Podcasts about chinese science fiction

Chinese science fiction has gone from a niche, underground genre to the country's hottest new export. On Saturday, at the 8th China Science Fiction Conference hosted in Beijing, an animated presenter unveiled graphs detailing the meteoric rise of the genre, claiming that China had raked in nearly $16 billion in revenue from its sci-fi industry in 2023. And in late March, an adaptation of one of China's  biggest cultural exports, 'The Three Body Problem,' premiered on Netflix. The show, based on a book by Liu Cixin, follows a group of modern-day scientists battling an alien invasion, triggered by one cataclysmic decision made by an aggrieved physicist during the Cultural Revolution in China. The show garnered roughly 15.6 million views in its first week. But the seed of this science fiction craze was first planted in 2008, with the publication of the book, which quickly became an unexpected global phenomenon. The book and its two sequels have exceeded the total sales of all literary works exported by China so far — thus piquing the interest of the Chinese government. For the midweek podcast, host Brooke Gladstone speaks with Jing Tsu, professor of East Asian Languages and Literatures & Comparative Literature at Yale, about the rise of science fiction in China as a soft power tool, the genre's complicated relationship with the Chinese government, and its evolution through the twentieth century. On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

I am talking today to Mingwei Song about his new book, Fear of Seeing: A Poetics of Chinese Science Fiction (Columbia UP, 2023). The book is a sweeping account of contemporary Chinese science fiction that begins by asking, has “anything new arrived with the new century that redefined contemporaneousness?” As listeners might guess, in Song's account, the aesthetics of science fiction are the new and invigorating arrival on the scene of Chinese literature. Whether it be the technological sublime of Liu Cixin or the bodily horrors of Han Song, new wave Chinese science fiction engages with the problem of representing China with what Song identifies as the poetics of the invisible. Song shows how the invisible functions in chapters dedicated to both the major contemporary figures mentioned above, as well canonical writers like Lu Xun, and the newest and edgiest science fiction writers that have recently emerged onto the literary scene in China. Fear of Seeing shows how science fiction given “a country deprived of liberal imagination” a “multitude of new dreams.” At the same time, he suggests, the utopian (as well as quite dystopian) possibilities, political and aesthetic, opened up by new wave Chinese science fiction exist in an ambivalent relationship to state power. We will discuss these points as well as many others in detail in the following interview. Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms.

All eyes of science fiction enthusiasts worldwide are now focused on Chengdu. As the 2023 World Science Fiction Convention or Worldcon kicks off on October 18th in the southwest Chinese city. Get ready for the scoop on Chengdu Worldcon and a deep dive into the buzz around the Chinese Science Fiction Boom. On the show: Heyang, Yushun & Josh Cotterill

Every week, we are highlighting a panel from TBRCon2023, looking back on the amazing variety of panels that we had the honor of hosting. This week, join moderator/author/editor Xueting C. Ni and authors Micaiah Johnson, Oghenechovwe Donald Ekpeki, Alex White, Khan Wong and Ciel Pierlot for a TBRCon2023 author panel on "The Importance of Diverse Futures." SUPPORT THE SHOW: - ⁠⁠⁠⁠Patreon⁠⁠⁠⁠ (for exclusive bonus episodes, author readings, book giveaways and more) - ⁠⁠⁠⁠Merch shop⁠⁠⁠⁠ (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the ⁠⁠⁠⁠FanFiAddict YouTube channel⁠⁠⁠⁠, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: ⁠⁠⁠⁠sffaddictspod@gmail.com⁠⁠⁠⁠ ABOUT THE PANELISTS: Xueting C. Ni is an author and editor. Her first book is From Kuan Yin to Chairman Mao, and her first anthology is Sinopticon: A Celebration of Chinese Science Fiction. Find Xueting on ⁠⁠Twitter⁠⁠, ⁠⁠Amazon⁠⁠ or ⁠⁠her personal website⁠⁠. Micaiah Johnson is the author of The Space Between Worlds, her debut novel. Find Micaiah on ⁠Twitter, Amazon⁠ or ⁠her personal website⁠. Oghenechovwe Donald Ekpeki is an award-winning speculative fiction writer, editor and publisher from Nigeria. Find Oghenechovwe on Twitter or his personal website. Alex White is the author of August Kitko and the Mechas from Space, The Salvagers series and more. Find Alex on Amazon⁠.  Khan Wong is a proud author of queer SFF. His debut novel is The Circus Infinite. Find Khan on Twitter or his personal website. Ciel Pierlot is the author of Bluebird, her debut novel. Find Ciel on Twitter or her personal website. FOLLOW SFF ADDICTS: ⁠⁠⁠⁠FanFiAddict Book Blog⁠⁠⁠⁠ ⁠⁠⁠⁠Twitter⁠⁠⁠⁠ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ MUSIC: Intro: "⁠⁠⁠⁠Into The Grid⁠⁠⁠⁠" by MellauSFX Outro: “⁠⁠⁠⁠Galactic Synthwave⁠⁠⁠⁠” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message

