By Dev Agarwal. Published as part of Vector 293 exploring Chinese SF.
To state that art does not exist in a vacuum is to loosely paraphrase the late filmmaker Andrei Tarkovsky. That in turn leads to his further observation that “the artist exists because the world is not perfect.”
China is home to the largest film production economy in the world, surpassing Hollywood as well as the juggernauts of India and Nigeria. In 2012, it was the second-largest market in the world by box office receipts. It has had the largest number of screens in the world since 2016, and in 2020, it became the largest market. CNN reports that Chinese cinemas brought in $3.1 billion at the box office in 2020, nearly $1 billion more than the United States did that year.
China has also become a major hub of business for Hollywood studios, encouraging their entry into its domestic market. Yet it is interesting to note that at the same time, in 2016, China passed a law banning film content deemed harmful to the “dignity, honour and interests” of the People’s Republic, and encouraging the promotion of Chinese “socialist core values.”
Discussing China’s film business (and its science fiction output as a subset thereof) is not purely an economic matter, as to discuss any facet of China’s art is also to discuss the confluence of one of the world’s five remaining self-described communist states, the world’s most populous country, and a nation that may become our newest superpower. As Tarkovsky said, there is no vacuum.
The multi-media artist Lawrence Lek observes that “Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement not based on individuals, but on multiple overlapping flows … Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.”
Sinofuturism is with us, through a wide array of products, individuals and narratives. As a movement it has reached the point where commercial cinema has paid it attention and invested in it, bringing to Netflix The Wandering Earth (2019, Frant Gwo). This was a big SF spectacular, with a suitably cosmic story of moving the earth to safety past Jupiter on its way to the star Alpha Centauri, as our sun turned inhospitable to life. The film was successful both at the box office (posting $700 million in receipts worldwide) and with critics.
A core theme of The Wandering Earth is sacrifice. The global population has died en masse, and a big problem (the sun is turning into a red giant in three hundred years rather than in its projected five billion years) is solved with a big solution — moving the planet all the way to a new star. The Wandering Earth, therefore, works on a big scale both in terms of the disaster — it’s planet-wide — and of the loss that’s occurred in the backstory. The solution is not about calling on actors to work individually, rather, the characters are representatives of the Chinese state and function obediently within it.
Reviewed by Andy Sawyer.This review first appeared in The BSFA Review.
There’s something fascinating about the “Time War” scenario which we find in, for instance, Fritz Leiber’s The Big Time and the stories from the 50s and 60s published as The Change War, or Poul Anderson’s Guardians of Time. In El-Mohtar and Gladstone’s short but emotionally-packed novel we get something similar to Leiber, in which the Change War is fought by two forces, the “Spiders” and the “Snakes” who never quite reach the dynamic of “good guys” versus “bad guys”. Here, we have two agents in a battle fought throughout tangled braids of human alternate-history/parallel-worlds between the Agency and the Garden: whose characteristics—material, technological, militaristic versus organic, insidious, ruthless—become part of the conflict. Following a cataclysmic battle, the Agency operative, Red, savours her victory, and finds ambiguity in it. She picks up a letter from her Garden adversary Blue; a mocking taunt to an opponent, to which, in a sense that this is a tournament and a tease, she replies in the same vein.
And thus begins another always-fascinating scenario, the battle between two opponents in a war who come to find a kindred-spirit in the enemy: the secret-agents who find in the to-and-fro of the “game” a personal satisfaction more attractive than ideological commitment. Already there is much to like in the novel, and as Red and Blue exchange ever more ingenious letters and self-revelations after each of their confrontations, this becomes a love story playfully referencing Ghengis Khan, Atlantis, Romeo and Juliet, the poet Thomas Chatterton, Wordsworth’s “Marvellous Boy”, and the Russian Front during World War Two (or at least, versions of all these, and more.) From mocking adversaries, Red and Blue become passionate if distanced lovers. At one point, Red writes “I veer rhapsodic: my prose purples”, and there are certainly times when playfulness hovers over whimsey without (for this reader at least), ever tipping in the wrong direction. There are enough asides, mini-digressions (Naomi Mitchison’s novel Travel Light at one point becomes part of the conversation) and sharply-if-briefly imagined alternative “strands” to make up a dozen novels in the Leiber/Anderson tradition, but the focus is upon the tension and teasing which never stops until it becomes clear that their superiors suspect that something is going on between their top agents, and something drastic is going to have to happen.
