The science fiction genre has evolved over time, influenced by various factors, including authors from underrepresented demographics.

The genre, once male-dominated, now sees significant contributions from women and non-binary authors, including Hugo Award nominations.

Diversity in science fiction has expanded to include themes and topics relevant to women and minority groups.

Authors like N.K. Jemisin use science fiction to explore societal issues and encourage change.

The genre has been influenced by non-Western writers offering fresh viewpoints and challenging traditional norms.

Speculative fiction is being used to explore identity, social justice, and foster author-faculty collaboration.

Sensitivity readers are increasingly used in science fiction, especially young adult publishing, to address authors' errors on race and gender.

Science fiction critiques societal issues like racism and explores themes such as transhumanism and artificial intelligence.

The genre has been influenced by feminist and postcolonial studies, and explores ecological and technological concerns.

Arab science fiction lacks critical attention, but authors like Ahmed Khaled Tawfik are making significant contributions.

Chinese science fiction has grown significantly over the past 40 years, exploring themes like creation and life.

Ursula K Le Guin and authors of color like Wang Jinkang, a 2024 Hugo Award finalist for "Seeds of Mercury", have impacted the genre.

Authors like Kazuo Ishiguro and Ursula K Le Guin have made significant contributions to the genre, exploring complex concepts like artificial intelligence and interdimensional travel.

Authors are combining imagination and research to predict future technological trends.

The future of science fiction is expected to be increasingly interdisciplinary, imagining alternative worlds and a better future.

The science fiction genre has evolved over time, influenced by various factors, including authors from underrepresented demographics.

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Silicon Valley celebrity Hsieh Kai-ting also met the noble woman Nana fundraising scared to jump on the car.
Science fiction "Three Bodies" adapted into a new drama on the Internet to impact the Chinese scale
Created by Chinese writers, the “Three Bodies ” was adapted by Western producers as a series performed by a number of foreign actors, which not only greatly reduced the Chinese elements, but also opened with scenes of the Cultural Revolution fighting dead.
Like the story of the alien invasion of Earth, it is also impacting the “beliefs ” of many Chinese and the“ yardstick ” of the Beijing authorities.
“Three Bodies ” is a bestselling novel by renowned Chinese science fiction writer Liu Cixin, who has won one of the world ’ s most influential awards in science fiction literature. In China,“ Three Bodies ” has been considered “difficult to adapt ” for its puzzling time jumps, philosophical dilemmas and intensive exploration of scientific theory.
Today, the “Three Bodies ” are on the international screen through Netflix, a rare breakthrough in foreign media observation, in contrast to the suppression of science fiction in Chinese history.
★ A rare breakthrough under Beijing ’ s repression
Produced by Game of Thrones producers, Netflix ’ s new series “3 Body Problem ” is based on China ’ s best-selling science-fiction novel of the same name, according to the BBC. The novel is still popular in China despite China ’ s ongoing censorship of the genre.
The story structure of the “Three Bodies ” is roughly the same: one day in 1967, Ye Wenjie, an astrophysics student in Beijing, witnessed her father being beaten to death by the Red Guards during the Cultural Revolution.
She joined a military project in Inner Mongolia to avoid being punished by a series of sit-ins, but on the condition that she never leave the base.
At this cold outpost, under a huge parabolic antenna, Ye Wenjie lost all confidence in humanity.
She devoted her life to research and made scientific breakthroughs, broadcasting high-power radio signals into outer space.
This action will have serious consequences, and it all stems from that disastrous day in Beijing.
In addition to the trans-cosmic plot, the Three Bodies also involve secret scientific projects; an alien species in the solar system beyond the stars; and a strange video game depicting the rise and fall of great civilizations over the millennia.
“The Three Bodies ” is the first of a trilogy of“ Past Events on Earth ” written by Beijing-born Liu Cixin. A Chinese adaptation of the film was shelved in 2017.
But now it ’ s on the international screen via Netflix, the belated return of Game of Thrones creators David Benioff and DB Weiss.
Early reviews were divided over whether they could be successfully adapted.
What ’ s more, the original novel has been an incredible success. It was first serialized in China ’ s Science Fiction World magazine in 2006 and translated to Western readers by Liu Yukun in 2014.
Its fans include former US President Barack Obama and "Game of Thrones" author George RR Martin.
He is the author of the Qur ’ an.
Liu Cixin won the most prestigious Hugo Award for Best Novel in 2015, and the book and its two sequels have sold nearly 9 million copies worldwide.
Today, Liu Cixin is credited with bringing Chinese science fiction to the world.
This is an incredible feat considering China ’ s historical suppression of science fiction.
The English translation begins with the words: “In more than 40 days, in Beijing alone, more than 1,700 victims were beaten to death at a protest meeting ” and“ many others have chosen an easier path to avoid this madness. ”
Set in 1967, the novel kills as many as 2 million people in the Cultural Revolution over the next decade as the student-led radical Red Guards gradually turned violent in support of the Communist policies of then-Communist leader Mao Zedong.
Many of the victims committed suicide to “end their suffering. ”
The report believes that, in the modern episode of the “Three Bodies, ” the unexplained suicides that have occurred in the scientific community hint at this fact.
But what ’ s more striking than how this real history shapes events in Liu ’ s work is how the Mao regime shaped the course of science fiction in the real world.
It was dormant in the 1960s.
Liu Cixin was born in 1963, three years before the Cultural Revolution.
Li Hua, a professor of Chinese at Montana State University, said that in that era, scientists, writers and other intellectuals were branded “counter-revolutionaries ” and sent to labor camps for“ ideological transformation, ” with few literary works published, “Chinese science fiction remained dormant from the early 1860s to 1967, ” and it was especially difficult to survive the turbulent political situation, with many common themes being taboo, such as Mao ’ s. Marxist-Leninism makes no provision for the existence of aliens in the universe.
But as the “three bodies ” postscript reveals, after witnessing China ’ s first artificial satellite painting the sky in April 1970, six-year-old Liu Cixin will still be moved by“ unspeakable curiosity and longing. ”
A few years later, he found a box of books under his father ’ s bed, including Jules Verne ’ s “Journey to the Heart of the Earth. ” Liu found that he had a determination, like the character in his book, Ye Wenjie, that would ultimately have a profound impact.
Mao Zedong died in 1976, and Ye Wenjie described that year in “The Three Bodies ” as“ the horrors experienced during the Cultural Revolution gradually subsided ”. After Deng Xiaoping came to power in 1977, science fiction flourished for a short time. Deng Xiaoping said that “science and technology are the first productive force. ” Creation.
Fearing a greater spread of Western ideas to China, the CCP launched a campaign in 1983 to “clean up mental pollution. ”
Li said: “It aims to eradicate the Western-inspired trend of ‘ bourgeois liberalization ’.
The Propaganda Department singled out specific literary genres to attack and suppress, including sci-fi works of ghost stories, violence, sex, anti-scientific assumptions, and veiled criticisms of socialism, and classified them as “spiritual pollution. ”
Leading writers such as Ye Yonglie, who wrote stories about space travel when China launched its first satellite into orbit, were condemned, and Science Literary magazine was forced to publish non-fiction works, and in the process renamed the more unobtrusive “Strange Tales. ”
Li said that after a few months, Deng Xiaoping ended the event, but "many science fiction writers, disappointed and emotionally hurt, left the field."
Even if science fiction is revived again, political sensitivities are holding back its development.
Liu Cixin ’ s first full-length novel, China 2185, in 1989, describes cyberpunk fantasies about Mao ’ s resurrection in virtual reality.
This suggests that sci-fi narratives “were prevented from appearing in print due to sensitive sociopolitical topics, but were later published online, ” Li said, but many such works would soon be removed.
Most writers are self-censoring.
With its rapid economic growth in the 1990s, China is now a modern and prosperous country, and science fiction has flourished in China. In the 1990s, with films such as Jurassic Park and The Hacking Empire, Western works by Hugo Award winners Philip K Dick and Arthur C Clarke hit bookshelves.
By the turn of the century, “Science Fiction World ” had reached 400,000 copies, the largest of its kind. In 2019, another film,“ Wandering Earth ”, directed by Liu Cixin, became a hit in China, marking a watershed moment for Chinese science fiction films.
Li Hua believes that the change during this period is that the Chinese government's censorship system is relatively strict on social and political issues, but relatively lax on technical issues, so most writers will self-censor their works and avoid mentioning sensitive topics.
But the report believes that sociopolitical criticism is not impossible for Chinese writers.
Liu Yukun, a translator, said at the Reddit “Geek ” conference in 2015 that“ criticism of the Cultural Revolution is not a forbidden topic in China. ”
Liu Tsz Hin became the first Asian to win a Hugo Award, but his book nonetheless exposes the sensitive nature of his ideas. After all, chapters with a Cultural Revolution background were moved to the middle part of the original Chinese version for fear that government censors might find them too politicized, which is the beginning of the English version of the “Three Body ”.
Netflix ’ s new series “Three Bodies ” starts in the same way as the English version of the book, and they don ’ t worry about censorship.
But the new series is based on Liu Cixin ’ s original novel, and unlike the original novel, they will face the critical judgment of the audience.
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What is considered a major breakthrough in science fiction publication?

The genre, once male-dominated, now sees significant contributions from women and non-binary authors, including Hugo Award nominations.