Every week, we are highlighting a panel from TBRCon2023, looking back on the amazing variety of panels that we had the honor of hosting. This week, join moderator Emily Hughes and authors Gabino Iglesias, Catriona Ward, Ellen Datlow, Xueting C. Ni and Erika T. Wurth for a TBRCon2023 author panel on "The Future of the Horror Genre." SUPPORT THE SHOW: - ⁠⁠⁠⁠Patreon⁠⁠⁠⁠ (for exclusive bonus episodes, author readings, book giveaways and more) - ⁠⁠⁠⁠Merch shop⁠⁠⁠⁠ (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the ⁠⁠⁠⁠FanFiAddict YouTube channel⁠⁠⁠⁠, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: ⁠⁠⁠⁠sffaddictspod@gmail.com⁠⁠⁠⁠ ABOUT THE PANELISTS: Emily Hughes is a writer, blogger and editor. She was formerly the editor of Unbound Worlds and ran the Tor Nightfire blog. You can find her writing elsewhere on Vulture, Tor.com, Electric Literature, Thrillist, and more. Find Emily on ⁠Twitter⁠⁠ or ⁠her personal website⁠. Gabino Iglesias is a writer, journalist, professor, and literary critic living in Austin, TX. He is also the author of the critically acclaimed and award-winning novels Zero Saints, Coyote Songs and more. Find Gabino on ⁠Twitter⁠ or Amazon⁠⁠. Catriona Ward is the author Little Eve, Sundial, The Last House on Needless Street and more. Find Catriona on ⁠Twitter⁠ or ⁠Amazon⁠⁠. Ellen Datlow is an American science fiction, fantasy, and horror editor and anthologist. She is a winner of the World Fantasy Award and the Bram Stoker Award. Find Ellen on ⁠Twitter⁠, ⁠Amazon⁠ or ⁠her personal website⁠. Xueting C. Ni is an author and editor. Her first book is From Kuan Yin to Chairman Mao, and her first anthology is Sinopticon: A Celebration of Chinese Science Fiction. Find Xueting on ⁠Twitter⁠, ⁠Amazon⁠ or ⁠her personal website⁠. Erika T. Wurth is the author of White Horse, Crazy Horse's Girlfriend and more. Find Erika on ⁠Twitter⁠, ⁠Amazon⁠ or ⁠her personal website⁠. FOLLOW SFF ADDICTS: ⁠⁠⁠⁠FanFiAddict Book Blog⁠⁠⁠⁠ ⁠⁠⁠⁠Twitter⁠⁠⁠⁠ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ MUSIC: Intro: "⁠⁠⁠⁠Into The Grid⁠⁠⁠⁠" by MellauSFX Outro: “⁠⁠⁠⁠Galactic Synthwave⁠⁠⁠⁠” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message

China held its annual Science Fiction Convention in Beijing's Shougang Park. Chinese sci-fi story telling is stratospheric with new movies like The Wandering Earth II, Moon Man, and the TV series based on the book The Three-Body Problem. What is the past, present, and the future of science fiction in China? Hosted on Acast. See acast.com/privacy for more information.