We know from our extra-generic reading that secret agents groom and attempt to “turn” each other. This is a novel of traps and tangles, duels and seduction, as if a writer of eighteenth-century epistolary romances had suddenly discovered Golden Age science fiction, though it is considerably sharper and more snapshot than the one and much, much more lyrical than the other. The methods with which the “letters” are written and exchanged are themselves beautifully and baroquely imagined, and worth the price of admission. But as we progress towards the inevitable denouement, there are scenes and evocations that are the distinct opposite from the cuteness and sentimentality that a brief summary of the plot might suggest. You suddenly find yourself seeing “Red” and “Blue” as characters rather than symbols in a highly literary confection, and actively want to see how this will work out. At this point, the authors deliver, and we find that we have been reading not a series of highly-wrought vignettes, but a carefully plotted novel. I would not be surprised to see it among the competitors for at least one major award; nor would I be particularly surprised to see it waved aside as “too clever for its own good”. So I shall come down with an opinion: this is almost certainly the best book I have read this year and one that I intend to re-read for the third time. Behind the playfulness, there’s a dark humour, an aspiration for passion, and, yes, a science-fictional inventiveness that comes along too rarely.
As 2020 recedes from us, we look forward to the world opening up and restarting from lockdown safely. While 2020 was obviously the year of Covid-19, it was also a year of community and solidarity. I hope that readers had those experiences as well.
Friend to Focus and writer, Leigh Kennedy, described the grip of Covid-19 as eerie and familiar, like “being in a science fiction novel we all read long ago.”
On top of the pandemic, 2020 was a year packed with political drama. The year started a month after a significant general election in December 2019 in the UK. By the end of 2020, the US had had one of its most important and defining presidential elections ever (where the election of a Black and Asian American woman as Vice President was one of many significant moments). And that’s without us even commenting on the death of George Floyd and Black Lives Matter, the drone assassination of Qassem Soleimani, the poisoning of Alexei Navalny, major conflicts in Armenia, Afghanistan, Yemen, Ethiopia and elsewhere, wildfires across Australia, the attempted violent overthrow in the US on 6 January 2021, and the ongoing fight to vaccinate the planet.
That’s a lot to process and a tough year for writers and artists to make their voices heard and their work noticed. For readers, the challenge was possibly to concentrate long enough to fully enjoy the fiction and art available. A further struggle for writers and artists was to create art in the first place. Despite these challenges there were many successes to celebrate.
Reviewed by Sandra Unerman. Published as part of Vector 293 exploring Chinese SF.
Uyghur Folklore & Legend, compiled by Abela Publishing, 2009.
The Effendi and the Pregnant Pot, Uyghur Folktales from China, translated by Primerose Gigliesi and Robert C. Friend, New World Press, 1982.
These books both contain collections of Uyghur folktales. Both have their limitations but it is very difficult to find translations of any speculative fiction from the Uyghur community in China. Some basic information about Uyghur history can be found in a few references in The Silk Roads by Peter Frankopan (Bloomsbury, 2015). These outline Uyghur origins in Central Asia, their role during the Mongol Empire and their current position in Xinjiang province, but that is all. I know very little about the culture of the Uyghurs, so I hoped to learn something about them from these books.
A young man will only go near his bride in the dark and leaves the house before she can see him by daylight. But this is not the story of Cupid and Psyche and the resolution owes more to the man’s cleverness than an ordeal undergone by the woman.
A sheep and her lamb travel from a valley in Tibet to a high plateau for the summer grass. On the way, they meet a wolf, who wants to eat them both. The sheep persuades him to wait until they are on their way back down, when they will be much fatter. They return according to their promise but trick the wolf, with the help of a hare, who pretends to be on a mission from the Emperor of China to collect wolfskins.
These examples indicate the range of stories in the 2009 collection and their similarity to folktales from other cultures across the world. There are fifty-eight entries, although some are variants of the same basic tale. The book’s title is somewhat misleading, in that no information is provided about folk customs or legends in the sense of tales about specific places or figures from history. The names of storytellers are given and dates, ranging from the 1870s to the 1920s, so presumably these were oral tales, written down by folktale collectors during that period. However, we are given no information about who the collectors were, the circumstances of collecting or the basis of selection of these particular tales. No editor or translator is identified. The similarities between these tales and those from elsewhere may result from universal human responses, the influence of the collectors or from long-standing historical connections among the people who told the tales. No introduction could have disentangled those strands completely but background information could have helped the reader understand the context and the kind of community to which the stories belong.
The stories do read as versions authentically collected from oral sources, rather than polished up for literary purposes. This can be seen from the gaps and flaws in some of them. In the first, a fox brings grass for a lamb to eat and is betrayed by a wolf, on whom she takes revenge. It looks as though the fox has taken over the role which ought to belong to a sheep, at least in the opening action. Some of the references are difficult to understand, without further information, especially the figure of the ‘pyhrqan,’ who appears in several tales. This is translated in a footnote as ‘monk’ but the stories suggest a being with supernatural powers.
The narratives have the terse, direct strength of oral tales. The descriptions of settings are minimal but the background of sheep pastures and mountains evoke a landscape of open spaces and long journeys. A hare plays the trickster in several of the animal fables, reflecting the role of the hare as a significant mythological figure in many cultures, as discussed in Marianne Taylor’s The Way of the Hare (Bloomsbury, 2017). Other stories, set in villages or towns, provide glimpses of the daily life of ordinary people and their concerns, about family relationships, making a living and oppression by the powerful. They are set in what might be described as a timeless past, with a social and religious framework that appears to draw on more than one tradition.
Oppression of the workers by the powerful is the theme of the stories in the 1982 collection, which all feature Nasreddin, the Effendi of the title. As the translators explain in their introduction, he is a legendary figure widely known in traditions from Turkey, North Africa and Asia. They say that stories about him have spread from the Uyghur community to become popular throughout China. They are not themselves folklore collectors, so their versions of the tales are not directly taken from Uyghur oral tradition. Their translation is made from Chinese and was published in Beijing.
Visit to a Prison
One day the padishah took the effendi with him on a visit to the prison. “What crime did you commit?” the padishah asked the prisoners.
“None!” yelled the men in unison.
The padisha began questioning each by turn and, it seemed, there was only one guilty person among them.
“Protector of the Universe,” the effendi said to the padisha, “please order this man kicked out of here at once! How could he have gotten himself into this place? It is inadmissible that there are people like him in your prison!”
The translators claim explicitly that the Nasreddin stories can help to create a new, socialist culture, because they highlight the abuses of rulers, together with the humour and wisdom of the poor. The sixty-five brief stories in their collection reflect these ideas accordingly. Like those in the 2009 collection, they are set in a timeless past but with a social structure more specifically focused on Moslem traditions. In most, the effendi gets the better of an important official, who attempts to insult or bully him. In one typical example, the padishah (the ruler) blames Nasreddin, who has accurately predicted the death of his prime minister. He threatens Nasreddin with death, unless he can say how long the padishah himself will live. The reply is that the padishah will live two days longer than Nasreddin, who is released as a result.
These stories are more polished than those in the 2009 collection and put more emphasis on urban life, although sheep and wolves do appear in several tales. They reflect one strand of the wider tradition about Nasreddin. However, he is a more complex figure than is expressed here, someone who can be stupid as well as clever and whose exploits are not always directed against the ruling classes. (His relationship to the traditional figure of the fool or jester is outlined in Enid Welsford’s The Fool, a social and literary history [Faber & Faber, 1935]). By reducing his ambiguity, this book flattens his character and reduces the implications of the stories to a single, basic message, although that is expressed with humour.
Taken together, these two collections give an impression of one historical aspect of Uyghur culture, as it shares folk traditions from elsewhere. Both are readable and lively but tell us very little about that community today.
Sandra Unerman is studying for an MA in Folklore at the University of Hertfordshire. Her article about folklore and fiction appeared recently in Focus and she writes for the BSFA Review and the BFS Journal. She is the author of two fantasy novels, Spellhaven and ghosts and exiles, and is a member of london clockhouse writers.
Reviewed by Graham Andrews. This review first appeared in The BSFA Review.
Q: Spot the year of first publication (+ or – 20 years):
“Day by day, however, the machines are gaining ground upon us; day by day we are becoming more subservient to them; more men are daily bound down as slaves to tend them, more men are daily devoting the energies of their whole lives to the development of mechanical life. The upshot is simply a question of time, but that the time will come when the machines will hold the real supremacy over the world and its inhabitants is what no person of a truly philosophic mind can for a moment question.”
A: It comes from an essay, ‘Darwin Among the Machines’, published in the June 1863 issue of a New Zealand magazine called The Press. Ascribed to ‘Cellarius’ but actually written by Samuel (Erewhon) Butler. Change ‘mechanical’ to ‘electronic’ and ‘machines’ to ‘computers’ and only the slightly archaic style would give the game away. Mike Ashley’s Introduction – nay, scholarly monograph – is full of half-forgotten facts like that. I enjoyed it even more than some of the stories, which were a tad over-familiar to an old-timer like me: ‘The Machine Stops’ (Forster); ‘The Evitable Conflict’ (Asimov); ‘Two-Handed Engine’ (Moore & Kuttner). Still good stuff, though.
The earliest anthology I know of SF stories about artificial intelligence in general as opposed to humanoid robots in particular is Science Fiction Thinking Machines (1954), edited by Groff Conklin. None of those stories appear in Ashley’s book, which makes it an interesting thematic companion piece.
Ashley takes a more chronological approach than Conklin, with Adeline Knapp’s ‘The Discontented Machine’ (1894) – about a machine that calls its own wildcat strike – being the earliest (and also one of the best). Along the way, we are treated to such reclaimed treasures as ‘Automata’ (S. Fowler Wright: 1929) and ‘Rex’ (Harl Vincent: 1934). J. J. Connington’s ‘Danger in the Dark Cave’ (1938) fuses Golden Age detective fiction with what would now be called AI: “My view is that once you give an organism – be it machine or anything else – the power of appreciating stimuli and coping with them, you produce something akin to intelligent life.” With the instinct of self-preservation, and the means to fight back. ‘Efficiency’ (Perley Poore Sheehan & Robert H. Davis: 1917) is a quirky little one-act play.
For what it’s worth, my favourite selection is ‘But Who Can Replace a Man’ (1958), by the late and always to be lamented Brian W. Aldiss. I’ll leave you to decide where ‘menace’ comes into it. The most recent – comparatively speaking – story, Arthur C. Clarke’s fiendish ‘Dial F for Frankenstein’ (1964), was read and well-remembered by the young Tim (www) Berners-Lee. But the most precociously prophetic story is ‘A Logic Named Joe’ (1946) which deals with ‘logics’ (i.e. personal computers) and something called the ‘tank’ (i.e. the Internet). If you’ll pardon the slightly archaic style:
“Does it occur to you, fella, that the tank has been doin’ all the computin’ for every business office for years? It’s been handlin’ the distribution of ninety-four per cent of all telecast programs, has given out all information on weather, plane schedules; special sales, employment opportunities and news; has handled all person-to-person contacts over wires and recorded every business conversation and agreement – Listen, fella! Logics changed civilization. Logics are civilization! If we shut off logics, we go back to a kind of civilization we have forgotten how to run! I’m getting hysterical myself and that’s why I’m talkin’ like this! [SEXISM ALERT.] If my wife finds out my paycheck is thirty credits a week more than I told her and starts hunting for that redhead – “
But it’s all extravagant fiction – right, fella? It couldn’t possibly become cold fact tomorrow! Excuse me, fella. My logic is calling me…
Hong Kong is the third largest producer of films in the world after Bollywood and Hollywood, but most people think that its films are concerned only with kung fu. This could not be further from the truth, in fact it offers an enormous diversity of product and includes a large number of fantasy and horror films amongst its many genres. The perception of the output as ‘just’ martial arts presumably comes from the Seventies kung fu marketing boom and the fact that video availability in this country has yet to break away from this traditionally high-selling genre. To the uninitiated the world of Hong Kong cinema can appear bizarre, confusing and strewn with pitfalls. There is the frenetic pace of action, occasionally impenetrable plots, obscure humour and a completely different language (often with cheesy dubbing or minuscule subbing) to contend with. So why bother? The answer is simple. Entertainment. Hong Kong films have a kinetic energy that renders the rest of the world geriatric by comparison. The relentless action, comedy, pathos and range of ideas, and the fact that you never know how the story is going to end, leaves the viewer gasping for breath. Hollywood have latched on to this and in recent years have tried to imitate the Hong Kong formula with limited success. Many HK directors now work in the USA – The Matrix (1999) was choreographed by Yuen Woo Ping, and the pace of the action is derived completely from HK cinema. Hollywood has also begun to approach the task of duplicating several Hong Kong genres; the Heroic Bloodshed genre (guns, cops, gangsters, slo-mo shooting and heavy casualties) has translated reasonably, but lost the emotional depth and characterisation of its Eastern counterpart. Its main innovator John Woo, who directed the sci-fi bloodshed film Face/Off (1998), is now exerting his vision on the Hollywood system with considerable success. The Swordplay genre has fared less well as the efforts generally seem lacklustre, although The Mask of Zorro (1998) was well executed and similarly owes as much to Hong Kong as Errol Flynn. In return Hong Kong has no scruples about raiding film ideas from anywhere – it just does it faster and, normally, better.
Because the market for Hong Kong films is confined predominantly to Asia, its genres are tailored to that market. As a result, there are few pure science fiction films made in Hong Kong and they tend to aim for either the international market (Black Mask, 1997), for the Japanese market (City Hunter, 1993; Wicked City, 1992) or just turn out to be financially unsuccessful (The Heroic Trio, 1993). Generally science fiction elements occur as a peripheral to the main plot or are used as a McGuffin. Far more common is the fantasy film, of which there is an abundance of superior examples. For example: Name three decent Hollywood fantasy films made in the last decade. Okay, name one decent Hollywood fantasy film made in the last decade. Movies such as Moon Warriors (1992), Blade of Fury (1993) and Burning Paradise (1994) are so far in advance of any Hollywood fantasy film as to render English-speaking fare futile. Conan The Barbarian (1982) and Willow (1988) don’t come close and it is only really the Ray Harryhausen films that stand up to scrutiny. There are also abundant numbers of ghost stories and vampire films, which are completely different to their Western counterparts and all the more exciting and stimulating for it. It is impossible to cover all the films served up by HK, so here are a few pointers to hopefully whet your appetite for further Far Eastern dishes.
By Regina Kanyu Wang. Published as part of Vector 293 exploring Chinese SF.
If you listen to a lecture on Chinese science fiction (SF), or check a list of representative authors of Chinese SF, eight or nine times out of ten, you will hear the names of male authors first. There is Liu Cixin, Wang Jinkang, Han Song and He Xi, the “Four Heavenly Kings.” Or Chen Qiufan, Baoshu, Zhang Ran and Feidao, the leading post-80s writers. If the list goes on, you may finally hear of Xia Jia, Hao Jingfang, Zhao Haihong and Ling Chen, the female authors who are equally extraordinary but less mentioned. During a panel at Worldcon 75 in Helsinki in 2017, the moderator Xia Jia, who is also a prominent scholar, gave a short introduction to Chinese SF. For the first time in such major occasions, she decided to present the female writers before the male ones. Her efforts emphasized that Chinese female SF writers are not inferior to their male counterparts, and questioned the routine of male writers always being the first and the dominant.
Despite the growing popularity of Chinese SF both inside and outside of academia, far less attention is paid to female authors’ works compared with male authors’ works. Research on Chinese SF from a gender perspective is even more rare. This article intends to re-narrate the “herstory” of mainland Chinese SF in the larger historical background of China and hopes to invite more discussion on this topic in the future.
By Regina Kanyu Wang et al. Published as part of Vector 293 exploring Chinese SF.
According to Science Fiction World, the concept of “science fiction (SF) industry” was first proposed in academia in 2012, when a group of experts were brought together by the Sichuan Province Association of Science and Technology to comb and research SF related industry, and put together the Report of Research on the Development of Chinese SF Industry. Narrowly defined, the SF industry includes SF publishing, SF films, SF series, SF games, SF education, SF merchandise, and other SF-related industries, while a broader definition also includes the supporting industries, upstream or downstream in the industry chain.
According to the 2020 Chinese Science Fiction Industry Report, the gross output of the Chinese SF industry in 2019 sums up to 65.87 billion RMB (about 7.4 billion GBP), among which games and films lead the growth, with publishing and merchandise following (check out more in Chinese here). The SF industry plays an important part in China’s cultural economic growth.
We have invited sixteen organizations, companies, and projects that play a role in China’s SF industry to introduce themselves to the English readers. You can see the diversity and vigour from the texts they provided. We’ve tried to keep editing to a minimum in order to show how they posit and define themselves in the SF industry. Here they are, ordered alphabetically.
Vector and Focus invite proposals from academics of all disciplines, and from industry, policy, and practice backgrounds, on the theme of speculative fiction in relation to prediction, innovation, and futures. Please see here for the full call.
The principal output will be a special issue of Vector, guest edited by Stephen Oram, and relevant proposals will also be considered for publication in Focus (ed. Dev Agarwal), and/or for online publication. Prospective contributors are encouraged to move conversations forward; to challenge received wisdom; to historicise the use of speculative fiction within science communication, policy, foresight, innovation, education, and research contexts; and/or to reflect in detail on your own personal experiences of using speculative fiction. Contributions may take the form of:
articles of any length;
snapshots / key findings / lightning summaries of your research or activities;
methods and tools, and/or reports on their use;
interviews, roundtables;
other formats — be as innovative and imaginative as you like!
