This coming August will mark the tenth anniversary of Clarkesworld Magazine’s English-language publication of “The Fish of Lijiang” by Chen Qiufan. It’s the first-person account of a middle-aged businessman sent to a commercial beauty spot for some forced rest; he is recovering from “time sense compression,” an experimental procedure to make him a more productive employee. He meets a woman who has undergone the reverse procedure, enabling her to work as a carer for rich old men who are having their last days stretched out to subjective years. They bond; they go their separate ways.
“The Fish of Lijiang” was not, of course, the first translation of genre science fiction from China into English — there have been occasional stories for decades; just a couple of years earlier, in the first Apex Book of World SF, Lavie Tidhar included stories by Han Song and Yang Ping — but it was still a milestone. It’s a neat if-this-goes-on commentary on class, wealth, and labour conditions, and as an ambassador story for Chinese SF, I think it was a smart pick: following on from novels like Lauren Beukes’ Moxyland (2008), Paolo Bacigalupi’s The Windup Girl (2009) and Ian McDonald’s The Dervish House (2010), its sardonic take on a near-future non-Western setting felt comfortably familiar. It went on to win the (short-lived) Science Fiction and Fantasy Translation Award the following year.
It also became the foundation for Clarkesworld’s ongoing collaboration with Storycom, a Chinese ‘story commercialization agency’ with a focus on SF; and it was the first published translation by Ken Liu. Many readers of Vector will be familiar with the outline of what happened next. Liu became a powerhouse of translation — according to his website, he has translated over 50 works to date — and when his translation of Liu Cixin’s novel The Three-Body Problem was published in 2014, it became not just the first translated novel to win a Hugo, but a genuine commercial success. A trickle of Chinese SF has become a healthy and continuous flow, with the volume of new stories, collections and novels probably exceeding the ability of most readers to keep up with it (Figure 1).