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Content: Science Fiction: Chinese Female Writers | Culture | DW | 21.10.2023
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Cultural warp and weft
Science fiction: the rise of Chinese women writers
While the space for feminist expression in China has shrunk further over the past decade, there ’ s good news from this week ’ s World Science Fiction Conference in Chengdu: Chinese female writers are thriving in the science fiction world, making them one of the most striking trends in the genre.
The rise of Chinese female writers in science fiction has become one of the most striking trends in the genre, according to participants at this week's World Science Fiction Conference in Chengdu.
The World Science Fiction Conference, the world ’ s oldest and most influential science fiction event, was held in China for the first time this year and attracted a large number of local fans, both male and female.
China remains a relatively socially conservative country, and under President Xi Jinping, the space for feminist expression has narrowed further over the past decade.
But author and editor Regina Kanyu Wang, who was nominated for two prestigious Hugo Awards at the World Science Fiction Conference this year, said the number of women writers in science fiction has soared in recent years.
She said more and more women are now realizing that "it's not just nerdy, nerdy science-fiction novels like Liu Cixin [author of the three-body series] that can be published, or can be considered science fiction." Liu Cixin is great, and we all like him.
But there's a lot more to it than Liu Cixin's style. "
The good news, says Wang, is that once women start to become writers, they don ’ t feel they ’ re being treated unequally.
The market and readers need a new perspective, she said.
The 81st World Science Fiction Conference will be held in Chengdu from October 18 to 22.
"Now, many Chinese female science fiction writers focus on issues that women face that men may not feel," Zhou Danxue, a literary scholar at XJCC Liverpool University, told AFP. "These writers can reflect unique female experiences in their own way."
Wang said that in the past two years, four anthologies of Chinese fantasy novels written only by female or non-binary authors have been published, which is a major breakthrough.
There wasn ’ t even an all-female science fiction writer ’ s portfolio before that.
Before the 1990s, there were very few female science fiction writers.
An article in the collection "The Way Spring Comes", which Wang Kanyu participated in compiling, pointed out that the Internet is a training base for women and queer talents.
Author Ni Xueting explained that the widespread use of the Internet “not only brought a new sense of community to people, but also … removed many barriers to writing based on industry and social stereotypes, especially for non-male writers. ”
Chen Qiufan, one of China ’ s leading science fiction writers, told AFP that the genre had traditionally not received special attention and was seen as “written and read by boys. ”
He said there was now a "wider and more diverse audience", estimating that his readers were split equally between men and women.
Chinese women writers begin to make their mark in science fiction
Monet, a 21-year-old woman who visited the science fiction convention on Friday, said she sometimes felt isolated among her own fan base.
“It ’ s hard to share my interests with people who don ’ t understand me.
They ask, "Why does a girl like science fiction?"
She is optimistic about these changes in attitude, pointing out that there are a lot of interested primary and secondary school students at the conference site.
“I think interest in Chinese science fiction has to be nurtured from an early age, ” she says.“ We didn ’ t have that opportunity when we were young … I really envy them, to be honest. ”
(AFP)
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What is considered a major breakthrough in science fiction publication?

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Diversity in science fiction has expanded to include themes and topics relevant to women and minority groups.

What is considered a major breakthrough in science fiction publication?

Authors like N.K. Jemisin use science fiction to explore societal issues and encourage change.

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Fantasy author N. K. Jemisin speaks at a Bartels World Affairs Lecture in Klarman Hall on Oct. 4.

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N.K. Jemisin Gives Bartels World Affairs Lecture, Speaks on Building a Better World

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N. K. Jemisin, best-selling science fiction and fantasy author well known for her book trilogy “The Broken Earth,” spoke about building a better world at this year’s Bartels World Affairs Lecture on Wednesday, Oct. 4 at 5:30 p.m. in a packed Rhodes-Rawling Auditorium. Jemisin spoke about how building fictional worlds helps her discuss the reality of our society, and concluded by calling on the audience to make choices in order to build the world they wish to see.

Following her talk, Jemisin joined a panel of Cornell faculty to kickstart the latest Global Grand Challenge: The Future. Global Grand Challenges bring together people and resources to understand and develop solutions to humanity’s most urgent challenges. The first challenge launched in 2019, and this year’s challenge, “The Future,” focuses on how to employ creativity to build a more equitable and sustainable future world.

Supported by the Henry E. and Nancy Horton Bartels World Affairs Fellowship, the Bartels World Affairs Lecture is an annual, signature event hosted by the Mario Einaudi Center for International Studies that brings renowned individuals to Cornell’s campus to speak on international matters with students and faculty.

Seats at the event sold out and an estimated 330 people attended. In-person watch party tickets were made available as well, where attendees live streamed the lecture from an adjacent classroom near the auditorium. More than 270 local, national and international viewers who registered through eCornell also streamed the event live.

Vice Provost for International Affairs Wendy Wolford said that in addition to launching this year’s Global Grand Challenge, this event also fits into Cornell’s academic year theme of Freedom of Expression. Wolford explained that the world building, kindness and empathy in Jemisin’s work encouraged the Einaudi Center to select this event as the launch for the University’s new Global Grand Challenge.

“The theme of this new challenge is fittingly ‘The Future.’ With this challenge, we invite all of you, students, staff and faculty to step back from the immediate questions of your studies, your work and your research, to think about the world you want to live in,” Wolford said. “The Global Grand Challenge calls on us to go beyond the cutting edge… to imagine what the world would look like if we asked not just what can I do, but what do I want? What do we want?”

Jemisin began her lecture by describing her background in higher education, in which she spent 20 years working as a career counselor, academic counselor and director of experiential education before becoming an author. Jemisin writes science fiction and fantasy novels that explore a variety of themes, including power, cultural conflict and systems of subjugation.

“Many of the questions I tend to get are: Why science fiction? Why fantasy? Why would you, an ostensibly intelligent and mature person, write this kid’s stuff? And I tell people the same thing that Octavia Butler has said in interviews, which is in science fiction, I can do anything,” Jemisin said during her lecture.

Jemisin explained how people’s fears in a specific time period are reflected in their writing, especially in science fiction. She cited underlying fears of the sexual revolution displayed in 1960s feminist science fiction as an example.

“There’s another misconception out there that typically happens, which is that people think of science fiction as being about the future. They think of fantasy as being about the past,” Jemisin said. “It’s neither. Science fiction and fantasy are actually about our present world.”

Jemisin also described the process of science fiction worldbuilding on two levels — macro and micro. Macro worldbuilding involves creating the physical world of a story, including planets, continents, climate and ecology. Micro worldbuilding is crafting the society the characters will exist in, which includes species, morphology, racialization and power, among other things.

“The point of this [worldbuilding] exercise is to get people to start questioning their assumptions,” Jemisin said. “Understanding how our society functions is a lot more constructive than they think, so it’s important that I get across that all of this is changeable.”

Jemisin also spoke about how real people build worlds, and how our current world is not arbitrary, but rather the result of a series of choices. She emphasized that different choices remain possible, and that our understanding of ourselves and self-identity is evolving. Jemisin encouraged the audience to consider reasons for both creating and resisting change.

“We are being blasted with a constant firehose of disinformation which is fueled by a whole lot of money,” Jemisin said. “The only thing that we can do in order to resist this is begin to question and push back on how we became the society that we are and begin to recreate that society in our own design.”

Following her lecture, Jemisin joined a panel with Cornell faculty members Prof. Anindita Banerjee, comparative literature and feminist, gender and sexuality studies; Prof. John Albertson, civil and environmental engineering; and Prof. Kaushik Basu, international studies and economics. Each professor took turns briefly speaking about how their field of expertise relates to building a better world, and Jemisin followed with her thoughts.

“We see society now envisioning futures and being bold, making pledges of decarbonizing our energy supplies, decarbonizing our economy and setting ambitious timelines on which to do that,” Albertson said. “It’s relatively straightforward to plan the direct linear path of what you need to do there. But the question is: where are all the other parts of society that are touched by each of these changes?”

Asher Bergmann ’26 said his goal going into his sophomore year was going to more school  events, and was excited to find this lecture as someone who reads a lot of fantasy.

“I think she did a good job of not diving too deep into fantasy to where some people wouldn’t be interested, because while she’s a fantasy author, the point of this lecture wasn’t actually writing fantasy,” Bergmann said. “I think she did a good job of balancing her goal with what other people may have come here to see her speak about.”

Annabel Baniak ’24 decided to attend the event at the encouragement of both her professor  and her mom, whose favorite book is “The Fifth Season” by Jemisin. Baniak said she enjoyed the event and left feeling motivated and inspired to create change in the world.

Jemisin left the audience with a message to continue questioning the current world and to work towards building an ideal society.

“I have been having conversations all day with the students here, and they’re thinking ahead of me. I have to catch up. It is an innate part of youth to question our reality, and if the way that we live makes any sense,” Jemisin said. “I have to retain my own youthful questioning. They are right to question reality, and the rest of us need to keep doing that.”

Grace Liu ’27 is a Sun contributor and can be reached at [email protected].

The genre has been influenced by non-Western writers offering fresh viewpoints and challenging traditional norms.

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Speculative fiction is being used to explore identity, social justice, and foster author-faculty collaboration.

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Content: Dartmouth Speculative Fiction Project considers next steps for the genre

The project brings together authors and Dartmouth professors to collaborate on new speculative fiction work rooted in scientific research on campus.

by Sophie Chadha | 53 minutes ago

From April 13 to 16, speculative fiction authors from around the country came to Hanover to participate in the Dartmouth Speculative Fiction Project, a series of events which included interdisciplinary activities between visiting authors and Dartmouth faculty, as well as readings and panel discussions open to the public. The project aimed to foster collaboration between authors and Dartmouth faculty – with a focus on designing stories rooted in scientific research – and addressed the present and future of the speculative fiction genre.

The project was co-organized by engineering professor Solomon Diamond, English professor Rebecca Clark, the Design Initiative at Dartmouth program manager Paula Olson, Hugo award-winning speculative fiction editor Liz Gorinsky and author and former visiting film and media studies professor Sharang Biswas Th’13.

According to Hugo and Nebula awards finalist Nibedita Sen, speculative fiction is a general term that provokes valuable questions.

“The term ‘speculative fiction’ … works as an umbrella term: It is fiction which imagines things that do not currently exist, things that may come into being through science or through magic,” Sen said. “It could be advancement, or it could be, ‘What if we went backwards? What if we stepped to the side?’ It could be a different dimension, a different timestream.”

In a Q&A panel on April 15, some authors touched on the exchange of knowledge that occurs between scientific researchers and speculative fiction writers. Author K.M. Szpara said he believes the future of speculative fiction will become increasingly interdisciplinary and collaborative.

Nebula award-winning author Sam J. Miller  said we should reframe one stereotype about fiction — that it is dismissive of reality’s problems — and instead view its creation of a world without societal problems as proof of the possibility that our society could exist without them.

“It is as simple as, ‘ … And then the housing crisis is over … And then all the people standing in the way of progress are gone.’” Miller said.

Calvin George ’24, who attended the Q&A, said he was intrigued by Miller’s concept of speculative fiction as a tool for social change.

“It was really interesting to hear from these authors [about] how imagining worlds where a huge problem like climate change is gone can actually help us solve those problems by giving us a sense of hope that they are not absolute or inevitable,” George said.

Sen said she views fiction as an important lens through which we can better understand the reality of our problems.

“A lot of people view escapism as a form of writing that is less than, but I don't believe in that. Like Tolkien said: Is it not a prisoner's duty to try to escape? Fiction is the spoonful of sugar that helps the truth go down,” Sen said.

