Glasgow-based DJ Sophie Reilly, aka ‘Sofay’, talks about her love of science fiction and the connections that exist between some of her favourite records and novels such as Ursula Le Guin’s ‘The Left Hand of Darkness’ and Stanislaw Lem’s ‘Solaris’ (the interview was removed from YouTube at the request of the artist).

You can listen to Sophie’s set for NTS radio on Soundcloud:

Head of Zeus is an independent publishing house, based in London. It started publishing in 2012 and won Independent Publisher of the Year in 2017.

In the essay ‘Journey to the West’ published in SFMagazine [click on the link to download the issue] Head Of Zeus publisher Nicolas Cheetham points out that Chinese genre fiction arrived on Western markets only in the last couple of years – it was not until 2015 that a Hugo award was won by a work that has been translated from the Chinese (or any other language). At the same time, he asserts that SF is the most universal of the literary genres, quoting Liu Cixin:

SF is the most global, the most universal storytelling vessel, with the capability to be understood by all cultures. SF novels are concerned with problems faced by all of humanity. Crises in SF usually threaten humanity as a whole. It is a unique and treasurable trait inherent in the genre – that the human race is perceived as a single entity, undivided.

Why then is genre fiction lagging behind literary fiction in achieving a globalised presence? In tracing the history of Weltliteratur, n+1 contends that ‘certain texts have always circulated among geographically broad but socioeconomically thin strata’. Is a taste for globalism something that is more characteristic of the literary fiction readership rather than those who read genre fiction? Although genre boundaries between literary fiction and SF have become more permeable and fuzzier than in the past, is SF fandom demographically different from the consumers of literary fiction, or at the very least, less globalised?

Nicolas Cheetham mentions several pre-conditions for Chinese SF entrance to the West: an emergence of local fandom, revival of local critical SF journals, and the establishment of a financially successful local publishing industry. All of these of course did not emerge independently from the economic growth in China, a society that in recent decades started investing heavily in science and technology research, transforming itself into a world leader in tackling global crises such as a climate change. Looking to other global regions, such as sub-Saharan Africa, would the same pre-conditions apply? Namely, would the local fandom, criticism traditions and publishing houses need to reach a critical mass before we can expect to read a greater offering of African SF in the West, in translation or otherwise? Recently established organisations such as the African Speculative Fiction Society, as well as a myriad of new journals that publish African SF and criticism, such as Omenana, BrittlePaper, Chimurenga, Saraba and Jalada, augurs well for African SF. Hopefully, pioneering publishers like the Head Of Zeus will be bringing more of World SF to UK markets – Nicholas Cheetham is certainly interested in science fiction writers from various countries in Africa. Nigeria, Kenya, Uganda and SA are among the most prolific in terms of SF, for more information see Geoff Ryman’s brilliant series of interviews with 100 African writers of science fiction and fantasy.

But who should define the global limits of the genre, especially when the power to impose a definition is centred in the Global North? The definition of the sf genre varies across time and cultures; various writers (e.g. Dilman Dilla, Nisi Shawl, Nnedi Okorafor) report contesting the definition of SF with the Western publishing and film industry whenever spirits or other traditional beliefs are in the fabric of the narrative.

In the Head Of Zeus SFMagazine, Nicolas Cheetham raises an important question ‘What is Chinese SF?’  and shows the pitfalls of essentialising – how does a publisher balance the reader’s expectations of ‘pleasingly exotic colour’ with the needs of the writers to be free from having to ‘perform otherness’ in order to get a publishing deal in the West?

Readers in the West are limited (as far as having access to a wider range of voices) by the lack of diversity within the publishing industry, editors and critics, and creative writing programs.  This problem is particularly urgent in SF, since the genre is concerned with the imaginaries of humanity’s future. Missing African writers is an especially regrettable situation since the future of humanity depends very much on what will happen on the continent which is projected to contain 40% of the global population by 2100.

For a broader discussion of World sf, visit the World SF Blog.