Surprised to find no mention of Harlan Ellison, despite 11 combined Hugo and Nebula wins. How about his Dangerous Visions compilation?
I think Lois McMaster Bujold’s Vorkosigan series definitely needs to be on the list. She meets (and exceeds) every criteria that you listed for Scalzi’s** Old Man’s War**. I’d go with Young Miles (as suggested above) or Cordelia’s Honor. She’s won 4 Hugos, 2 Nebulas and a World Fantasy Award.
Second Octavia Butler.
Also second the need for 2 books from Le Guin.
I’m not a fan but I think China Mieville really needs to be on the list.
I’d also agree with The Sparrow.
I’d personally lobby for 2 books from Vernor Vinge (I’d include both a Deepness in the Sky and** Fire Upon the Deep**).
Lucifer’s Hammer is an odd choice for the list IMO. It’s rather dated and hasn’t had the influence of other books. I’d remove it.
Downbelow Station is really an amazing book and Cherryh had a strong influence on the field. I think something from Cherryh needs to be on this list; I’d lobby for one of her other series but I think this or Cyteen can be read alone.
I’ve read all the Gold Age Astoundings. Heinlein created modern science fiction from the writing side - Campbell did it from the editing side.
After getting some RL feedback, I’m certain that it’s best to stick to books that stand alone on this list of 50 and not include works that are notable primarily as part of a series. (the K.I.S.S. principle) I also found that having made sure to include some literary classics and authors well-known outside of the sci-fi genre had the expected effect. These factors make it easier for a person who is not a sci-fi fan to identify with the list.
That means Vorkosigan and Uplift get bumped to group 2. I just can’t see a way around it. Still on the fence about Startide Rising. I’m adding a little addendum called “5 essential sequels to the 50” or somesuch. It will contain at least the other 2 in the Foundation Trilogy, The Naked Sun, and Speaker for The Dead (allowing me to get that off the main list, and if you want to argue that it’s not really a sequel, well, I can’t say I disagree.) I’ll take votes on what else absolutely needs to be on this list, but I want to keep it well under 10 titles.
Latest iteration of the list to follow.
Amara and LHoD - this is a list of books, not authors, so you really can’t say that a person needs to be on this list of 50. The parameters for the second group are a little looser and so I can make sure that everybody gets represented in one way or another. (Every author that you mentioned is on the prelim group 2 list. I’m making sure of that, based in part on your suggestions.)
I’ve read roughly a dozen sci-fi novels (broadly defined) , which I consider a low number. Thanks to Green Bean for attempting this project. I know this is extra work, but stage 2 or 3 might involve the construction of an annotated list of 50. I imagine a couple of introductory paragraphs, followed by a sentence for each novel. Maybe with sub-headings indicating the various genres of Sci-Fi. That would be helpful for someone who is thinking about what he should read next, but is unclear on how to go about it.
The definition I’ve always used is that when you look at the main conflict, science is either the source or solution to the main conflict in the story. Example:
Wizard of Oz: science plays an important role in the story, but is not the cause or solution to the main conflict. Not sci-fi.
Time Machine: science brings the protagonist to many dangerous situations, as well as out of them again. Sci-fi.
CSI: Science is usually integral in catching the killer, but the killer is the main source of the conflict. Not sci fi.
Farenheit 451 doesn’t fit neatly into this definition though, there’s virtually no science in it at all.
I would argue that 1984 is sci-fi, since the fictional surveillance system drives many of the plot points.
I made some changes in the main list. It’s 47 again, and below is a shortlist of books to consider adding. There are 1 or 2 on this list that I might be willing to part with, but just barely.
I wanted to thank you all again for all the feedback. You’ve given me lots to consider, and while the impact of your comments may not be especially obvious in the changes to the list of 50, they really have been incredibly helpful and also instrumental in figuring out how to handle group 2. (I haven’t explained what group 2 is supposed to be yet because I’m still settling on parameters.)
Adams, Douglas - The Hitchhiker’s Guide to the Galaxy
Asimov, Isaac - Caves of Steel
Asimov, Isaac - Foundation
Asimov, Isaac - I, Robot
Atwood, Margaret - The Handmaid’s Tale
Bacigalupi, Paolo - The Windup Girl
Bester, Alfred - The Stars My Destination
Bradbury, Ray - Fahrenheit 451
Brooks, Max - World War Z: An Oral History of the Zombie War
Burgess, Anthony - A Clockwork Orange
Card, Orson Scott - Ender’s Game
Chabon, Michael - The Yiddish Policeman’s Union
Clarke, Arthur C. - 2001: A Space Odyssey
Clarke, Arthur C. - Childhood’s End
Clarke, Arthur C. - Rendezvous with Rama
Dick, Philip K. - Do Androids Dream of Electric Sheep?
