Guangzhao Lyu, Angela Chan and Mia Chen Ma. Published as part of Vector 293 exploring Chinese SF. If you’d like to receive the issue, join the BSFA.
This is a transcription of Chen Qiufan’s public talk at Goodenough College, London, invited by London Chinese Science Fiction Group (LCSFG), on 12th August 2019, which is followed by a conversation with Angela Chan and Mia Chen Ma. This was originally published in Chinese on LCSFG’s WeChat account.
The London Chinese Science Fiction Group (LCSFG) is a community for people interested in Chinese languages (sinophone) science and speculative fiction. Since it was founded in April 2019, LCSFG has been organising monthly reading groups focusing on short stories available both in Chinese and English and has been inviting established/emerging Chinese SF writers to participate in online discussions following the pandemic lockdown since March 2020. During our meetings, we explore the story’s themes, literary styles and even translation techniques and choices, as a way to better understand the piece, as well as the evolving field of contemporary Chinese SF.
Firstly, many thanks to the London Chinese Science Fiction Group for inviting me here, and to Goodenough College for providing such a gorgeous place. Today, I would like to talk about my debut novel, and only novel to date, Waste Tide. And don’t worry, there won’t be any spoilers. Before I discuss the story itself, let me give some general background information and my inspiration, that is, why I wanted to write a science fiction novel about China’s near-future in conjunction with e-waste recycling.
‘On Afrofuturism’ was an important topic at the virtual 2020 WorldCon in New Zealand. The conversation paid attention to the term generally applied to embrace literary works that use the frame of science fiction, fantasy or horror to re-imagine the past and present experiences of the African diaspora, and to explore what black futures could look like.
On the panel were Suyi Davis Okungbowa—a renowned Nigerian author of fantasy, science fiction and horror inspired by his West-African origins, including David Mogo, God Hunter; Brandon O’Brien—a writer, performance poet and game designer from Trinidad and Tobago, also the editor of Fiyah Magazine; Ekpeki Oghenechovwe—a Nigerian writer with honourable mention (twice) by the L. Ron Hubbard Writers of the Future Contest, and an award-winning best story in the Nommo Awards for speculative fiction by Africans; myself; and skilfully moderated by Maquel A. Jacob—a multi-author and owner of MAJart Works—who propagated stimulating questions, many from the audience, across the panel.
The introduction to the session stated:
According to Yes! magazine, the concept of Afrofuturism may only go back to 1966, when the Black Panther first appeared in a Marvel comic and Lt. Uhura appeared first appeared on Star Trek. The recent MCU movie, Black Panther, shone a bright light onto this subgenre. Our panel explores its origins, what it encompasses and what works they recommend for getting more familiar worth the subgenre.
Over the past month or so, the British Science Fiction Association (BSFA) has been hosting a series of livestream readings from SFF authors in the UK and beyond. We’re calling them the Lockdown Solidarity Salons or, if you prefer, Very Extremely Casual Tales of Optimism and Resilience (VECTOR). Authors, you are all such charmers!
You can find out more about the series on the Facebook page or YouTube channel. We hope you’ll join us this Thursday (8.15pm UK time) for Chinelo Onwualu, Fiona Moore, and on later dates for Naomi Foyle, Lauren Beukes, Temi Oh, Ian R. MacLeod, and more. Here’s Adam Roberts:
See below for Foz Meadows, Stew Hotston, Valerie Valdes, Adrian Tchaikovsky, Malka Older, Tiffani Angus, Stephen Oram, Geoff Ryman, Wole Talabi, and Andrew Wallace. This Sunday, the BSFA will be holding our annual BSFA Awards ceremony (usually held at Eastercon, the UK’s annual national SF convention) on YouTube at 7pm BST.
Productive Futures: The Political Economy of Science Fiction
12- 14 September 2019
By Jasmine Sharma
“The history of science fiction (SF) is the history of unreal economics: from asteroid mining to interstellar trade, from the sex work of replicants to the domestic labour of housewives of galactic suburbia, from the abolition of money and property to techno- capitalist tragedies of the near future.”
The opening statement of the Call for Papers caught the attention of researchers, scholars, artists and authors engaged with the central theme of the conference: science fiction. The connection between science fiction and economics broadened the dynamics of multidisciplinary interaction, encouraging presentations not only from literary studies, but also from architecture, arts and aesthetics, cultural studies, film studies, law, history, politics and international relations, media studies, philosophy, science and technology studies, social anthropology and many more.
Organized by the London Science Fiction Research Community (LSFRC), and held within the heart of the city, that is the School of Arts Building, Birkbeck, the conference witnessed an exciting exchange of ideas and an orientation to global participation. UK delegates were joined by those from other European countries like Denmark, Germany, Finland and Netherlands, from Canada and the USA, and finally from institutes as distant as The University of Wollongong, Australia, The Chinese University of Hong Kong, and The Indian Institute of Technology, India. It was suggested at the end of the conference, only half-jokingly, that LSFRC now stood for Large Science Fiction Research Community.
The Science Fiction Research Association has just released the call for its annual conference, which this year takes place in Indiana. Abstracts are due 15 March. The conference title is ‘Forms of Fabulation,’ and the full call can be read here.