Every week, we are highlighting a panel from TBRCon2023, looking back on the amazing variety of panels that we had the honor of hosting. This week, join moderator/author/editor Xueting C. Ni and authors Nghi Vo, Wesley Chu, Amélie Wen Zhao, Tao Wong and Alice Poon for a TBRCon2023 author panel on "Wuxia, Xianxia & Asian-Inspired Fantasy." SUPPORT THE SHOW: - ⁠⁠Patreon⁠⁠ (for exclusive bonus episodes, author readings, book giveaways and more) - ⁠⁠Merch shop⁠⁠ (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the ⁠⁠FanFiAddict YouTube channel⁠⁠, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: ⁠⁠sffaddictspod@gmail.com⁠⁠ ABOUT THE PANELISTS: Xueting C. Ni is an author and editor. Her first book is From Kuan Yin to Chairman Mao, and her first anthology is Sinopticon: A Celebration of Chinese Science Fiction. Find Xueting on Twitter, Amazon or her personal website. Nghi Vo is the author of the acclaimed novellas The Empress of Salt and Fortune and When the Tiger Came Down the Mountain, as well as Siren Queen, The Chosen and the Beautiful and more. Find Nghi on Twitter, Amazon or her personal website. Wesley Chu is the #1 New York Times bestselling author of twelve published novels, including The Art of Prophecy, Time Salvager, The Rise of Io, The Walking Dead: Typhoon and more. Find Wesley on Twitter, Amazon or his personal website. Amélie Wen Zhao is the New York Times bestselling author of Song of Silver, Flame Like Night and the Blood Heir trilogy. Find Amélie on Twitter, Amazon or her personal website. Tao Wong is the author of the System Apocalypse post-apocalyptic LitRPG series, A Thousand Li, a Chinese xianxia fantasy series, and more. Find Tao on Twitter, Amazon or his personal website. Alice Poon is is the author of The Heavenly Sword, The Green Phoenix and Tales of Ming Courtesan. Find Alice on Twitter, Amazon or her personal website. FOLLOW SFF ADDICTS: ⁠⁠FanFiAddict Book Blog⁠⁠ ⁠⁠Twitter⁠⁠ ⁠⁠Instagram⁠⁠ MUSIC: Intro: "⁠⁠Into The Grid⁠⁠" by MellauSFX Outro: “⁠⁠Galactic Synthwave⁠⁠” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message

Join authors Shauna Lawless, Rob J. Hayes, Xueting C. Ni and Moses Ose Utomi for another FanFiAddict author roundtable! During the discussion, these five talented authors share their takes on How SFF Is Changing, exploring how the genres have shifted over the past five years, rising and declining subgenres, the role of movie and TV adaptations in popularizing SFF, social media, self-publishing, eBooks and more. This is the third edition of our monthly AUTHOR ROUNDTABLE series, where we bring a handful of authors together to discuss a topic related to SF/F/H, writing craft, publishing and more. SUPPORT THE SHOW: - ⁠Patreon⁠ (for exclusive bonus episodes, author readings, book giveaways and more) - ⁠Merch shop⁠ (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the ⁠FanFiAddict YouTube channel⁠, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: ⁠sffaddictspod@gmail.com⁠ ABOUT THE PANELISTS: Shauna Lawless is the author of The Children of Gods and Fighting Men, her debut novel. Find Shauna on Twitter, Amazon or her personal website. Rob J. Hayes is the author of The War Eternal series, the Mortal Techniques series, The Ties That Bind series and more. Find Rob on Twitter, Amazon or his personal website. Xueting C. Ni is an author and editor. Her first book is From Kuan Yin to Chairman Mao, and her first anthology is Sinopticon: A Celebration of Chinese Science Fiction. Find Xueting on Twitter, Amazon or her personal website. Moses Ose Utomi is a Nigerian-American fantasy writer. Daughters of Oduma and The Lies of the Ajungo are his debut books. Find Moses on Twitter, Amazon or his personal website. FOLLOW SFF ADDICTS: ⁠FanFiAddict Book Blog⁠ ⁠Twitter⁠ ⁠Instagram⁠ MUSIC: Intro: "⁠Into The Grid⁠" by MellauSFX Outro: “⁠Galactic Synthwave⁠” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message