Sen said this belief manifested in her own writing following the results of the 2016 presidential election, when she pivoted into the realm of horror as a form of catharsis.

“[In 2016,] people like me were being viewed as monsters, so I decided, ‘Well, I will show you what a monster really is,’” Sen said.

Looking to the future of speculative fiction, teacher, linguist and author Rob Cameron points to the genre’s growth over the past few decades from a niche, isolated faction of enthusiasts to a universal mode of entertainment.

“With the popularization of science fiction through film, especially Marvel, ‘geek culture’ has become much more expansive — you do not have to be a geek to enjoy it,” Cameron said. “At the same time, authors’ expectations of their readers have changed with these new mediums: Are people really going to sit down and read this book? This kind of thinking sparks novel ideas like ‘choose your own adventure’ narratives, comic books, video games and more.”

According to Biswas, the Speculative Fiction Project came to life when pitched the idea of centering speculative fiction around scholarship at Dartmouth to Diamond. When selecting the authors for the panel, Biswas shared that the organizers primarily aimed to represent diversity in both background and writing experience.

“If you’re claiming to do a project that looks at the future of humanity, you need to represent diverse perspectives,” he said.

Biswas added that if the project were to happen again, he hopes it can bring together an even more diverse group of people with more funding.

“In the future, with better channels of funding, we hope to have more geographic diversity and be able to bring in international authors,” Biswas said.

The Speculative Fiction Project will continue as authors workshop their stories with their research partners. These works of fiction will be presented at a Dartmouth symposium in June and will subsequently be synthesized into an anthology in Lightspeed Magazine next year.

According to Clark, students will be invited to submit their own stories and up to four of them will be chosen and featured in the professional collection.

Sensitivity readers are increasingly used in science fiction, especially young adult publishing, to address authors' errors on race and gender.

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Content: Cancel Culture

Sensitivity Readers Are the New Literary Gatekeepers

Overzealous gatekeeping on race and gender is killing books before they're published—or even written.

|

Alberto Gullaba Jr. was the type of author that publishers dream of having in their catalogs. A first-generation college grad, a child of working-class immigrants, and the recent recipient of a Master of Fine Arts degree from the prestigious University of California, Irvine, program, Gullaba was a debut novelist with a gift for visceral and vivid prose. His first book, University Thugs, had all the makings of a smash hit. A work of character-driven literary fiction steeped in immersive vernacular, it tells the story of a young black man named Titus who is trying to make his way at an elite university in the wake of a criminal conviction—all while the school is being rocked by racial scandals, not unlike the racial reckoning that consumed so many American institutions in the summer of 2020.

Gullaba's agent knew he had something special, and he was excited for a big submission push. But on the eve of sending the manuscript out to publishers, the agent suggested Gullaba update his bio to emphasize his racial identity. Publishers, he reasoned, would be excited to support a young black writer fresh on the literary scene.

There was a problem: Gullaba is Filipino.

"We had never met in person," he tells me, laughing. "I guess you can't really judge who's black or not based on a name like Alberto, and Gullaba is just ethnically ambiguous enough that it could be from Africa? I don't know."

What was clear, immediately, was that something had changed. The agent wasn't excited anymore. Actually, he seemed downright nervous, and he started asking for significant changes to the manuscript.

"The guy's frightened," Gullaba says. "God bless him, that's the reality of that world."

At first, Gullaba was asked to add an Asian character—east Asian, specifically, perhaps a Pacific Islander. Then it was suggested that Titus' wingman, the biggest secondary character, should also be assigned an Asian identity. And there was one more bizarre twist: Another agency employee, who we'll call Sally, was brought in at the eleventh hour to read the book and provide additional feedback.

"My agent was like, 'I don't want to do this, it makes me very uncomfortable,'" Gullaba says. "But then he says it."

Sally, the agent explained, was black.

Known as sensitivity readers, or sometimes authenticity readers, consultants like Sally are a growing part of publishing, hired to correct the pre-publication missteps of authors who don't share the same traits—or "lived experience," to use a favored buzzword—as their characters.

The sensitivity reader's possible areas of expertise are as varied as human existence itself. One representative consultancy boasts a list of experts in the usual racial, ethnic, and religious categories, but also in such areas as "agoraphobia," "Midwestern," "physical disability, arms & legs," and (perhaps most puzzlingly) "gamer geek." Another one lists individual readers with intersectional qualifications: Depending on the content of your novel, you might hire a white lesbian with generalized anxiety disorder or a bisexual, genderfluid, light-skinned brown Mexican with a self-diagnosis of autism. Every medical condition, every trauma, every form of oppression: Sensitivity readers will cover it all.

Unsurprisingly, the rise of sensitivity readers has proved controversial. Those who support it insist that they're no different from subject matter experts, not unlike the physician who proofreads a medical thriller to make sure the science is right. Critics, on the other hand, balk at the idea that being a member of a given demographic automatically conveys special knowledge about how everyone else in that group thinks or feels. (In Gullaba's case, his sensitivity reader had been born in the Caribbean and raised in the U.K. The idea that she could speak to the "authenticity" of a young, black ex-convict's experience at an American university was comical.) At a moment of ascendant identitarianism in so many institutions, sensitivity reading seems part of a larger, insidious trend in the arts: one that stigmatizes imagination and would, taken to its logical conclusion, make fiction itself categorically impossible.

Whatever else sensitivity readers are, they're a recent development—born in the small but influential corner of the literary world known as young adult (Y.A.) publishing. The Y.A. literary scene has always been a reliable incubator for incoming moral panics, dating back at least as far as 1975's puritanical spasm over sexual content in Judy Blume's Forever…: It's always been easy to get people amped up if you can invoke the specter of a vulnerable young person being harmed by a naughty book. In this case, you can see the seeds of the great media diversity eruption of summer 2020 in a Y.A. controversy from six years earlier.

In 2014, the same year Michael Brown's death in Ferguson, Missouri, helped spark the first wave of the Black Lives Matter movement, a survey by the publisher Lee & Low revealed that just 10 percent of the books published for young readers included multicultural content. The Y.A. community was scandalized, and authors rushed to address the issue.

Suddenly, every other book deal announced that year seemed to involve a multiracial cast of characters repping the whole rainbow of sexual orientations, alternative gender identities, and physical and mental disabilities. But rather than solving the problem, the new enthusiasm for diverse characters fueled a new outrage: No matter how multiracial the characters, the authors were still a bunch of white ladies, as were the editors, the marketing folks, the designers, and the publicists. It was white people all the way down.

Publishing is a longtime bastion of liberalism, but it is also an elite profession, largely inaccessible to all but the independently wealthy (or at least those with the means to live in one of America's most expensive cities on less than $40,000 a year). Between the notoriously low salaries and the limited opportunities for advancement, publishing houses had struggled for decades to attract and retain minority employees, a problem for which they were generally apologetic without ever embarking on the kind of bottom-up industry renovation that might actually fix it. But now they were being scrutinized by a new, young activist cohort—and the demands for change, amplified by social media, were starting to get loud.

Enter the sensitivity reader.

To understand why publishing would go all-in on a practice that not only interferes with an author's creative autonomy but traffics in crude stereotyping to boot, you need to know one crucial fact about sensitivity readers: They're cheap. The average cost of a sensitivity read is a few hundred dollars per manuscript, and it's a freelance job. This made it a godsend to publishers who wanted to merely look like they were giving people of color a seat at the table but didn't want to go to the trouble of buying all those additional chairs. Retaining a freelance stable of racial, ethnic, and sexual minorities created the appearance of diversity for a fraction of the cost.

Within the writing community, the practice was more complicated. In theory, sensitivity readers were a way to write outside your identity without causing offense by "getting it wrong." But the emerging consensus, especially in Y.A., was that it was even more wrong to stray outside your lane in the first place. In a particularly revealing 2018 feature on the culture website Vulture, a sought-after sensitivity reader expressed profound contempt for the authors whose manuscripts she was paid to vet.

"These writers think they're doing the world a service. Like, 'Look at me, I'm showing up for the social-justice movement.' But the problem is that they're showing up and they're taking a seat," she said.

The implications were clear: If you were a white author writing black characters, you were taking up space that could have gone to a more deserving marginalized writer. If you needed a sensitivity reader, then was this really your story to tell?

These questions don't serve as a deterrent for everyone. In the intervening years, sensitivity readers have become de rigueur—in young adult fiction, but also, increasingly, in work for adults. Sometimes a publisher will insist on this extra step; sometimes, a conscientious writer will seek it out on his own. The prevalence of the practice is more sensed than studied—there's no data on what percentage of books go through this sort of vetting—and it's highly variable depending on the writer's own genre and community; the ultra-woke author of prestigious literary fiction is a lot more likely to request or receive a sensitivity read than, say, a hard-boiled crime novelist.

Those who put stock in sensitivity reads seem to mostly imagine that the practice offers a form of insurance, preempting allegations of this -ism or that -phobia, although it rarely pans out that way.

When The Men, Sandra Newman's sci-fi novel in which everyone with a Y chromosome suddenly vanishes from the face of the earth, came under fire for what critics termed the "transphobic" implication that people with Y chromosomes are men, one of the chief questions was whether the author had engaged a trans sensitivity reader. But when Newman said that yes, she had, the outrage only multiplied. Why had she hired only one sensitivity reader? Did she think this was an excuse?

"That only makes it WORSE," one commenter wrote, "because you're claiming you KNOWINGLY did this."

Indeed, not even the professionally sensitive are safe when a cancellation comes calling. In 2019, sensitivity reader Kosoko Jackson frantically pulled his own Y.A. debut novel after he was called out for setting a gay romance against the backdrop of the Kosovo War. (As is typical of these controversies, it's hard to parse exactly what Jackson did wrong, but the complaints mainly focused on the offense of "centering" the wrong identity category—in this case, two American boys—in a story set amid a real-life tragedy that mainly affected people of another identity category.)

And yet, despite the rampant toxicity and the inconsistency in which books get canceled and why, some writers have come to see sensitivity reads as simply part of the process, a thing you do to check the boxes for both "good writer" and "good person." ("Just got my sensitivity read edits back, and it was…eye-opening," reads a recent, cheerful email from a friend who was self-publishing a Y.A. novel. "Turns out I'm your typically oblivious white man!") And while I've never used sensitivity readers for my own work as a novelist, I have agreed to perform the service for someone else who wanted a woman's perspective on a novel-in-progress—which ironically turned out to be exactly the sort of imaginative exercise that sensitivity readers are meant to obviate. My job was not to offer my take on the book, as a woman. It was to scrutinize the text from the perspective of a woman who was not me, someone far more sensitive and prone to taking offense than myself—a person whose perspective, thought, and feelings I could only imagine. But per the rules of sensitivity reading, I was allowed to do this, while the author, due to lacking the proper chromosomal and/or genital configuration, was not.

