additional level of nuance that could be very useful in discussing diversity in the SFF community in general.

The End

No. No, not really. I have more things to say. For example, these numbers look pretty bleak and there are reasons they look so bleak (remember: this post does not attempt to mention them), but there are many international (SFF) authors out there who are publishing today. Some seem to have turned to indie publishing or small publishing houses over trying to seek more traditional and well-known venues. Others seem to stick to short fiction over novels. Finding translated SFF is hard unless it has become a bestselling success. And, speaking of translated SFF, have an interview with Liz Gorinsky, the editor who acquired The Three-Body Problem for English publication, about getting the book published. (Please note: some aspects of this story are unusual for translated fiction. Such as using the translator’s own status within the community as a selling point.)

Interesting tidbit, I’d like to highlight?

The fact that Three-Body is the first translated book to be nominated for any of these SF awards since Calvino’s Invisible Cities is both baffling and gratifying as heck.

That suggests a total of three translated books have been nominated for prestigious awards ever. Out of several hundred books. This comment, for obvious reasons, ignores the World Fantasy Awards because The Three-body Problem is not a fantasy novel. At a fairly quick glance, the World Fantasy Award has at least 7 more authors to add to our total, though one got disqualified. So let’s be generous and say there’s a total of 20 translated books that have made it onto any prestigious English-language award ballot. Out of several hundred books. At a conservative guess of 200 nominations to date for each award, that means translated fiction (or, more accurately, “authors whose native language is not English regardless of which language they’re publishing in”) accounts for about 3.3% of all books ever nominated for a prestigous English-language award.

That’s an educated guess. It may be as low as 2% or as high as 5% if you did a proper analysis of all the award nominations rather than a quick guesstimate. If you want to know the exact numbers, go forth and do your own calculations! Make your own pie charts OF DOOM, have fun and consider sharing your findings with the rest of us! You’ve got at least one interested reader in me.

If you want to see the original GDocs file I used and the pie charts OF DOOM (nope, still not tired of saying that) that I wanted to include in this post and did not know how (and, more importantly, the two author lists I compiled to make them) you can find that here. Have fun with it and please don’t hesitate to offer me corrections! I know that the complete lists of all the authors and their individual nominations are missing. I realised belatedly that people might like to have those too, but you can find them easily enough on the Hugo Awards website. The year-by-year Hugo ballot information can be found right here on this page. Well, the links to the information anyway. I copy/pasted that lot. (If you want to compile your own lists, I recommend tackling it in stages. There are a lot of nominations to add.)

I hope you found this an interesting look at one aspect of diversity within the SFF community and, especially, the way this aspect translates (pun not intended) into people’s nominations for one of its most prestigious awards!

Finally, Some Names

And finally because what is a list discussing international SFF without a list of names for people to check out? I have no idea what it is, actually, but here’s a very small list of international authors I know about. I haven’t necessarily read anything by these authors (yet), but I’ve heard of them and may or may not have plans to check out their work. These authors may be publishing short fiction or novels and you may have heard of some of them. A few have made pretty big splashes in recent years. Some authors may come from English-speaking areas that have rarely made it onto the ballot such as Australia or Wales. Authors are listed in alphabetical order and rendered according to Western standards. I’ve also gone for the broadest possible interpretation of SFF.

Enjoy!

  • Thea Beckman
  • Lauren Beukes
  • Aliette de Bodard
  • Italo Calvino
  • Joyce Chng/Joyce Damask
  • Zen Cho
  • Marcia Douglas
  • Michael Ende
  • Max Frei
  • Sergey Gerasimov
  • Karen Healey
  • Markus Heitz
  • Cat Hellisen
  • Thomas Olde Heuvelt
  • Nalo Hopkinson
  • Pasi Ilmari Jääskeläinen
  • Xia Jia
  • Elizabeth Knox
  • Ambelin Kwaymullina
  • Margo Lanagan
  • Cixin Liu
  • Usman T. Malik
  • Gabriel García Márquez
  • Zakes Mda
  • Walter Moers
  • Hannu Rajaniemi
  • Tansy Rayer Roberts
  • Salman Rushdie
  • Andrzej Sapkowski
  • Ekaterina Sedia
  • Maria Stanislav
  • Lavie Tidhar
  • Nahoko Uehashi
  • Jean-Christophe Valtat
  • Hilda Vaughan
  • Isabel Yap
  • Carlos Ruiz Zafón

That’s a relatively decent mix of authors and names and it’s only a short one. I’m sure plenty of people have their own to add, so please do! (Especially since I’m still looking for novel recommendations!) What international SFF authors do you enjoy reading? Which authors would you love to introduce more people to and why? Do you have any go-to resources when you’re looking for international SFF?