Dick, Philip K. - The Man in the High Castle
Frank, Pat - Alas, Babylon
Gibson, William - Neuromancer
Haldeman, Joe - The Forever War
Heinlein, Robert A. - Starship Troopers
Heinlein, Robert A. - Stranger In A Strange Land
Heinlein, Robert A. - The Moon is a Harsh Mistress
Heinlein, Robert A. - The Past Through Tomorrow
Herbert, Frank - Dune
Huxley, Aldous - Brave New World
Le Guin, Ursula K. - The Left Hand of Darkness
McCarthy, Cormack - The Road
Miller Jr., Walter M. - A Canticle For Leibowitz
Niven, Larry - Lucifer’s Hammer
Niven, Larry - Ringworld
Niven, Larry - The Mote In God’s Eye
Orwell, George - Nineteen Eighty-Four
Pohl, Frederik - Gateway
Scalzi, John - Old Man’s War
Shelley, Mary Wollstonecraft - Frankenstein
Shute, Nevil - On the Beach
Simak, Clifford - Way Station
Simmons, Dan - Hyperion
Stephenson, Neal - Snow Crash
Verne, Jules - Twenty Thousand Leagues Under the Sea
Vinge, Vernor - A Fire Upon the Deep
Vonnegut, Kurt - Slaughterhouse-Five
Wells, H. G. - The War Of The Worlds
Wells, H.G. - The Time Machine
Willis, Connie - Doomsday Book
Wilson, Robert Charles - Spin
Shortlist of contenders
Bradbury, Ray - The Martian Chronicles
Brin, David - Startide Rising
Clement, Hal - Mission of Gravity
Le Guin, Ursula K. - The Dispossessed
Morgan, Richard - Altered Carbon
Russell, Mary Doria - The Sparrow
Stephenson, Neal - Anathem
Looking forward to hearing your votes on which of the shortlist to choose, and for any other suggestions of individual books that might be considered for this list of 50 and/or input on possibilities for the mythical Group 2.
The Black Cloud - Fred Hoyle
A Canticle for Leibowitz - Miller
A Fall of Moondust - Arthur C Clarke
The Moon is a Harsh Mistress - Heinlein
Foundation - Asimov
When it comes to genre fiction, some genres are defined by the type of setting (e.g. westerns, historical fiction) while others are defined by the type of plot (e.g. mystery, romance). You’re giving a plot-based definition of science fiction in response to Robert163’s setting-based criterion.
I don’t think science fiction as a genre fits exclusively into one or the other of these two categories. I think that the general public tends to classify something as “science fiction” based on its setting, while hardcore fans and practitioners who actually try to nail it down with a definition tend to give a plot-based definition like Superhal’s. Thus, something like Star Wars gets widely regarded as “science fiction” (which it is when judged by its setting), while purists insist that it isn’t really science fiction.
Now that I have seen your updated list, I see that The Black Cloud, The Moon is a Harsh Mistress, and A Fall of Moondust are not there. The Black Cloud is, I think, Hoyle’s meditation on God, and is quite amazing. I think Harsh Mistress is the best that Heinlein ever wrote, in that it is a serious design for a well functioning society, and an exploration of the Turing Test of consciousness, wrapped up in a compelling and realistic story of revolution, somewhat on the theme of the American Revolution. As for Arthur Clarke, in this novel he gave us compelling character portraits of several kinds of scientists, and a great deal of wonderful and technically brilliant engineering, within a great rescue story.
I was planning to do exactly that! 
I was thinking that for each book I could do 1-3 sentences with whatever information seemed right. That could include subgenre, impact, key sequels, what it’s about, major awards, etc. I don’t know that anybody outside the sci-fi world cares about sci-fi awards, but I’d say a Pulitzer is worth mentioning. I don’t want to make a big deal out of adaptations in other media (this is about books, dammit!), but I’m not going to be able to resist saying that Starship Troopers is totally unlike the movie.
I figure that if someone is scanning through the list, something in one of those blurbs is likely to catch their eye. “Time travel from the future Oxford to the time of the black plague? Cool!” Or “I don’t know what ‘cyberpunk’ is but I want to find out.” Does that sound about right?
Look again. TMiaHM is on there.
Black Cloud sounds great, but it doesn’t meet the parameters. You win a prize for bringing me an apocalyptic novel that I hadn’t heard of, though! And Fall of Moondust isn’t possible because there are just too many other by Clarke that are ahead of it in line. Sounds like an awesome read.
Some hardcore fans try to nail it down. I’m pretty sure I qualify as a hardcore fan and I’m perfectly happy to use either setting OR plot as a qualification for calling something “science fiction.” I’m sure I could find exceptions, but a setting such as “the future” or “outer space” is enough. A plot that involves an apocalyptic event is enough.* I prefer a broader and more inclusive definition. Yay, more sci fi fun for everyone!