At the time, I felt the fundamental tension, even absurdity, inherent to what I was doing: suggesting edits that would take all the teeth out of the story, all for the sake of placating the type of person who would invariably just find something else to be offended by.

Sensitivity readers are still most prevalent in Y.A. publishing, but the ideology that fueled their rise is beginning to crop up elsewhere. Sensitivity reading is becoming more commonplace in adult books, as the belief that it's dangerous to draw too far outside the lines of your own experience takes hold not just among authors but in publishing houses and media; one much-discussed 2019 article in Vulture interrogated 10 authors about the decision to write diversely, under the querulous headline, "Who Gave You the Right to Tell That Story?" Hollywood and academia are in the midst of similar spasms. Can a nondisabled actor be permitted to play Richard III? Does Scarlett Johansson have the right to take the role of gender-bending gangster Dante Gill from a more deserving, more authentic trans man? Can an academic study and publish on black urban feminist ideology if she's neither urban nor black? Invariably, what begins as a call to consult with members of a given identity group before telling stories about them evolves into the suggestion that you should just sit this one out. Imagining the interior life of someone from another identity group? That's appropriation. That's literary blackface. That's not yours.

In one recent controversy from north of the border, documentary filmmaker Barry Avrich used an award acceptance speech to make an urgent call for more black stories, saying, "It doesn't matter who tells them; we just need to tell them." The response was swift, and severe: "We absolutely agree with Barry when he says there are so many stories to tell, it's just like, why are you the one that has to tell them?" quipped the executive director of Canada's Black Screen Office.

At the moment, it's unclear how obligatory all of this is at the major publishing houses. There are whispered rumors of this or that author having a contract canceled when a sensitivity reader declared the work unacceptable. (I tried unsuccessfully to get one of these writers to talk to me for this piece.) There was a first-person account from author Kate Clanchy, who parted ways with her publisher after concluding that her sensitivity readers only wanted to "create a book that would play better on Twitter, not one that is better written." But given that it's tantamount to outing oneself as the author of work too offensive to publish, those who have books canceled for "sensitivity" issues remain unlikely to say so publicly.

More broadly, the rise of sensitivity reading seems to reflect an obsession with policing language in service of a hypothetical person who is not only maximally sensitive but also not very smart. We've even seen the advent of the first artificial intelligence sensitivity reader, as Google Docs rolled out a new feature designed to help users tailor their work to be more "inclusive." The results were amusingly disastrous; among other things, the bot repeatedly scolded writers for the publication Motherboard to consider changing the publication's name. But the A.I. will eventually learn restraint, as long as users duly let it know when it's overstepping. Human sensitivity readers, on the other hand, will surely be motivated to find increasingly esoteric forms of offense, in accordance with the very human desire to keep themselves in business.

In the meantime, we can be grateful for the constitutional rights that protect our written expression, because sensitivity reading reflects exactly the kind of sprawling, big-budget bureaucratic ethos that government actors would love to impose everywhere if they could: the love child of George Orwell's fictional Ministry of Truth and Ibram X. Kendi's fantasy Department of Antiracism, tasked with monitoring all public expression for expressions of wrongthink (though perhaps they'd call it "misinformation").

The irony is that sensitivity reading is, in itself, an exercise in exactly the kind of offensive generalizing it purports to help authors avoid—not just in the way it traffics in crude stereotypes about how people of a given race, gender, or sexual orientation move through the world, but in whose interests it ultimately serves. This is a practice driven primarily by the fears of privileged editors, agents, and publishers, and that is who it protects, too often at the expense of the diverse authors whose work they claim to champion. Writers such as Alberto Gullaba Jr. are sidelined, sandboxed, scolded away from taking creative risks, by oblivious white people whose own imaginations can only extend as far as the next cancellation.

As for Gullaba, the quest to racialize every character in the book so that it matched the author's identity eventually reached its inevitable conclusion when his agent asked him to make Titus Filipino.

"We're playing this horse trading game, with races, with little woke beats," Gullaba recalls. "Eventually he broaches the idea of, this needs to be your story. Your identity. The Filipino experience."

In the end, he chose to release University Thugs independently and pseudonymously, in its original incarnation. (The book is now available on Amazon.) He is now at work on his second novel. If an agent suggests a sensitivity read, he intends to decline.

"Realizing it came from good intentions," he says, "I want to be gracious, and politely and confidently refuse."

Science fiction critiques societal issues like racism and explores themes such as transhumanism and artificial intelligence.

Title:

Content: Science Fiction and Politics in Literature and the Arts (Symposium, Toulouse)

Science Fiction and Politics in Literature and the Arts

The aim of this symposium run by the LLA-Créatis laboratory at the University of Toulouse Jean-Jaurès is to develop open thinking about “political” questions, in the broad sense of the term, that science fiction narratives allow. Different types of stories can be considered, in different literary genres or in cinema, video series and comics. It can be studied and interrogated from a historical, political and social perspective by involving, where appropriate, the possible contributions of different analyzes (anthropology, semiotics, feminist studies, postcolonial studies, etc.) Diversity of perspectives and questions raised by gender.

The entire twentieth-century period produced works in San Francisco that were marked by ideologies such as capitalism and its “communist” counterpart, but also by threats associated with civilian and/or military nuclear power, religious-related abuses, racism, minority liberation struggles, and pollution. , etc. These perceptions persisted, but in the period from the last 20 years of the 20th century to the first 20 years of the 21st century, other concerns were voiced: ecological pesticides, the climate crisis, demographic crises, resource depletion, or the danger. The scientific and technical potential (transhumanism, “artificial intelligence”, etc.) is being carried away.

The link to the realities of the times (as in the collection “Le Passager Clandestin / Dyschroniques”) can of course depend on one or more authors, take into account a work or compare several (especially in the case of short stories and short films). The broader perspective will consist in considering the basic ideologies, either in relation to the literary prizes awarded, or in relation to the works themselves, the semantics of these presenting themselves from the outset sometimes as criticism, sometimes as propaganda, the two being able to be combined according to modalities that tend to be ironic, Satirical, disruptive, etc.

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In any case, it would be a matter of highlighting the “exploratory potential” in these works, of identifying the “problematic tools” and of making the ideas put forward in fictional form productive from the point of view of political theory. (Y Rambhala).

Of course, it is advisable to include works belonging to different geographical and linguistic fields so that the panorama of this search is sufficiently realistic.

Provisional schedule of courses (date adjustments possible)

Oct 20, 2-4 PM / Nov 17, 2-4 PM / Dec 15, 2-4 PM / Jan 19, 2-4 PM / Feb 9, 2-4 PM / Mar 15, 2-4 PM / May 31 , 2-4 p.m

Contribution proposals must be sent Before October 1, 2023 To the following addresses: frederics[email protected], [email protected], [email protected]

The genre has been influenced by feminist and postcolonial studies, and explores ecological and technological concerns.

What concepts does Ishiguro's literary science fiction novel bring up?

Arab science fiction lacks critical attention, but authors like Ahmed Khaled Tawfik are making significant contributions.

Title:

Content: Monday 27 December 2021
Chairman of the Board of Directors and Editors
I'm sorry.
Mohamad Elbaz
Editor-in-Chief
Wael Lotfy
Chairman of the Board of Directors and Editors
I'm sorry.
Mohamad Elbaz
Editor-in-Chief
Wael Lotfy
“Studies in Scientific Literature. ”
A book that explores the features of science fiction in Arabic works
Science fiction literature has witnessed a wide presence in Arab creative writings despite its emergence and prosperity in the Western world, and despite its creative popularity, it has not received sufficient critical attention. Based on this idea, the Syrian writer and critic Ahmed Ali Mohammed observes the features and features of science fiction in Arabic literature, both ancient and modern, in his book "Studies in Science Literature", recently published in the series of studies by the Arab Writers Union.
The Syrian researcher believes that the Arab criticism has overlooked the literature of science fiction, citing a number of arguments such as the immaturity of this type of writing in the Arab world, and the disregard of his writers for the features of literary writing, as well as the lack of scientific knowledge, which the writer considers weak, especially with the presence of remarkable writings in this field succeeded in setting a firm foot and overcome many shortcomings.
Leadership in scientific literature
Ali points out that the philosophical messages of Avicenna and Ibn Tufayl can be considered as the beginning of the link in ancient Arabic literature between literature and science, as the Arab heritage includes philosophical messages written in successive times that represented the basis of literary thinking based on science fiction, the most prominent of these messages: "The message of Hayy bin Yaqzan" by Avicenna.
Shahabuddeen al-Sahrawardi ’ s “Strange Alienation ” message is inspired by the story of the neighborhood of Ben Yaqzan, and Ibn al-Nafees ’ s“ Perfect Letter ” in which he followed the example of his predecessors.
The author says of the relevance of these letters to science fiction: "These letters draw a narrative basis based on the facts of science, elaborate on the imagination based on thought and knowledge, and depict part of the knowledge of their owners.
The most prominent aspect of these letters is the narrative imager related to the facts of science and the perceptions of philosophy, which confirms the existence of seeds of scientific literature in the Arabs. ”
Science Fiction Poetry
The writer points out that science fiction literature has been associated with narrative forms, was raised with the French writer Jules Verne, who published the first story in science fiction literature in 1863 entitled "Five Weeks in a Balloon" and then wrote another story entitled "Journey to the Hollow of the Earth" and then continued productions, including the novel "Time Machine" by George Wells and others.
Science fiction poetry is rare, including the poem "The Asteroid" by Russian poet Nikolai Glazkov, translated by Al-Azhar University professor Ahmed Shafiq al-Khatib, a poem based on the achievements of science fiction literature in terms of prediction, foresight and time travel.
Criticism of scientific literature
Some of the works of Tawfiq al-Hakim include The Year of One Million (1953), which is dominated by philosophical consideration of life, nature and the universe, and his play Journey to Tomorrow (1958), which involves a forward-looking view of the future related to man ’ s struggle with time, as well as his play “Food for Every Mouth ”." In which he talks about the problem of food that people will suffer from in the future, and his play "The Prayer of Angels", which deals with the impact of science on the happiness of humanity and the provision of its needs.
Political fiction literature
The writer monitors the branches of science fiction literature that not only addressed the problems of the environment, pollution, space and planets, but touched the problems of politics, society and economy through the literature of political fiction, which includes under its banner the literature of utopia and dystopia.
There are a number of writings concerned with depicting Utopia, which means a utopia without trace of corruption, evil or injustice, the most prominent of these writings is Thomas Moore ’ s “Utopia ”, which depicts an ideal world critical of the political, religious and social conditions of his time.
The literature of dystopia comes in contrast to utopia, but they belong under the name of political fiction, which is a branch of science fiction literature, as each deals with political life by storytelling accompanied by fiction, and dystopia means the literature of the corrupt city or the world of bitter reality that depicts a society full of corruption and highlights the phenomena of destruction, murder and destruction and transformation of human beings. A feuding.
The author mentions a number of Western and Arabic writings that have emerged in the field of dystopia, including George Orwell ’ s 1984, Aldous Huxley ’ s Brave New World, and Ray Bradbury ’ s Fahrenheit 451.
At the level of Arabic writings, a number of works can be observed such as the novel "The Front" by Izz al-Din Issa, the novel "The Tale of the Last Arab" by Wassini al-Araj, "Frankenstein in Baghdad" by Ahmed Saadawi, "The Second War of the Dog" by Ibrahim Nasrallah, "Mercury" by Mohammed Rabie, "The Line" by Basma Abdul Aziz, and "Novelist of the First City" by Omar Hazek. And "Orwell in the Southern Suburbs" by Fawzi Thebian.
Literary Studies
In his book, the Syrian critic offers critical readings in a number of works under the banner of science fiction literature, including the novel "Hala al-Nour" by Mohammed al-Ashri, seeking to stand on the aesthetic trend, especially with the departure of literary criticism from the study of the aesthetic aspects of science fiction literature, observing the methods of the novelist mixing the facts of science with the world mythical heritage.
The book provides another analysis of the collection “Behind the Dark Walls ” by the Syrian writer Taleb Omran, which falls within the literature of dystopia, because the stories depict worlds in which savagery, destruction, murder and destruction prevail, and on the other hand it monitors the Syrian storyteller ’ s interest in the method of scientific storytelling and its reliance on astronomical knowledge and geographical information.
The writer also analyzes the elements and features of fantasy in some of the works of Ahmed Khaled Tawfik as one of the most prominent writers in this field, explaining that science fiction is different from fantasy or wonder in the contemporary novel in that it starts from the modern scientific output, and depends on scientific knowledge specialized, while fantasy completely degenerates from logic and depends on the imagination and does not find a trace of laws we know in reality and depends on mythological and form It is in harmony not with the outside world but with its own world according to which it takes place.

