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Kessel won a Nebula Award in 1982 for his novella "Another Orphan,"

2009 Shirley Jackson Award

longest gap between competitive awards in Nebula history

"Stories for Men" shared the 2002 James Tiptree, Jr. Award for science fiction dealing with gender issues with M. John Harrison's novel Light

nominated three times for a World Fantasy Award: 1993 for the Meeting in Infinity collection, 1999 for the short fiction "Every Angel is Terrifying," and 2009 for the short story "Pride and Prometheus."[

2004 essay on Orson Scott Card's novel Ender's Game, "Creating the Innocent Killer: Ender's Game, Intention, and Morality."

The Secret History of Science Fiction

Feeling Very Strange: The Slipstream Anthology

Rewired: The Post-Cyberpunk Anthology

studied under science fiction writer and scholar James Gunn

helped organize the MFA Creative Writing program at NCSU and served as its first director

In 2007, his story "A Clean Escape" (previously adapted by Kessel as a one-act play in 1986) was adapted by Sam Egan for ABC's science fiction anthology series Masters of Science Fiction.

In 1994, his play Faustfeathers received the Paul Green Playwrights' Prize

1985 Freedom Beach (with James Patrick Kelly)

1989 Good News From Outer Space (Nebula Award Nominee)

1997 Corrupting Dr. Nice

1989 Another Orphan

1986 A Clean Escape

1994 Faustfeathers (Paul Green Playwrights' Prize Winner)

1992 Meeting in Infinity (World Fantasy Award Nominee)

1997 The Pure Product

2008 The Baum Plan for Financial Independence and Other Stories

1996 Intersections: The Sycamore Hill Anthology (with Mark L. Van Name and Richard Butner)

Ted Chiang

2006 Feeling Very Strange: The Slipstream Anthology (with James Patrick Kelly)

Bruce Sterling

Jeff VanderMeer

2007 Rewired: The Post-Cyberpunk Anthology (coedited with James Patrick Kelly)

2009 The Secret History of Science Fiction (coedited with James Patrick Kelly)

2011 Kafkaesque (coedited with James Patrick Kelly)

1982 "Another Orphan" (September, Fantasy and Science Fiction) - Nebula Award Winner

1988 "Mrs. Shummel Exits a Winner" (June, Asimov's SF) - Nebula Award Nominee

1991 "Buffalo" (January, Fantasy and Science Fiction) - Sturgeon Award Winner, Locus Award Winner, Hugo Award Nominee, Nebula Award Nominee

1993 "The Franchise" (August, Asimov's SF) - Nebula Award nominee, Hugo Award nominee, novelette

1996 "The Miracle of Ivar Avenue" (from Intersections) - Nebula Award nominee, novelette

1998 "Every Angel is Terrifying" (October–November, Fantasy and Science Fiction) - World Fantasy Award nominee

1999 "Ninety Percent of Everything" with Jonathan Lethem and James Patrick Kelly (September, Fantasy and Science Fiction) - Nebula Award nominee, novella

2002 "Stories for Men" (October–November, Asimov's SF) - James Tiptree, Jr. Award Winner, Nebula Award Nominee

1996 Intersections (with Mark L. Van Name and Richard Butner)

1998 Memory's Tailor (by Laurence Rudner. Kessel was the literary executor after Rudner's death in 1995.)

2006 Feeling Very Strange: The Slipstream Anthology (with James Patrick Kelly)

2007 Rewired: The Post-Cyberpunk Anthology (coedited with James Patrick Kelly)

2009 The Secret History of Science Fiction (coedited with James Patrick Kelly)

2011 Kafkaesque (coedited with James Patrick Kelly)

Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today — but the core of science fiction, its essence, the concept around which it revolves, has become crucial to our salvation if we are to be saved at all.

It is change, continuing change, inevitable change, that is the dominant factor in society today. No sensible decision can be made any longer without taking into account not only the world as it is, but the world as it will be

I am an atheist, out and out. It took me a long time to say it. I've been an atheist for years and years, but somehow I felt it was intellectually unrespectable to say one was an atheist, because it assumed knowledge that one didn't have. Somehow, it was better to say one was a humanist or an agnostic. I finally decided that I'm a creature of emotion as well as of reason. Emotionally, I am an atheist. I don't have the evidence to prove that God doesn't exist, but I so strongly suspect he doesn't that I don't want to waste my time.

There are many aspects of the universe that still cannot be explained satisfactorily by science; but ignorance only implies ignorance that may someday be conquered. To surrender to ignorance and call it God has always been premature, and it remains premature today.

"But what would you do if the doctor gave you only six months to live?" I said, "Type faster."

If I were not an atheist, I would believe in a God who would choose to save people on the basis of the totality of their lives and not the pattern of their words.

Infinite torture can only be a punishment for infinite evil

I don't believe in an afterlife, so I don't have to spend my whole life fearing hell, or fearing heaven even more. For whatever the tortures of hell, I think the boredom of heaven would be even worse.

Violence is the last refuge of the incompetent.

It pays to be obvious, especially if you have a reputation for subtlety.

Never let your sense of morals prevent you from doing what is right.

"I believe in evidence. I believe in observation, measurement, and reasoning, confirmed by independent observers. I'll believe anything, no matter how wild and ridiculous, if there is evidence for it. The wilder and more ridiculous something is, however, the firmer and more solid the evidence will have to be."

Knowledge is indivisible. When people grow wise in one direction, they are sure to make it easier for themselves to grow wise in other directions as well. On the other hand, when they split up knowledge, concentrate on their own field, and scorn and ignore other fields, they grow less wise — even in their own field.

How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers.