- The Magazine of Fantasy & Science Fiction Sep/Oct 2013: Afterthoughts
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Richard Cornell. Kathe Koja. Algis Budrys. Michaelene Pendleton.ibuqoxepatug.ga/871-ligar-en-cordoba.php
The Magazine of Fantasy & Science Fiction Sep/Oct 2013: Afterthoughts
Mark McCloskey. Jonathan Carroll. Bruce Sterling. Jane Yolen. Leslie What. Dale Bailey. Poul Anderson. Felicity Savage. Nicholas A. Sarah Smith. Ian R. Mike Resnick. Orson Scott Card. Linda Nagata. Gene Wolfe.
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Rob Chilson. Harry Turtledove. Mark Bourne. Fritz Leiber.
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Harlan Ellison. Brian Stableford. Jeff Bredenberg. Steve Perry. Kelley Eskridge. Kij Johnson. David Brin. Ray Bradbury. Frederik Pohl.
Robert Silverberg. Richard Bowes. Theodore Sturgeon. Isaac Asimov. In addition, there is a generation of younger writers who have generally achieved fame with short fiction, though many have also started novel careers. The other two writers, Wang Jinkang and Han Song, are quite different.
His recent novel The Ant Life, for instance, features a young scientist who succeeds in creating a utopia by infecting the people of an isolated community with hormones extracted from ants to replace their selfish desires with altruistic ones directed to the good of the community as a whole. As one might imagine, this experiment backfires and unintended consequences come to dominate.
In contrast to the Big Three, the younger writers of the new generation generally have done their best works so far only in short form though this is changing. The ease with which Ma marshals his encyclopedic knowledge of Chinese history and traditions also makes it a challenge to translate his most interesting works. These stories are extremely entertaining for the reader with the right cultural context and shed light on the genres and sources Ma plays with, but would be neigh-impenetrable for a reader in translation without extensive footnotes.
Last year, Bao Shu published his debut novel, The Ruins of Time, which tells a tale of heroism and faith in a world trapped in a time loop, and which has just won the Xingyun Nebula Award for Chinese SF. This is but a cursory and shallow glance at the scene of contemporary Chinese science fiction. Time and space limitations prevent me from going into depth about the surreal imagery and metaphor-driven logic of Tang Fei, the dense, rich language-pictures painted by Cheng Jingbo, the fabulism and sociological speculation of Hao Jingfang, the gentle meditations on art and science by Wu Shuang a.
Anna Wu , or the rigorous historical imagination of Qian Lifang, whose Will of Heaven, a science fictional retelling of the founding of the Han Dynasty, was perhaps the most popular work of long-form science fiction in the pre- Three Body era. But this brief survey should give a hint of the broad range in the science fiction written in China. I would urge the reader to resist such temptation. Imagining that the political concerns of Chinese writers are the same as what the Western reader would like them to be is at best arrogant and at worst dangerous.
Chinese writers are saying something about the globe, about all of humanity, not just China, and trying to understand their works through this perspective is, I think, the far more rewarding approach. It is true that there is a long tradition in China of voicing dissent and criticism through the use of literary metaphor; however, this is but one of the purposes with which writers write and for which readers read.
Like writers everywhere today, Chinese writers are concerned with humanism, with globalization, with technological advancement, with tradition and modernity, with disparities in wealth and privilege, 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.
We do the works a disservice when we neglect these things and focus on geopolitics alone. Despite the diversity of approaches and subjects and styles, the authors and stories I have discussed and especially those works that have made it into English translation represent but a narrow slice of the contemporary Chinese science fiction landscape.
These differences manifest themselves in age, region of origin, professional background, social class, ideology, cultural identity, aesthetics, and other areas. They tend to be award-winning stories rather than popular fiction published on the Web. Individual Stories in Magazines or General Anthologies.
Neil Clarke, , translated by Ken Liu. Journals or Anthologies Specializing in Works in Translation. This double issue contains both works from the early twentieth century and the early twenty-first century. The more relevant contemporary works include:. Click here to hide the comments.
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Name required. Mail will not be published required. Note: Comments containing name-calling, personal attacks, threats, or other abusive content will be edited or deleted. All comments must be directly related to the story. Notify me of followup comments via e-mail. Tell a friend, share this on:. Ken Liu is an author and translator of speculative fiction, as well as a lawyer and programmer.
Ken's debut novel, The Grace of Kings , is the first volume in a silkpunk epic fantasy series, The Dandelion Dynasty. He subsequently published the second volume in the series, The Wall of Storms as well as a collection of short stories, The Paper Menagerie and Other Stories In addition to his original fiction, Ken is also the translator of numerous literary and genre works from Chinese to English. He also translated the third volume in Liu Cixin's series, Death's End and edited the first English-language anthology of contemporary Chinese science fiction, Invisible Planets Amazon Kindle.