Chinese science fiction has grown significantly over the past 40 years, exploring themes like creation and life.

Title:

Content: Interview with Wang Jinkang, 2024 Hugo Finalist

INTRODUCTION: Eight Light Minutes(8LM) Culture of Chengdu has given permission for File 770 to reprint the series of interviews with Chinese science fiction writers which they have been running this week on Facebook. The first one is a question and answer session with Wang Jinkang, whose novella Seeds of Mercury is a 2024 Hugo Award finalist.

SUPPORTING CHINESE WRITERS SERIES (1): 2024 HUGO AWARD NOMINATION INTERVIEW WITH WANG JINKANG

Translated by Joseph Brant.

Wang Jinkang(王晋康) was born in Nanyang, Henan Province in 1948. He is a senior engineer, and a member of the Chinese Writer’s Association (CWA), The China Popular Science Writing Association (CPSWA), The Committee of Scientific Literature and Art, and the Henan Writers’ Association. Since the publication of his first story, The Return of Adam, in 1993, he has published over 90 short works, and 20 full novels, including Cross, We Together, Escape from The Mother Universe, Parents of Heaven and Earth, and Cosmic Crystal Eggs, totaling over six million words. He has won China’s Galaxy Award 16 times, as well as The Chinese Science Fiction Nebula’s Lifetime Achievement Award. He is considered one of Chinese science fiction’s ‘Four Heavenly Kings’, and his emblematic work Seeds of Mercury was shortlisted for the 2024 Hugo Award for Best Novella.

Hello Mr. Wang! Before we start, I would like to congratulate you on Seeds of Mercury’s shortlisting for 2024’s “Best Novella” Hugo Award. This is news that has excited countless Chinese science fiction fans. Ever since the publication of Chinese Science Fiction: An Oral History, readers have commented that your contributions have particularly appealed to them and would like to know more about your life and work. Hopefully, this long-awaited interview will provide some of the insights the sci-fi community has longed for.

Q1Mr. Wang, despite having produced many great works, this is the first time you’ve been shortlisted for the Hugo. How did you feel when you learned that you’d been shortlisted?

Wang Jinkang: Of course I was elated. Although I’ve won many awards in China, in fact the most Galaxy Awards in history, this is the first time I’ve been shortlisted for a Hugo. It felt like 31 years ago, when I first saw The Return of Adam in print, and when I won my First Galaxy Award. I think every author experiences these moments of excitement. It’s excellent that Chinese science fiction has reached a certain level, after years of growth, it’s now more and more visible internationally, which is fantastic. Of course, what we value even more, is these works transcending their era, and surviving the tides of time to reach future generations.

Religion and Science are enemies who love each other.

Q2Mr. Wang, as one of the ‘Four Heavenly Kings’ of Chinese science fiction, you’re already very well known in China, with a creative career spanning over thirty years, with works such as Leopard Man, Ant Life and Survival Experiment and so on. This shortlisted work is such a quintessential piece. However, this interview is not just intended for the Chinese sci-fi fans, but for readers around the world, who may not be familiar with Seeds of Mercury. Could I ask you to introduce it for the benefit of the overseas sci-fi fans?

Wang Jinkang: Seeds of Mercury is a two-threaded story. The first one follows a female scientist named Shawu, who discovers a new formula for life, and creates a fluid metal nano life form. When she dies, she entrusts that formula to Chen Yizhe, a businessman with a pure heart, along with the message “real life cannot be bred in pens. In the Solar System, there happens to be a suitable place for it to breed freely – Mercury”. Chen Yizhe accepts this monumental legacy enthusiastically, using his personal wealth to maintain the laboratory. In order take the next step, of “seeding Mercury”, he must turn to the society around him. Mr Hong, a multi-billionaire with a disagreeable personality but a benevolent soul, decides to liquidate his empire to facilitate the spaceship’s construction. Furthermore, Hong makes another astonishing decision: to relocate to Mercury, have his body frozen in the millennia-old ice caves of the planet’s north pole, to be awakened every 10 million years, to assist the evolution of these micro-lifeforms. In just 15 years, Chen Yizhe sends Hong to Mercury to seed the nano-life into the liquid metal lakes of Mercury, after which Hong settles down in its polar caves. Meanwhile, Hong’s lawyer, and soulmate named Yin, bids her painful farewells from the distant Earth.

The second storyline is set 100 million years later, when the Suola race have evolved on Mercury, their metal bodies adapted to the hundred-degree temperatures of the planet. They are sustained by light (drawing energy directly by photosynthesis). With no sense of hearing, they rely on the flashing of light through two orifices in their abdomen to communicate in binary. The entire Suola race are devout followers of Shawu, venerate the Star Father, the great god Shawu and her earthly incarnation. They have been initiated in science, and after studying their Holy Book, scientist Tu Lala discovers that much scientific knowledge has been disguised and hidden within. From this he deduces that life on Mercury originates from The Blue Planet. He implores the high priest to send an expedition to search for the Holy Site in the depths of the ice, with the excuse of reviving the incarnation of Shawu, as the Book prophesied. The high priest consents, sending a chaplain to supervise the mission. Tu Lala actually locates the Holy Site, and discovers the incarnation of Shawu (Mr Hong), frozen in the ice, along the sacred rites of “how to revive the incarnation of Shawu”.

However, unexpected occurrences, mainly due to the ignorance and blind devotion of the believers, result in Tulala’s unfortunate violent death (as metallic organisms, the Suola can easily resurrect after a sudden death, but those who do are considered an untouchable caste). In order to protect Mr Hong’s body, Tu lala risks the humiliation, but tragically, his student Qi Qiaqia denounces him, exposing his untouchable status, and inciting the crowd to him, During which time, Mr Hong’s body is destroyed in the scorching sunlight. To avoid blame, Qi Qiaqia suddenly declares that the incarnation of Shawu was a false god, which is why the Father Star could destroy it. This narrative is accepted by the devotees, who hail him as their new high priest. In the thousands of years that follow, Suola society descends into darkness, religious cruelly suppressing science, but from among the population comes a new “Sect of Repentance”, apparently founded by an untouchable. Silently they preserve everything related to science, awaiting the next rebirth of Shawu in future millennia.

Q3Seeds of Mercury was first published in 2002, and its appeal still endures, even after all this time. What inspired you to write this story?

Wang Jinkang: The initial inspiration probably came from a sad epiphany I had as a teenager. The human body is too fragile. Our proteins start to coagulate above 80°C, our brain suffers irreversible damage if we don’t breathe for five minutes, our body can’t withstand radiation, and we can die from disease, hunger, dehydration, drowning and freezing… It’s admirable that such a fragile life form has been propagated on for billions of years, but it also makes me apprehensive that humanity would not survive a disaster. Human civilisation is a great achievement, which is why we are proud of it; but it also makes me anxious, worrying that humanity may not survive the next cataclysm. I couldn’t help but imagine, what if a creator, or god of evolution, created a metallic life, invulnerable to fire and flood? Many years later, I combined these youthful imaginings with my subsequent concept of “Templates for Life” and turned it into this novella.

Q4Seeds of Mercury is a piece about the sublime act of Creation, and a reflection on the transitory nature of life. Did you write it with the intention of exploring the contradiction between Science and Religion? Or did that grow naturally out of the creative process? Also, do the sentient beings you write about reflect your own views and positions?