Although this Worldcon had about 5,500 paying members who divided their time between, on average, ten simultaneous program items, many sessions, especially the ones connected to Irish mythologies and history’s connection to SF, garnered enthusiastic interest. This provided a chance for academic fans and general fandom to interact and share their expertise. Most of the presenters also tailored their content to a larger audience […]
I’m just back from Productive Futures, a three-day conference organised by the LSFRC (London Science Fiction Research Community1) at Birkbeck University.
Productive Futures was definitely an academic conference rather than a fan convention, but it was an academic conference with several twists: there were plenty of engaging presentations by non-academics; there was a little table with freebies and merch; writing workshops from Verena Hermann and Oliver Langmead + Thomas Moules; discussion with Jordi Lopez-Botey about the Senate House Boycott and his other work with the IWGB (a new kind of union representing traditionally non-unionised workers such as low paid migrant workers and workers in the “gig economy”); a panel of publishers and literary agents discussing both economics in SFF and the economics of SFF publishing which was a lot better than it sounds2; an associated not-really-part-of-the-conference-but-kind-of event at the Science Museum; Sinjin Li‘s conference booklet and ephemera that added up to an immersive work of art; a roundtable with two SFF author Guests of Honour, Aliette de Bodard and Zen Cho3; and probably more I’m forgetting. The excellent keynote lectures from Joan Haran and Caroline Edwards reinforced the inclusive, outward-facing, and politically engaged ethos.
The theme of the conference was economics and SFF (coincidentally also the theme of a recent Vector (#288)). From the intro to the conference booklet:
The history of Science Fiction is a history of unreal economics. Spanning asteroid mining and interstellar trade, robotic workforces and post-scarcity futures, SF offers ways of reimagining the economics of this and other worlds. Oscillating between the tragedies of neocolonial technocapitalism and the utopian futures made thinkable by a radical redistribution of resources, the novels, films, exhibitions and thought experiments that we will discuss across these three days establish SF as a genre which can and must be understood in economic terms.
So yeah, you might be forgiven for imagining economics just means money and trade, but the conference put paid (pun intended) to that notion: ecology and climate also became a huge theme over the three days; so did work, including unpaid forms of work; so did kinship and family, including polyamory and consensual nonmonogamy; so did infrastructure, including the digital infrastructure of the internet.
If you have a twinge of FOMO, there is some good news: LSFRC also stands for the Live-tweeting Shockingly Fast in Real-time Community. The absolute virtuosos of the art of conference live-tweeting are … well, you’ll see: check out the #unrealE hashtag, with a smattering of tweets under #productivefutures and #lsfrc2019.
A few more things:
We don’t have a conference report lined up for Vector, but if anyone would like to write one, or just share less formal impressions and thoughts, Vector will be very happy to host.
The LSFRC is an organisation of SF scholars and fans, led by graduate students based at Birkbeck and Royal Holloway. The LSFRC organises conferences, events with guest speakers, film screenings, and a monthly reading group in London. The best place to keep track of them is Facebook, and they’re also on Twitter, and have a website. LSFRC was formed in 2014 by Rhodri Davies, Andrea Dietrich, and Aren Roukema, and the current directors are Rhodri Davies, Tom Dillon, Francis Gene-Rowe, Katie Stone, and (as of now!) Sasha Myerson. In a short time LSFRC have really established themselves as an amazing force in SFF studies in the UK and around the world. Productive Futures was a seriously international conference, with attendees from the US, China, India, Germany, Finland, the Netherlands, and elsewhere, as well as one or two remote presentations from folk who couldn’t be there in the flesh. The organisers also worked to make the conference accessible and inclusive — although there is always more than can be done — with essentially a “pay what you or your institution can afford” approach to attendance fees.
The LSFRC’s theme for this year was political economy. The theme for the coming year is borders.
(1) AKA the Large Science Fiction Community, apparently. Also Lustrous, Livid, Lionhearted, etc. I should probably also mention that I played a very minor role in organising the conference, which mostly consisted of emailing “Haven’t read this properly but I agree” from time to time, and on one occasion messing up the travel budgets while very merry on Rhodri Davies’ homebrew.
(2) I have been to some boring publishers’ panels, okay? This one was great: it was deftly moderated; most of the panellists arrived well-prepared; there was nimble hat-juggling as pretty much everyone spoke both as professionals and as fans of SFF; there was nuanced consideration of different kinds of publishing; there wasn’t the assumption you sometimes get that the audience is hungry for tips on “success,” or that commodified and commercially successful SFF is the SFF that really matters. For me, the only bum note was Jo Fletcher’s response to a question about the representation of working class voices in speculative fiction, which didn’t really address the specific question, and also definitely edged toward disheartening “I don’t see colour” territory. It was however good to hear from Jo about Hachette’s Changing the Story initiative, which is reflecting critically on the industry’s lack of diversity and creating concrete opportunities for BAME people and others. (Diversity, of course, isn’t yet decolonising, and diversity-oriented thinking can even sometimes impede decolonisation! But the tensions between diversity and decoloniality should be seen on a context-by-context basis, and my hunch is within contemporary publishing a focus on diversity is still extremely useful to the wider and deeper projects of decolonisation).
(3) The third Guest of Honour, Tade Thompson, had to drop out. Maybe next year?