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18 responses to “Hugo Award Nominations by Country

  1. Peter J

    I understand that the new Strugatsky translations are from the authors’ original texts rather than the versions which were originally published in the USSR. The comparison of the two should be very interesting to show what the Soviet censors wouldn’t accept. I know that when I read Prisoners of Power many years ago Iwas surprised at how much they managed to get away with.

  2. Thanks for doing this analysis.

    British authors who I think are underrepresented – Nina Allan, Christopher Priest, Alastair Reynolds.

    Hannu Rajaniemi’s Quantum Thief is really good, in my view. It’s dense and confusing at the beginning, but it has wacky stuff like a walking city on Mars. There are many good SF ideas, such as a society where people can change their personal privacy settings and appear invisible to everyone, including their housemates. The wallpaper that changes with mood is a neat idea too.

    I’ve also read Zoo City by Lauren Beukes and it’s excellent. It’s a noir crime novel set in Johannesburg where criminals somehow acquire magical animals as a physical manifestation of their guilt. The sense of place and variety of characters is excellent. She’s a journalist and the research she’s done really shows.

    Translation is an issue. I’ve a friend whose been reading HWJN, about Jinn, and she says there’s a lot of grammar, spelling, etc. errors in translation. I haven’t read it, but she says it’s pretty imaginative http://www.amazon.co.uk/gp/product/B00CKZQ3ZO/ref=s9_simh_gw_p351_d4_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=desktop-1&pf_rd_r=1GFCYJFNET7A58FQDWB6&pf_rd_t=36701&pf_rd_p=577048407&pf_rd_i=desktop

    • I’m glad people are finding it useful! ^_^

      What are your favourites by those authors? *curious*

      Oooooooh. That does sound good. I remember reviews of it making me a little wary of it, but that sounds like a lot of fun. ^_^

      Zoo City wasn’t really to my taste, but it’s easy to see why people talked about it so much when it came out. Beukes has a terrific eye for detail and it’s powerfully told.

      I’ll have to add that to the list! Translation is… very much an issue. English-language publishers often don’t want to take chances on translated novels. Translation is an additional expense and translated novels sell notoriously badly. Non-native speakers who want their work translated into English can either translate the work themselves or pay a translator to do it. The former is something I’d only recommend to authors with near-native control of the language and the latter is… quite expensive if you want to deliver a high quality product. Not everyone can afford that.

      HWJN sounds like a really fascinating story! Thank you for letting me know about it! ^_^ I’m sad to hear there seem to be so many errors in the translation, though, because that’ll put people off the book. 🙁 Still, I’ve added it to the wishlist. The story itself sound like it could be a lot of fun, so hopefully the errors won’t bother me too much.

      • Christopher Priest’s The Prestige was made into a film (https://www.youtube.com/watch?v=o4gHCmTQDVI) and I really enjoyed the book.

        Alastair Reynolds writes hard SF so, if you prefer fantasy, I’d recommend the novella Turquoise Days as a starting point. It’s in a two-novella collection called ‘Diamond Dogs, Turquoise Days’. I adore Diamond Dogs – it’s a novella about puzzle-solving and the power of obsession. Turquoise Days is more fantastical. It’s about the relationship between two sisters, Naqi and Mina, and these oceanic aliens called Pattern Jugglers who have a collective memory and alter humans who swim in their seas.

        My friend mentioned she’d found out about HWJN through a group who are trying to create an Arabian F&SF community, and she was thinking of offering to do some translation so I’m going to contact her, as there does seem to be some interest… Maybe I can make some connections and put readers in touch with writers 🙂

        I’ve mostly come across Nina Allan through her columns in Interzone. I read a short story I really liked, but – annoyingly – I can’t remember the title. I’ve heard good things about her novel The Race, but haven’t managed to read it yet.

        • They sound pretty interesting! The issue I have with hard SF is that everything I’ve read in the genre is all about ideas and that’s a style that doesn’t work for me very well. :/ So thank you for the fantastical recommendation as well! Those novellas should be much more up my alley and should help me find my footing somewhat.

          It’d be wonderful if you could, I think. ^_^ They have a great idea, but visibility is so important. Every bit can help!

          Gah. I hope you can remember the title! Wikipedia has a list of some of her short stories titles, so maybe that could help? I hope you’ll enjoy her novel as much as the short story! ^_^

    • From the list at the end? *looks* Ah, so I did. ^_^; As I told Val, I’ve tried to focus the list on longer works first and foremost, so when I compiled the list I focused mostly on authors I already knew of reasonably well that would present a hopefully balanced set of options to get people started with. ^_^ I plan to make a longer and (slightly?) more comprehensive one as well. I’ll have to look at making it a GDocs file or something so others can also add the authors they know as well. When you make a list like this (and, admittedly, this is a pretty hasty one), you’ll always miss someone, so I’m grateful you let me know! I’ll make sure McMullen and Lowe are both on the longer list. Thank you!