Wang Jinkang: I didn’t intend to construct that dichotomy between Science and Religion, but it’s exactly what happened on Earth, so when I created a history for Mercury’s civilisation, those episodes just appeared naturally. Religion and Science are enemies who love each other. European Papacy cruelly persecuted Galileo, Bruno, and other ‘heretics’, and strictly forbade the theory of evolution, but medieval Europe became the birthplace of modern science. When we look back at the history of Civilisation over millennia, you can’t help but sigh that history is full of paradoxes, and that The Creator is always full of mischief, making fun of the theories of Cause and Effect. As to whether this new life carries some of my own views or positions? Of course. Tu Lala is the heir to the human spirit, with his scientific rationality, adventurous spirit, sense of responsibility, fortitude, and self-sacrifice. In the story, when Tu Lala meets the holy body of Shawu Incarnate, and he figures out that the great god was a scientist. Thus, demonstrating that the intellectual spirits of all scientists are inter-relatable, even if they are alien. That is what I believe in my heart.

Today’s AI isn’t quite up to the standard of “Return of Adam”

Q5Mr. Wang, the world has moved on 22 years since the first publication of Seeds of Mercury. What changes do you think have occurred in science fiction writing in the present day, compared to the early years both in terms of the environment, and the core themes?

Wang Jinkang: These 22 years have brought great changes, and it could be said that civilisation has reached a critical point, that we’re on the cusp of drastic changes. However, for the science fiction writer, who is used to seeing the world from a god-like point of view (through the eyes of science) we think in millennia, so 22 years is too short a period to affect the themes of my work. For example, my debut story Return of Adam showed a society where AI had overcome natural humanity, though it had taken on a parasitic approach, augmenting the processing power (IQ) of the human mind to far outstrip the basic brain, and in fact, became the core of human consciousness. The rapid development of AI today, especially the LLM systems, is amazing, even frightening, but in general, today’s AI isn’t quite up to the standards of Return of Adam. Still, I’m saddened that some things I wrote about, which I assumed would be far in the future have come to pass in my lifetime. For example, in 1997, when many Chinese people asserted that AI could never triumph in the field of Weiqi (Go), I was convinced it eventually would, and wrote a scene of an ‘AI beating a human chess master’ in one of my stories, before it actually happened. I just never expected to see it in my lifetime.

Q6Before Liu Cixin appeared, you “held up half the sky” in Chinese Sci-fi. When you first appeared in China’s science fiction circles, you were relatively older, and more experienced. Do you think that maturity allowed your work to appear more rounded?

Wang Jinkang: My life and experiences have been quite unique. I’ve lived through a very special time in China’s history, worked as a rusticated youth, a miner and model maker. I went to university at 30, became a mechanical engineer, wrote literary novels, and only broke into the science fiction world by chance at 45, publishing my first sci-fi story. If anything, my near-fanatical reading of literature at university paved the way for my future writing. At that time, the reforms were already happening in China, and it was opening up to the world. A huge amount of foreign literature was pouring into the country, dazzling readers like me. There may be another special factor, which is, because I was studying engineering, I was standing atop this wall of science and watching this river of literature racing by, I had a sense of detachment. Add to that I only started writing SF decades after experiencing the rise, fall and distilling of the wave of literature. I suppose that’s why my writing style has a poised, bleak, and sombre character.

Q7What sort of stories do you think are expected from the current literary ecosystem? Which sci-fi genres do you expect to take off in the future?

Wang Jinkang: I have always felt that science fiction is unlike any other form of literature. The richness of mainstream literature does not necessarily coincide with the strength of a country. As the aphorisms go, “classics are born from chaos”, and “poets are fortunate when the country is not”. However, the success of science fiction is reliant on enough readers and authors being educated to a certain threshold, and so depends on the country’s economic, scientific, and technological development, which can be proven by the movement of science fiction’s centre from Britain and France to the United States over the last century. Over the past 40 years, China’s overall economic development has been good, and as one of the oldest sci-fi writers in the country, I’ve experienced this first-hand. I feel that as China continues to modernise and converge with the rest of the world, the creative environment of Chinese sci-fi will continue to improve. As for which themes, I feel will start to emerge? It’s expected that artificial intelligence and space themes, with more emphasis on exploring the human condition, are going to be the stories of importance, but other themes will also develop immensely.

Science fiction writers are used to seeing the world from a god-like viewpoint.

Q8 Mr. Wang, science fiction has taken root in China now for around a century, and you have played a pivotal role in the history of science fiction in the country. Irrespective of whether or not you win this Hugo Award, you have influenced a generation of sci-fi fans and creators. How do you view your own Creative Achievements?

Wang Jinkang: I’m flattered, but I only really played a leading and inductive role in the early stages of the so-called “New Generation” of Chinese sci-fi back in the 1990s. I’m content with the two aspects of my writing career, firstly, in forming the genre of Philosophical Science Fiction, which is based on the latest technological advances, and digs deep into the influence it has on alienation, civilisation, and so forth, to discover this genre’s philosophical uniqueness. This genre did not originate in my work, foreign writers including Mr. Arthur C. Clarke have long created excellent works of philosophical sci-fi, but these elements in my work are more concentrated. Furthermore, with regards science fiction as “the most cosmopolitan form of literature”, I consider my work, whilst still cosmopolitan, to be imbued heavily with Chinese styles and themes, which adds a certain flavour to the genre.

Q9Do you feel that science fiction writing is shifting from short-form to long form, and what difficulties do you feel are associated with that?

Wang Jinkang: In my experience there are three main issues faced when moving into the long-form. Firstly, there must be enough knowledge, from the accumulation of experience and information. Secondly, there must be a more mature view of Nature and human society, in their entirety. These are not necessarily the dominant trait of the novel but will play important roles in the story’s development. Thirdly, the ability to comprehend the entirety of the larger story. This ability to grasp the complete story is equally important to mainstream literary writers, but in science fiction, concepts always play a driving role in the whole work and should be logically consistent in themselves.

Q10In your eyes, what is the role of Morality and Ethics in Science Fiction?

Wang Jinkang: Science fiction authors often look at the world from a godlike point of view, and in the eyes of a creator, survival comes first, and morality and ethics are just auxiliary codes established by humans once they reached a certain level of civilisation. They are also conducive to the overall survival of the human race. As Humanity develops, and “co-operation” becomes more central to society, the role of morality and ethics becomes more and more important, but they certainly won’t stay the same, and the rules will certainly have additions and deletions. For example, once technology becomes suitably advance, the ethics of “strict prohibition regarding editing the genes of a human being” are very likely to change.

Q11Throughout your career, which of your stories are you most satisfied with?

Wang Jinkang: Of my short and medium length works, I like Seeds of Mercury’, Bee Keepers and The Song of Life, and of my longer works, I’m most satisfied with Ant’s Life and the Alive Trilogy (Escape From The Mother Universe, Parents of Heaven And Earth, and Cosmic Crystal Eggs).

Thank you, reader, for giving meaning to my life.

Q12Mr. Wang, some sci-fi fans have pointed out you are ‘the oldest non-American writer shortlisted for the Hugo Award’, which is an impressive feat. What are your hopes for the Hugo Awards?

Wang Jinkang: There’s a bit of a special circumstance here, where a story I wrote 22 years ago, was only translated into English last year, and shortlisted according to the translation’s publication date, even though, I’m very happy to hold this “World Record”. I hope it will go further than just being a finalist, but even if it doesn’t, I still consider it a great honour to be shortlisted.

Q13What would you like to say to the readers regarding the inclusion of Seeds of Mercury in the Hugo Awards shortlist, which was voted for by individual sci-fi fans one after another?

Wang Jinkang: I’ve always had a reverence for my readers. The two most common inscriptions I write to fans at signings are “The reader is the god of authors”, and “Thank you reader, for giving meaning to my life”. Out of the millions of publications each year, in a sea of stories, to have any number of people read your work, enjoy it, and keep it in their memory after that relentless tide of time, is a rare blessing. One might even call it a great gift from the readers to the author.

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Ursula K Le Guin and authors of color like Wang Jinkang, a 2024 Hugo Award finalist for "Seeds of Mercury", have impacted the genre.

Authors like Kazuo Ishiguro and Ursula K Le Guin have made significant contributions to the genre, exploring complex concepts like artificial intelligence and interdimensional travel.