We especially welcome proposals from BIPOC contributors, and/or proposals which connect applied speculative fiction to themes of diversity, decoloniality, and social, environmental, and economic justice. Priority fields of interest include futures studies, innovation studies, Science and Technology Studies, applied ethics, and the history and philosophy of science. Topics might include prediction, modelling, decision analysis and decision support, hacking and makerspaces, speculative design, critical design including Critical Race Design, anthropological futures, design fiction, diegetic prototyping, strategic foresight, wargaming, anticipatory governance, predictive data analytics, algorithmic governmentality, speculative fiction as technology, speculative fiction and aspects of methodology such as reproducibility and validation, user stories as a form of speculative fiction, science communication, protoscience, exploratory engineering, design futurescaping, experiential futures, serious gaming or participatory scenario workshopping, financial modelling and financial activism, creative disruptions, future fabbing, the use of speculative fiction to engage communities and stakeholders, the ethical obligations of the speculative fiction writer, the use of speculative fiction to facilitate interdisciplinary encounters, the use of speculative fiction to model risk and uncertainty, issues around speculative fiction and Intellectual Property, the sci-fi-industrial complex, Indigenous futurisms, energy futures, education futures, all kinds of futures, and the history and future of the future.
Submission details
Please submit proposals by 5 September 2021 to vector.submissions@gmail.com. Very early proposals very welcome. A proposal should typically contain:
a 150-500 word proposal;
an estimated word count; and
some information about you, e.g. a 50-100 word bio or a CV.
We seek contributions that are carefully grounded in research, while also being clear, engaging, and suitable for a broad audience (including non-academics). Articles will be due by 1 February 2022.
Guest editorial by Yen Ooi. Published as part of Vector 293 exploring Chinese SF.
Chinese science fiction’s (CSF) growth in popularity has followed the rapid development trend of China itself. In his interview with fellow writer Maggie Shen King, Chen Qiufan (a.k.a. Stanley Chan) highlights that China has over the last four decades achieved the technological and economic advancements that countries in the West achieved in the last century. The speed of modernisation and urbanisation is a remarkable thing to behold, with 100 million people lifted out of poverty just since 2013. China’s rise has been subject to international scrutiny and criticism, which is to be expected. The most unfounded of which plumbed new depths in the past year — 2020 — through the pandemic. While the previous president of the United States of America (among many) used the term “Chinese virus” in his description of Covid-19, East Asian diaspora communities living in Western countries experienced increased instances of racism. What is the connection?
Genres are in general difficult to define, but CSF is especially complicated. Both the terms Chinese and science fiction defy any clear definition, yet are used so commonly that every user has their own pre-assumed definition. One popular assumption in the West is that CSF should always be read in terms of political dissent or complicity with state power. As much as that might be true for some, it is an unhelpful generalisation. After all, we do not assume that British SF is only about Brexit, or American SF only about Trump. In one sense, all storytelling is inherently political, and within Anglophone SF especially, the racist and queerphobic attack on representational diversity is often disguised as a demand to “remove the politics” from our stories. However, the necessarily political nature of storytelling is complicated in the case of the Anglophone reception of CSF. The insistence of many Western readers on interpreting CSF exclusively in relation to government censorship can itself have a paradoxically censoring effect. Some CSF authors have even resisted writing stories set in China, or allowing the translation of their work into English, for fear that readers will ignore its actual aesthetic and intellectual qualities, while using it as material for simplistic speculation: Whose side are you really on? To quote Ken Liu — for what is a publication on CSF without mentioning the writer who, it feels like, has single-handedly brought CSF to Anglo-American readers? —
Like writers everywhere, today’s Chinese writers are concerned with humanism; with globalization; with technological advancement; with development and environmental preservation; with history, rights, freedom, and justice; with family and love; with the beauty of expressing sentiment through words; with language play; with the grandeur of science; with the thrill of discovery; with the ultimate meaning of life.
Ken Liu, Invisible Planets, 2016.
Chinese means many things: culture, ethnicity, nationality, language, people, food, celebrations, traditions, dance, art, tea, etc. It is impossible to talk about all things related to CSF, but we hope that we’ve managed to introduce some key ideas and concepts in this issue, and that you’ll find areas that particularly excite you — as a writer, researcher, or reader — to want to learn more.
![Menace of the Machine: The Rise of AI in Classic Science Fiction (British Library Science Fiction Classics) by [Mike Ashley]](https://m.media-amazon.com/images/I/51anHXvfNpL.jpg)
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