Liu Cixin is one of China's most prominent science fiction writers, who received the 2015 Hugo Award for Best Novel for his work The Three Body Problem, making him the first Asian writer to have won the award. As a writer, a sci-fi fan and a faithful family man, Liu Cixin has been carefully separating all three aspects of his life, while taking his readers on a journey through the vastness of space, the complexity of time, and the depth of human consciousness.

John is watching movies, Alison is making games, and Liz isn't picky. Please email your letters of comment to comment@octothorpecast.uk and tag @OctothorpeCast (on Twitter or on The Wandering Shop) when you post about the show on social media. Content warnings this episode: China (chapter 2), death of a parent (chapter 4) Letters of comment Claire Brialey Tammy Coxen Chris Garcia Journey Planet on Chinese Science Fiction and Space Irwin Hirsh Chengdu is a shower Tip of the hat to File 770 for some sterling reporting on this Chengdu Worldcon changes dates, site Mockups appear to show buildings permanently branded with Worldcon/WSFS marks Images of the proposed Chengdu Science Fiction Museum Chinese fans are not best pleased It's no longer in the summer so students will be in school and not able to go, and the students are the ones who brought the con to China But, Chengdu can take credit card payments now Fiona Moore confirms GUFF Alison announced in Octothorpe 73 that she was going to go after the coronation But there's now an Australian Natcon (Conflux, 29 September to 2 October) with which Alison is aiming to intersect Picks: John: Prey (Disney+) and Invasion of the Body-Snatchers (1956, MGM) Alison: Print and play games [Alison went out for the day and did not give me links to the games, listeners! I'll try to fill this in before next episode – John] Credits Cover art: Groundhog Day by España Sheriff Alt text: Three groundhogs in the general shapes of John, Alison and Liz regard their shadow, in the shape of an octothorpe, beneath the text “Octothorpe 76”. Theme music: “Fanfare for Space” by Kevin MacLeod (CC BY 4.0)

From being the preserve of a handful of American and British authors in the late-20th century, science fiction (SF) today is a global phenomenon. From Afrofuturism to the popular Chinese Science Fiction of Cixxin Liu, Hao Jingfeng and others, writers, editors, and readers around the world are turning to the genre to make sense of our world and our futures. The global character of contemporary SF is matched by the profusion of sub-genres that have come to inhabit it: climate fiction (or “cli-fi”) and “hopepunk” are just two of the many approaches to science fiction that respond to our present-day conditions. Where and how does English-language Indian SF fit into this world? A look at some of recent works suggests that climate change, political extremism, the legacies of colonialism, and the overwhelming role of technology are some of the themes that have exercised the imagination of Indian SF writers. Do these themes run together to create something that is identifiably Indian SF? Should there be? And how are Indian SF writers and readers engaging with contemporary global SF? These are some of the questions this panel of authors and science fiction enthusiasts, Gautam Bhatia, Lavanya Lakshminarayan, TG Shenoy and Shrabonti Bagchi discusses. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including iTunes, Spotify, Google Podcasts, Castbox, Overcast and Stitcher.