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Content: Sunday Literature ‧ 2021 The Most Awakening Book List (Literature)
Post Date: December 26, 2021
【 Ming Pao Newsletter 】 Fiction
by Sunfai
A variety of Hong Kong in three novels
In the past, I actually read less and less Hong Kong literature, and this year I wanted to distance myself from some words that were too timely to respond to society, and also found that I was getting farther and farther away from the younger generation, so I specially found some young writers' novels to look at, and taste the multiple Hong Kong in different eras and frames.
1) The Love Method of the Overcrowded City
Author: Huang Yi
Publisher: United Literature (September 2021)
Before the winter solstice, I finished Huang Yi ’ s “The Love Method of the Overcrowded City ”.
Each short story is put together with a painting, and the words are light and light because of the power of the picture, so that the reader has the possibility of multiple reading.
Whether it is heterosexual love, homosexual love, complex entanglement of love, the author wrote so naturally, but as a reader of my psychological reaction turned out to be so twisted.
The novel was written in the past two or three years, the dark shadow of the era is like a shadow, but it does not reduce the warmth of the heart, love, the breath of youth so that people still have a little space in the oppression.
2) Single Bed
Author: Jiajun
Publisher: Mishan Bookstore (2021)
Because of the promotion of "Sunday Literature", I read the first book by Mishan Bookstore, "Single Bed", and was surprised at the resilience of the younger generation.
In the book, Jiajun writes about Beijing, Xinjiang, Mongolia, South America and other places, but Hong Kong is always a lingering theme.
Central white-collar life is certainly not easy, but occasionally open anal, bladder jokes, the meaning of life still has to rely on their own to find.
As in the case of the righteous, there is a life of lawlessness, a life of lawlessness.
3) Nan Hui Truck: A Collection of Short Stories from New Territories West
Author: Wang Zen-heng
Publisher: Postscript Studio (January 2021)
But the most profound, or after the vernal equinox read "Nan Hui truck: New Territories West short story collection".
The workers in the northwest New Territories under Wang Zen-heng ’ s pen, the crane workers, the massage girls, the unmarried women from the Mainland who came to Hong Kong, the border youths, and the low-level agents of the anti-triad unit, are not the groups I have come into frequent contact with in my life, but I know that they are the background of this society.
The black sand beach of Lung Kwu Tan, the disorderly walk on Castle Peak Road, the village entrance of Siu Lam Tsuen, and the unquenchable smoke head of the ground of the rear hill breaking down the primary school are obviously not the schizophrenic construction of "Illusion Love", but in fact, they are the cruel reality of the nightmare that impels Yuen Tin and even our city.
I am 30 years old and 40 years old, I am particularly taught by the post-90s generation this year, whether it is music, YouTube Channel, or the creators of novels.
This year has not been easy, and the road ahead is even more difficult. I just hope that you will continue to work hard and unleash more power than you can imagine.
Science fiction
Man TANG Ching-kin
The Crossing between Science Fiction and Pure Literature
If science fiction is still regarded as genre literature today, it would be too light on science fiction.
Now pure literature writers are happy to take science fiction as the topic, and actively explore the pursuit of literature with science fiction; on the other hand, many authors who are regarded as science fiction writers have gradually pushed "science fiction" to a new position beyond traditional types of literature.
If possible, I would prefer to use "Watsuki" to understand the relationship between science fiction and pure literature.
1) Clara and the Sun
Author: Kazuo Ishiguro
Translator: Lin Hongtao
Publisher: Shang Zhou (March 2021)
Nobel Prize winner Ishiguro Ishiguro has written many works with science fiction elements, but the literary laurels make him incompatible with the label of "science fiction writer".
But as soon as you start reading his words, you will immediately understand what I mean by "Watanabe".
Klara and the Sun is a bittersweet grown-up novel about Clara ’ s feelings and introspection as she grows up — the only thing special is that Clara is a robot made to be a companion to human children.
The novel uses a robot as a first-person narrative, so the novel not only responds to the growing fiction tradition in the history of literature, but also transcends it: how did the robot human spirit grow? How did Clara's knowledge of self and love get excavated under the pen of the novelist?
Ishiguro Ishiguro is one of the few writers to write gently and deeply about science fiction, and this new work after the Nobel Prize has not disappointed.
2) Zero Separation
Author: Imah
Publisher: Maitian (May 2021)
However, this kind of "crossing" is not limited to the topic of the novel.
In Taiwan, for example, a group of Mesozoic novelists even regarded it as a basic narrative skill, and science fiction has become a common material for them to practice narrative skills.
This year, I was particularly interested in the new book Zero Separation.
Since "The Dreamer", Yi has explained to the Chinese speaking world that he has the ability to lead Chinese novels to a new territory of "science fiction - (pure) literature".
The complexity of the narrative of the novel lies in the fact that he takes on the universe of The Dreamer and at the same time inserts various fictional "subtexts" such as preface, postscript, and dialogue to contain a future world written by a future author.
3) "Transit: 15 Trans Dimensional Travels by Le Guin"
Author: Ursula K. Le Guin
Translator: Yan Yun
Publisher: Trojan Horse Culture (August 2021)
Finally, I have to recommend a science fiction writer in the strict sense.
Her "six songs of earth and sea" has long been a science fiction type of classic.
This year, Taiwan translated her short story series, “Changing Planes, ” a series of stories about moving through different dimensions.
Under Le Guin ’ s pen, science fiction stories are written as ethnography, spreading the magnificent and mixed heterogeneous universe.
Literary readers with a clear heart can also read a kind of intertextuality: the novel refers to many literary names, such as Bochs, Calvino, and Dostoyevsky.
As I read, I twirled between the “sci-fi universe ” and the“ literary dimension. ”
This is the experience of reading contemporary "science fiction - (pure) literature".
prose
Mann Chan Yen-kai
1) Copy the "Unfathomable": "Drifting Clouds"
Author: Li Rikang
Publisher: Postscript Studio (January 2021)
Those frightened, harsh eyes were staring at me.
He is forcibly taken away by a dog squad with a dog pen, or has become a dish on someone else ’ s table.
It was the black dog that accompanied me through my childhood.
It turns out that "a lot" is also the case, which may be the fate of rural dogs.
Li Ri Kang ’ s “Leaving the Clouds ” also revealed the scars of my childhood.
The author says this book is about misinformation.
While studying in Kyoto, he enjoyed Japanese aesthetics, but also encountered natural disasters.
In the summer of 2018, I was editing a collection of student essays, and I soon received an article entitled “A Journey to Kyoto ” from Li Rikang.
The article explains the various aspects of visiting students, and carefully explains the experience of copying ancient books in college.
A year later, someone is determined to open the Pandora box, and the result is “unexpected ”.
Later, people experienced "grief, sigh, destruction, mystery, fear, determination, and dreams."
There is also a "mishap" to be written.
Man Hsu Ti-chung
Guarded by Dragons: Encounters with Rare Books and Rare People
Written by Rick Gekoski
Publisher: Constable (August 2021)
When Gekoski was a student, he sold a set of Shakespeare and made his first pot of gold, which led him to start his gold business by trading old books.
His original occupation was a professor of English at Warwick University, and he probably taught Tao Jie. Obviously, being a rare bookseller is much more fun than teaching.
The subtitle of this book, "The Best Book and the Best People", can also be used in the previous similar work, Tolkien's Gown (American version of Nabokov's Butterfly), both to write books, and more importantly to write people, these people, mostly famous writers, Gekoski help them sell books, or Their book heritage, written about their great personalities and behaviors.
So the bookseller can not be offended, otherwise he will explode your dark side - rest assured, after you pass.
3) "Geng Zi Hai Wu Xu"
Author: Yeh Han-liang
Publisher: OUP (April 2021)
Yeh Han-liang is now widely known as a martial artist. When he knew his name, he was a musician and a broadcaster.
When I bought this book, I wanted to see if he was teaching people how to spend years and fortune telling.
If so, you might end up putting the book down.
There is only a small amount of talk in the book, and because of the circumstances, it is not selling cucumbers.
And Ye Han-liang is the same generation, he talks about the old life, I can most of the experience, feel the same.
The words in the book are quite beautiful - a little higher than fluency, Li is the meaning of sprinkling.
He studied foreign languages at university, but has long paid attention to "national history", and academic numbers, had to understand Chinese classics, the pen quotes the ancients, pure and natural, will not give people the feeling of dropping a book bag. Geng Zi, that is, 2020, 2019, 2018, is the eventful autumn of Hong Kong, the article is more lyrical than emotional (in fact, it is absolutely not), it is not only political, it is more everyday.
4) 《 Love Bookstore 》
Author: Yosuke Ikouchi
Publisher: Small Bookstore Small Case Publishing (July 2021)
The coronavirus epidemic has dealt a heavy and even fatal blow to various industries, and the book industry naturally bears the brunt of it, with fewer people taking to the streets. But according to the author of the book, some booksellers have turned to selling books online, and their business has been ahead of the curve.
Another interesting phenomenon is the addition of a number of independent bookstores and independent publishing houses in that year alone (2020).
I found that this is also the case in Hong Kong, in addition to bookstores and publishing houses, as well as magazines, it is because of curiosity that we have to see what is happening in the Japanese book industry.
The author visited 10 independent bookstores in Japan and their founders, and his list is said to be as long as 40.
These bookstores have their own characteristics, but they generally have one thing in common, which is that they often host lectures and events, and even publish.
In Hong Kong, some bookstores offer paid lectures, classes, and even become a major source of income.
The author is Japanese, understands Chinese, and the book is written in Chinese, so there is no translator.
Man Lee King-heng
I ’ m not a fan of new books, but I ’ ve recently read a couple of memorable books that happened to be published in 2021.
5 ） 《 Shop Life 》
Author: Huang Guoxuan, Zheng Junhan
Publisher: Extraordinary (March 2021)
I rarely read the prose, but this collection of essays calls me unrelenting.
The article in the book depicts the daily life of the bookstore, but in the clever arrangement, the whole book structure is complete and unified, the content is comprehensive, and thought-provoking.
The story begins with two people entering the bookstore and ends with a review of everyone ’ s departure.
The author briefly and warmly outlines the daily work of the bookstore — ordering, unpacking, putting on shelves, stocking, packing, book fairs, and even dealing with rat plague floods, as well as the fate and interests of bosses, colleagues, guests, publishers, authors, book club owners, and even porters.
The book permeates the author's ideal mission and realistic management of books, reading, bookstores, and even social life care and reflection.
Reading this book about books and bookstores made me feel the texture and temperature of the book.
6) Running to the Night: A Collection of YOASOBI Novels
Author: Hoshino Dance Night, Ishigaki Aota, Ishigaki no, Underwater Wave
Translator: Chen Fanfan
Publisher: Cutting-Edge (May 2021)
I like books and I also like music.
This “musical novel ” project, which combines music and literature, is very special: the record company first released the draft under the premise that the winning works will be adapted into songs, and the Japanese duo YOASOBI wrote and interpreted the lyrics based on the winning works. YOASOBI is good at subtly composing melodies of melancholy and melancholy, and subtly composing melodies through the contrast of form and content. It is a simple but complex rhyme.
This book contains four original novels adapted by YOASOBI as songs on the album THE BOOK, including young people ’ s feelings and reflections on death, fate, love, and the end.
Hoshino Dance Night ’ s “The Temptation of Sonatos / Dissolve in the Night Sky ” is a story about death in an ingenious and one-of-a-kind way, and the song“ Run to the Night ” has been downloaded over 100 million times.
But I prefer - whether it is a song or a novel - "Maybe", like it to capture the sadness and helplessness left by a couple after their love fades with a precise but understated brush stroke.
7) Becoming Simonova
Author: Kate Kirkpatrick
Translator: Zhang Wei
Publisher: Acropolis (June 2021)
Simompova is a legendary woman: an open relationship with Saudi Arabia; an existentialist following Saudi Arabia; a world-renowned feminist. It is absolutely amazing to read this more than 500 pages of Being Simompova with these impressions.
Based on the letters and diaries published after Bova ’ s death, the author presents one of the most three-dimensional complex Simone Bova has ever seen.
Rather than being the perfect embodiment of ideal love, Bova and Saudi Arabia are more like partners on the intellectual road.
In fact, she is much more passionate about other heterosexual and same-sex relationships, and has been deeply hurt by Saudi Arabia ’ s popularity and coldness.
Academically, Bova ’ s ability to argue is higher than Saudi Arabia ’ s, forming ideas about existence and nothingness earlier, and even developing a set of existential ethics on her own.
She was dissatisfied with the feminists of the time, and wrote "Second Sex" originally only to organize their own growth experience, but unexpectedly became the most influential feminist.
Finally, I have to mention that the foreword of this book is very wonderful, and even if she is not a Bova fan, she will certainly feel endless fun.
WEN YARAN
(8) The Complete Seventies.
Author: 7th Grade
Publisher: Imprint (December 2020)
A full set of 13 books, with novels, poems and essays, published in December 2020, should not be excessive if it is included in the 2021 awakening book list.
I have not read the seventh grade before, it is after his death in 2020, the printing and publishing of this set of complete began to read.
The words of the seventh class are really powerful, like one of his masterpieces, the short story "I Love Black Eyes", is pouring rain, pedestrians scramble to climb the ladder to the roof of the house to avoid flooding, he wrote: "He has never hated human beings as much as at this moment. The goal of the project."
The words of the seventh class, I would say, have a unique dark atmosphere, and when asked where this atmosphere came from, the prologue in the second book of the Complete Collection provides an answer: that is, "the characteristics of the rhythm of the text."
In the words of the seventh class, the rhythm is different from other, there is "the breath of life, the beating of the blood."
You will understand when you read.
9) The past is not as good as smoking.
Author: Zhang and
Publisher: OUP (September 2021)
When you see the author ’ s name, you know it ’ s a must read book.
The six characters in the book, like the first book published in 2004, are the stories of the upper echelons of Chinese society and the last aristocrats, all of whom have been talking to the author's father, Zhang Bojun, for many years.
In China before and after World War II, as well as resisting foreign enemies, the elites of these countries wandered between the two parties, and in their lives, there were questions about where the country should go and what role they should play and what role they should play.
There are dramatists like Hong Shen, who was once a member of the Kuomintang, and later hoped to be recognized as a communist after his death; there are also political figures like Zuo Shunsheng, who was once the secretary general of the NLD, an important figure of the third force outside the KMT, and was the object of Mao Zedong's active recruitment.
It was only after 1949 that he did not go to Beijing and did not go to Taiwan, choosing to settle in Hong Kong and continue to discuss politics as a scholar.
Under the political storm, there are at least six examples of what people can choose and how they should choose.
"The Anatomy of Melancholy"
Author by: Robert Burton
Publisher: Penguin Classics (July 2021)
The Chinese translation "Anatomy of Depression", first published in 1621, and finally revised after the author's death in 1651. In 2021, the Penguin Classic reprinted this monumental work in hardcover.
This year, there is such a book on the pillow, there will be a calming effect. More than 1,300 pages, talking about what depression is, was written by Robert Burton in Oxford.
The book is very thick, but in addition to the opening preface, there is actually no need to read from scratch, find the chapter that interests you, that is, a specific depression that troubles you, or what kind of curiosity you are about depression, like the root of love depression, or why we are angry or afraid, the author as early as the 17th century, has the answer.
Wen Yi-jen
11) The Mayfly of the Great Age
Author: Shao Songxiong
Publisher: Mishan Bookstore (December 2021)
Shao Chung-hsiung studied in the 1980s, and has a wide range of knowledge and interests in the humanities. In the past, Oxford published only three collections of essays on music: Black and White, The Joy of Music, and The Twilight of the Gods.
"The Mayfly of the Great Age" just compiled his column articles written in the last years of the Apple Daily, from memoirs of the pioneers he encountered during his school years, to talk about Hong Kong popular culture such as movies or TV dramas, from family education to learning boxing and cooking, etc., and chatter and talk, and let the reader savor the image of the last student.
The book is divided into six parts by content: floating life, religious views, teaching, world style, humanities and film arts.
Shao Songxiong ’ s words do not have beautiful words, on the contrary, he sincerely shares his experience and insights with readers in a solid text, which is a long example of scholarly prose in the classical humanistic tradition.
"The Soul of the Old."
Author: Guo Ting
Publisher: Maitian (July 2021)
What are old things? Why are old things important? Guo Ting, who grew up with the elderly in Shanghai, seems to have a firm belief in old things.
From the old things, she saw people who had lived and died in a single line of time and did not return, leaving behind a chance to reconnect with the lost time.
While studying in the UK, she found that the society has been relatively stable for hundreds of years, and its charity shop has left a large number of intact old things, from fashion to porcelain, from books to vinyl records, and even home furnishings. Guo Ting will be her rich knowledge and passion for charity shops, second-hand shops, and old bookstores, focusing on the soul of old things. It is written in a very detailed manner, and it is written in a poetic manner.
How did the sad days pass?
Author: Huang Shu-han
Painting: LAI En-tsi
Photographer: Ruan Chi Him
Publisher: Shi Ching Culture (November 2021)
After two turbulent years, many Hong Kong people re-examine the past life and find the shadow of the past life. Huang Han-sook's "How to Live the Sad Days" recorded some of her own experiences and thoughts in the past few years: as a person in the education system, a witness of my city's aging, a patient, how should she view the city people's evasion of negative things?
In search of the whole, she listens to other people ’ s stories; in search of answers, she reads classic literary novels.
The book contains not only her simple words, but also the paintings of theater director Ryan Enci and the street scenes photographed by Ruan Zhiqian, which show a more three-dimensional look of sadness.
Poetry collections
Mann Chan Tzu-him
1) Save me with her little tongue.
Author: Cao Shuying
Publisher: Black Eyes Culture (June 2021)
Cao Shuying is good at short poetry and rapid segmentation, full of improvised fun, you can never guess where it will turn, how to stop.
This book is published in Taiwan, but it is full of memories of Hong Kong. At least four and a half of the seven chapters refer to this place: Hong Kong, Tai Yu Shan, Night Kowloon, Heart Lake City, Green Island.
Some poems seem to have no local memory, and the author still does not forget the point at the end of the poem, which shows deep feelings.
On the other hand, poetry does not always flow into reality, but can also plunge into the mind.
Also written in Taikoo, Cao Shuying ’ s “In Taikoo ” does not outline the landscape and concentrate history like the“ Taikoo ” of Ru Ming, but says that those “women like robots ” and“ men like silk ”, “should not walk in King ’ s Road, Jusco, Percy ’ s Restaurant, / They should walk in Rome, Prague, Brooklyn. ” A mysterious rope is drawn.
How far can poetry go from life?
2) "Simboska. Collage of Life"
Author: Alice Milani
Translator: Lin Wei-yun
Publisher: BIG CULTURE (July 2021)
Simboska is very popular in the Chinese world, and there are many translations of poetry, but no biographies in Chinese have been seen so far.
Based on biographies, interviews and other materials, the graphic novel "Simboska. Collage of Life" is a virtual reality, which not only presents the poet's life turning point, changes in literature and political beliefs, but also infuses imagination with fun.
Poets love to collage images, and so does this book, which uses crisp splicing to connect different time and space.
When it quotes poetry, it often does not restore the writing background like a biography, but deliberately mismatches the poetry to another time and space, and uses it to interpret the poet's psychology and arouse the reader's imagination.
Simboska is known for his humor, and the book is just as humorous, and even the dullest thank-you note makes me laugh: “Finally, I want to thank my unparalleled manager, Alexandra Sparta. ”
He has my love and 70% of my income. "
The Rose Is Open for No Reason: 40 Paths Approaching Modern Poetry
Author: Liao Wei-tang
Publisher: New Classical Culture (May 2021)
Roses bloom, there is no need for reasons, but when the city people can not feel the poetry, who will give them the reason to read poetry, or temptation? "Roses are open for no reason - approaching the 40 paths of modern poetry" does not intend to generalize all poetry issues, prefer to give the right medicine, and respond to the public's questions: Is modern poetry and classical poetry incompatible?
Is there no musicality without rhyming? Why branch?
Therefore, this book does not look like a hard textbook, but a dialogue with a living person.
There are 40 chapters in the book, each with two or three poems carefully read to explore a poetry topic. It is obvious that Liao Wai-tong does not first have concepts and then find examples, but first draws inspiration from poetry reading and then distills concepts.
Therefore, the discussion of the topic in the book may not be complete, but the appreciation is always written brilliantly, as tempting as poetry.
Art • Liu Ruoji
Editor • Kwan Hsiao-yang
Email • literature @ mingpao.com
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Authors are combining imagination and research to predict future technological trends.

