From The New Yorker’s Page-Turner blog:
1968, Samuel Delany attended the third annual Nebula Awards, presented by the Science Fiction and Fantasy Writers of America (SFWA). At the ceremony that night, “an eminent member of the SFWA,” as Delany later put it, gave a speech about changes in science fiction, a supposed shift away from old-fashioned storytelling to “pretentious literary nonsense,” or something along those lines. At the previous Nebula Awards, the year before, Delany had won best novel for “Babel-17,” in which an invented language has the power to destroy (his book shared the award with Daniel Keyes’s “Flowers for Algernon”), and earlier on that evening in 1968, Delany had again won best novel, for “The Einstein Intersection,” which tells of an abandoned Earth colonized by aliens, who elevate the popular culture of their new planet into divine myths. Sitting at his table, listening to the speech, Delany realized that he was one of its principle targets. Minutes later, he won another award, this time in the short-story category, for “Aye, and Gomorrah . . . ,” a tale of neutered space explorers who are fetishized back on Earth. As he made his way back to his seat after accepting the award, Isaac Asimov took Delany by the arm, pulled him close, and, as Delany (who goes by the nickname Chip) recalled in his essay “Racism and Science Fiction,” said: “You know, Chip, we only voted you those awards because you’re Negro . . . !”
It was meant to be a joke, Delany immediately recognized; Asimov was trying, Delany later wrote, “to cut through the evening’s many tensions” with “a self-evidently tasteless absurdity.” The award wasn’t meant to decide what science fiction should be, conventional or experimental, pulpy or avant garde. After all, where else but science fiction should experiments take place? It must be—wink, wink—that Delany’s being black is the reason he won.
. . . .
Delany came of age at a time when the genre was indeed characterized by gee-whiz futurism, machismo adventuring, and white, heterosexual heroes. From the beginning, Delany, in his fiction, pushed across those boundaries, embraced the other, and questioned received ideas about sex and intimacy. And, within a few years of publishing his first stories, he won some of the field’s biggest awards. Delany’s career now spans more than half a century, and comprises dozens of novels and short stories, many of which have challenged every notion of what science fiction could or should be. Even now, when graphic sex and challenging themes are hardly unusual, Delany’s rapturous sexuality and his explorations of race within the trappings of science fiction have the power to startle.
. . . .
Delany’s novels and stories have taken place in outer space and the future and other alien worlds. His plots are speculative: the race to harvest an energy source from the sun, the struggles of a libertarian society on one of Neptune’s moons, the plight of slaves in a pre-industrial world of magic and barbarism. But he does not believe that science fiction is the right genre for his concerns any more or less than another genre would be. “Nothing about the sonnet is perfect for the love poem, either,” he said. “Genre simply provides a way for the reader to look for things that have been done. A form is a useful thing to use. It has history and resonance. It informs you as to the way things have been done in the past.” In the preface to “A, B, C,” Delany writes that, “though the genre can suggest what you might need, it can never do the work for you.”
Link to the rest at The New Yorker