“Unmasking a universally accepted lie or overturning an irreplaceable idol will produce something akin to a mental collapse.” In the seventy sixth episode of The Translated Chinese Fiction Podcast we are hitting Zero (零 / líng). Joining me on deck are The Hugonauts, as we navigate a dystopian world that might be a postmodern riff on 1984 by amorphous author Huang Fan, or might be something far more sinister. All seasoned rebels know: sometimes you crash the system, and sometimes the system crashes you. - // NEWS ITEMS // READ: Cao Kou's The Wall Builder, translated by a pair of familiar names Can Xue's Mystery Train now available for preorder in the US Yan Ge nears the end of draft 1 of a new (in a sense) Chinese language novel  SFRA publishes Xi Liu's Stories on Sexual Violence as “Thought Experiments”: Post-1990s Chinese Science Fiction as an Example East Asian astroturf: a flood of “books” on Taiwan, China, and Nancy Pelosi hits Amazon - // WORD OF THE DAY // (理 - lǐ  - reason) - // MENTIONED IN THE EPISODE // Angus' musical pairing: Way out of Here by Porcupine Tree The ‘four industrial revolutions' theory The PRC's blocking of Wikipedia and efforts to ‘delete' Tiananmen 1989 from collective memory Postwar Taiwan as a US-backed, far-right dictatorship Hao Jingfang's Folding Beijing and its win at The Hugo Awards - // Handy TrChFic Links // The TrChFic mailing list // Episode Transcripts Help Support TrChFic // The TrChFic Map INSTAGRAM 0️⃣ TWITTER 0️⃣ DISCORD 0️⃣ HOMEPAGE

In this episode, Part Two of our two part series on Chen Qiufan's first novel, Rob and Lee try to pivot away from the narrower discussions of what happens in the novel and more on a broader discussion of its place in Chinese Science Fiction. Whether or not they succeed in doing that...well, we'll let you decide.

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Chinese science fiction has been booming lately through the translation of books like Liu Cixin's The Three-Body Problem, but where did the current surge come from? In Celestial Empire: The Emergence of Chinese Science Fiction (Wesleyan University Press, 2017), Nathaniel Isaacson introduces the genre's origins in China and tracks its development from roughly 1904 to 1934. During that period, China's final dynasty, the Qing, came to an end amid European nations' increasing control of China, the Republic of China was established, and Japan conquered Manchuria while the Chinese Communist Party was established and grew into a major political-cultural force. Isaacson connects these political shifts to the establishment of science fiction in China through key works by authors like Lu Xun, Wu Jianren, and Lao She. In so doing, he shows how Chinese science fiction is connected to Edward Said's concept of Orientalism, depicting authors' struggles to subvert Orientalist attitudes toward China. Isaacson traces how Orientalism and its attendant colonialist projects were intertwined with Western scientific knowledge in such a way as to make science fiction a fruitful medium for cultural debates over China's role in the world. Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include the history of Chinese science and science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles and translations in the Oxford Handbook of Modern Chinese Literatures, Osiris, Science Fiction Studies, Renditions, Pathlight, and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction (2017), examines the emergence of sf in late Qing China. His current book project, Moving the People: the Aesthetics of Mass Transit in Modern China, examines narratives of development as a theme in modern Chinese literary and visual culture primarily through the figure of the train. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University. She writes about Japanese media and is currently completing Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, a book about contemporary media and Japanese adaptations of Lewis Carroll's Alice in Wonderland novels. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

‘Because of sleepwalking, over one billion Chinese people have awakened' In the seventy second episode of The Translated Chinese Fiction Podcast I'm facing down a bleak reality: My Country Does Not Dream (韩松 我的祖国不要做梦 / wǒde zǔguó bù zuò mèng). But I'm not doing it alone! The London Chinese Science Fiction Group have deployed a team of Han Song aficionados (and one critic) to console my exhausted brain as the daytime hours fall away, revealing a sombre somnambulant city behind the city: Beijing. - // NEWS ITEMS // Article in Sixth Tone: Infinite Scroll: The Making of China's Web Fiction Epics Words from Shen Yang in Telegraph article: What life's really like in locked-down Shanghai Short story Meta-Shanghai by Angus himself is published in Ab Terra 2021 Watch/Listen as Jack Hargreaves reads from Chen Chuncheng's Submarines in the Night - // WORDS OF THE DAY // (梦游 - mèngyóu - sleepwalking) (吊儿郎当 - diào'er lángdāng - sloppiness) (躺平 - tǎngpíng - lie flat, as resistance to the 996 work system) (闭眼 - bì yǎn - eyes closed) - // MENTIONED IN THE EPISODE // Jin's musical pairing: Space - Just Blue (1978) (the theme tune from CCTV's Animal World 动物世界) Scarlet's musical pairing: 我们走在大路上 - We Walk on the Great Road [Cultural Revolution version]  Terminator (Danny C remix) from Mark Fisher's accelerationism mix New wave scifi, and emergence of the New Weird in the 90s Guangzhao's writeup of his group's event on this story 24/7: Late Capitalism and the Ends of Sleep by Jonathan Crary The forthcoming English translations of Han Song's Hospital trilogy China 2185: Liu Cixin's cyberpunk novel - // Handy TrChFic Links // The TrChFic mailing list Episode Transcripts Help Support TrChFic The TrChFic Map INSTAGRAM // TWITTER // DISCORD // HOMEPAGE