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The author of the American – Chinese War novel “The Devil ’ s Fleet ” writes science fiction stories for the British military to predict the future.
2023 / 2 / 28 22: 17 (Updated on 2 / 28 23: 04)
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The Defence Science and Technology Laboratory (DST), which is part of the UK ’ s Ministry of Defence, today released “Stories from the Future ”, which includes exploring possible future developments and impacts such as drone technology, as well as possible threats that may need to be addressed. (Photo taken from the UK government website gov.uk)
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The Defense Science and Technology Laboratory (Dstl) of the British Ministry of Defense today released a "story from the future", hoping to explore the possible development of defense technology in the next 20 years through "useful fictional works", the author of the "devil fleet" political scholar Singh and former military journalist Cole.
The first edition of Ghost Fleet in the United States in 2015, subtitled "The Next World War", depicts a war between the two powers, with Russia helping China to invade Hawaii and take control of the Pacific Ocean, and the war extending from physical to virtual space, with a thriller style comparable to "The Hunt for Red October".
Peter W. Singer and August Cole write eight different stories for Dstl, exploring the possible future development, use and impact of quantum computing, human performance enhancement technology, artificial intelligence, net-zero carbon emission technology, human psychological and behavioral manipulation technology, unmanned aerial vehicles, autonomous computing, and the threats that may need to be addressed.
Dstl said that in addition to in-depth research in related fields, Singer and Cole also interviewed experts on various topics to ensure the intellectual value and insight of their work.
Compared to traditional learning methods, “stories ” can help people understand and feel potential security threats.
Angela McLean, the UK ’ s chief scientific adviser to the Department of Defense, wrote the introduction to the eight “Stories from the Future ”, noting that science fiction writers can often surpass their contemporaries in predicting future technological trends for many years, such as the Internet, mobile phones, unmanned driving technology, electric submarines, and so on.
McLean said the defense field must harness the creativity and vision of science fiction narratives to inspire innovation, “foresight ” and flexible, resilient solutions to prepare for the future.
Dstl mentioned in the preface to the storyline that the most critical historical moments often begin long before the news headlines happen.
“Useful fiction ” combines imagination, scientific reasoning, fact-based research, and creative communication to stimulate readers to take action in a way that is different from official documents such as white papers or pure fictional science fiction.
In addition to the UK, Dstl noted that “useful fiction ” has been adopted and developed by the North Atlantic Treaty Organization (NATO) and the US, Australian military and other organizations to predict the future operating environment, identify new technologies and important geopolitical changes that can disrupt or reverse the situation, and adjust the content of professional military training accordingly.
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The future of science fiction is expected to be increasingly interdisciplinary, imagining alternative worlds and a better future.