Like in any fan community, there are some people who like quibbling over genre boundaries and whether things are “hard” enough because it’s fun to toss ideas around, and there are some who do it because they want to be perceived as having more discerning tastes than the rabble. Probably most of us fall in the middle somewhere. (I’ve certainly been guilty of the latter at times.)
The nature of this project demands that we err on the side of inclusion in terms of what we might consider “science fiction.” It is a general list for a public library, so a broader definition is warranted.
It’s been hit upon already, but the rule of thumb I like is that science plays a significant role in the story and/or setting. I think Frankenstein qualifies, I think that 1984 is a borderline case, and that Farenheit 451 does not qualify as sci-fi. I was ready to push out 1984 until Superhal mentioned that the pervasive surveillance state was science fictional, and now I’m on the fence. (Rounding out the early 20th century dystopian collection, I think Brave New World and We are more clearly sci-fi.)
I don’t think the majority of Steven King qualifies. The Stand is borderline, but I lean against its inclusion. I think Margaret Atwood’s Handmaid’s Tale is in a similar place and I lean against it. On the other hand, her Maddaddam trilogy is very clearly sci-fi, but it’s not worthy of inclusion.
Seconding Dangerous Visions. Ellison’s best work is his short stories.
I object to the following books:
Brooks, Max - World War Z: An Oral History of the Zombie War
Heinlein, Robert A. - Starship Troopers
McCarthy, Cormack - The Road
I love WWZ, but it’s not sci-fi. Heinlein already has three representative books. Starship Troopers is not needed as a representative of Heinlein or military sci-fi (covered by Forever War and Old Man’s War). And I hate it. It was the first Heinlen book I read, and it put me off Heinlein for 15 years. I’d been thinking he was criminally overrated because ST was recommended to me over Mistress.
The Road is neither sci-fi or good. I love me a dystopia or apocalypse, but The Road was unbearable.
Of the short list, The Dispossessed and Mission of Gravity get my votes. Both are clearly sci-fi and representative of underrepresented sub-genres: the very soft and very hard fringes of sci-fi.
Ellison only edited Dangerous Visions, and the OP explicitly ruled out multi-author anthologies.
I’d like to suggest a few (more) works by British authors:
Keith Roberts - Pavane (Alternate worlds story cycle. Borderline fantasy but beautifully written). Also worth consideration Molly Zero (Near future dystopia written entirely in second person present tense. Not as flashy or difficult to read as you might think.)
M John Harrison - Somewhat misanthropic (most of his characters are pretty unpleasant people) but a good writer. I’d recommend one of his ‘nihilist space operas’ The Centauri Device maybe, or Light.
And you have got to have something by Brian Aldiss - Hothouse, Non-Stop or the Heliconia Trilogy would be my choices.
No love for Bruce Sterling? He’s the best idea guy in SF. He invented cyberpunk. I recommend his Islands in the Net - great characters, great story, and the best near-future extrapolation I’ve ever read. It’s also very accessible. His short story collection Crystal Express kicks ass! Sterling turns many SF conventions on their head to great effect. Bonus: his non-fiction book The Hacker Crackdown should be read by anyone who uses a computer or telephone.
I thought about suggesting John Brunner’s Stand on Zanzibar in my earlier post, but it’s been more than 20 years since I read it. I had reservations that it might not have held up, or that my impressions from so long ago wouldn’t.
By chance I came across a list of successful predictions from science fiction novels and the years to the actual event. Expected stuff like Heinlein and waterbeds and Clarke and communications satellites were on there, but the book with the most successful predictions-- by far-- was SoZ. Interestingly, the predictions ranged from technical, such as TV on demand, to political, such as the European Union, to economic, such as the decline of Detroit.
The length of the list may not be as impressive as it seems at first glance. Brunner made just an absolute barge load of predictions in the book, most of which, naturally didn’t occur.
Wikipedia calls the novel innovative and points out several awards, including a Hugo. Brunner just happens to be British, too. My recollection of the novel are that it was highly readable and sensationalistic.
If anybody’s curious, the longest time from SF prediction to reality on the list is 145 years, for Verne’s prediction of solar sails in From Earth to the Moon.
Olaf Stapledon really deserves a place on this list. Star Maker and First and Last Men were hugely influential on many of the writers whose works populate this list, and he was the originator of many science fiction concepts that have become widespread today.
Also, where are Brin, Egan and Bear?!
The Night Land might also be a good candidate.
Harlan Ellison:
Stalking the Nightmare, for “Djinn, No Chaser”.
Strange Wine, for “Croatoan” and “Working With the Little People”.
Paingod and Other Delusions, for “‘Repent, Harlequin!’ Said the Ticktock Man”.
Actually, any of his collections is good.