      Helen Lowe is also an entirely new name to me, so I’ll have to check her work out. It sounds pretty good. ^_^ Is there any of McMullen’s longer work that you’d recommend particularly strongly?

      • June

        For Sean McMullen, the 2 best novels imo that I would recommend are “Voyage of the Shadowmoon”. It is the first of a series but can be read as a stand-alone. His YA novel “Before the Storm” is a stand-alone. There is a sequel but it is a separate story with the same characters. He does well-written, entertaining fiction, with a touch of humor.

        Helen Lowe is published by Orbit in the USA.
        She also has a YA book out called “Thornspell” published by Knopf.

        Thanks for the write-up.

        • June

          Correction – Helen Lowe is published by Orbit in the United Kingdom and HarperCollins in the USA

  3. Val

    Some of the Strugatsky books have been translated again recently so they shouldn’t be hard to find.

    I think there is a big divide between people who write in English and authors whose work has to be translated. People like Karen Lord (Barbados), Tobias Buckell (Grenada), Nalo Hopkinson (Jamaca), Lauren Beukes (South Africa) and Aliette de Bodard don’t have to take that extra hurdle and it makes selling their work a little bit easier. Thomas Olde Heuvelt writes in Dutch. I have read a few bits and pieces about how hard it was to get his stuff translated. His novel Hex has essentially been completely rewritten, presumably to make it easier to market. For the short story that got him his first Hugo nomination he paid for the translation himself, investing the money he won in a local short story contest to get it done. You have to be very determined succeed there.

    • Very easy indeed. I’m especially intrigued by Hard to Be a God, so hopefully that’ll prove to be a good introduction to their works. ^_^

      There are definitely less hurdles when you’re writing in English, yes. Fewer rights issues, less costs, etc. I could easily see publishers push against them to (re)write their works in American English, though. There might be more hurdles than the shared language implies, though probably still not quite as high. *speculating*

      Oooh, I didn’t know he’d invested the money in his first short story himself, but I’m definitely not surprised to hear it either. What I gather from the interview I linked is that one of the reasons Tor took the plunge with The Three-body Problem is that they didn’t have to pay for the translations. That presumably made it a safer bet initially than many other translated books. If you want to break into the English-language market as a foreign author, you’ve got to be very determined, indeed. But it also helps to have the money to pay for (high quality) translations yourself.

      I’m not sure if HEXThe Dream Merchant, actually. That’s a children’s book so that almost certainly got changed for that reason. I’d really love to have enough translated books to know whether there’s some bias going on there against countries that are deemed ‘not different enough’. Thomas Olde Heuvelt and Isabel Hoving are the only two examples I can think of on short notice and two authors hardly a pattern makes.

      • Val

        I’ve only read Hard to be a God and Roadside Picnic. Both read fine as standalones.

        I’ve read the Dutch language edition of Hex and he does a few things in that novel that I don’t think will work in a rural American setting. He’s also mentioned that the ending has been rewritten. I haven’t decided yet if I want to read the English edition but if I do I think it will differ considerably from the Dutch book.

  4. Val

    The four volumes of the Apex book of World SF are full of names that could be added to your list. I have read the first three and they are a great introduction to international SF&F. From few decades ago names like Stanislav Lem and the Strugatsky Brothers spring to mind.

    • They are indeed. I plan to make/post a fuller list later this year. ^_^ Most of the names on this particular list focus on novelists rather than short story authors because I’ve been focusing on them. My impression has been that, though international short fiction authors don’t often make it onto award ballots, it’s actually relatively easy to find their work. Largely because of projects like the Apex books of World SF and Clarkesworld’s translation project. I’m not sure if I want to make that distinction in the full list or not. It’d be useful to people, but it’d mean I’d need even longer to compile the list.

      I’d also like to make a new post looking at the Nebulas and the World Fantasy awards in more detail to accompany this one, I think. They’re logical companions and it’d stop looking like I’m singling out the Hugos rather than noting a wider phenomenon. Somewhat. (I hope, anyway.)

      Ooooh, I’ve not heard of the Strugatsky Brothers. Thank you! ^_^ I’ll have to look up their work!
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robots: checked via crawler-commons 0.11-SNAPSHOT (https://github.com/crawler-commons/crawler-commons)
format: WARC File Format 1.1
conformsTo: http://iipc.github.io/warc-specifications/specifications/warc-format/warc-1.1/