Your hosts talk with Xueting Ni, editor and translator of Sinopticon: A Celebration of Chinese Science Fiction. This collection of short stories features a diverse selection of authors and themes bringing the best of Chinese Science-Fiction to the English speaking world. We discussed her selection process, translating genre fiction, and how much we appreciated her notes after each story.You can find Xueting on twitter here: https://twitter.com/xuetingni And more from here here: http://snowpavilion.co.uk/  Thanks to the following musicians for the use of their songs:- Amarià for the use of “Sérénade à Notre Dame de Paris”- Josh Woodward for the use of “Electric Sunrise”Licensed under Creative Commons: By Attribution 4.0 License

Writing Accessible Sci-Fi is an author panel from TBRCon2022 featuring Adrian Tchaikovsky, Xueting C. Ni, Gareth L. Powell, Louise Carey and Jonathan Nevair. Moderated by author Christian "Miles" Cameron. For more information on TBRCon2022, head over to FanFiAddict.com. You can also stream the convention live from Jan. 23-30 on the FanFiAddict YouTube channel, Twitter account or Facebook page. This panel was sponsored by: The Story Engine ModFarm The Broken Binding FanFiAddict About the Panelists: Christian "Miles" Cameron is the author of many books under many genres, including Artifact Space, The Chivalry series, the Alan Craik series, The Traitor Son Cycle and more. Find Christian on Twitter or his personal website. Adrian Tchaikovsky is the award-winning author of the Children of Time series, the Shadows of the Apt series, The Final Architecture series, and much more. Find Adrian on Twitter or his personal website. Xueting C. Ni is the author of From Kuanyin To Chairman Mao and the translator/editor of the anthology Sinopticon: A Celebration of Chinese Science Fiction. Find Xueting on Twitter or her personal website. Gareth L. Powell is the award-winning author of the Embers of War series and more. His latest novel is Stars and Bones. Find Gareth on Twitter or his personal website. Louise Carey is the author of Inscape, as well as co-author of two fantasy novels, The City of Silk and Steel and The House of War and Witness. Find Louise on Twitter or her personal website. Jonathan Nevair is the author of the Wind Tide space opera series, including Goodbye to the Sun, Jati's Wager and No Song, But Silence. Find Jonathan on Twitter or his personal website. Find Us Online: FanFiAddict Blog Discord Twitter Instagram Music: Intro: "FanFiAddict Theme (Short Version)" by Astronoz Interlude 1: “Crescendo” by Astronoz Outro: “Cloudy Sunset” by Astronoz

John is demanding, Alison joined a Discord, and Liz knows a lot about the WSFS Constitution. Please email your letters of comment to octothorpecast@gmail.com and tag @OctothorpeCast when you post about the show on social media. Content warnings this episode: Genocide and war (chapter 1), racism and capitalism (chapter 2), sexism (chapter 5) Letters of comment Liquid of comment from This Never Happens (Cornish branch) Jonathan Baddeley: “Tedious NPC” would make a great badge ribbon Ali Baker Dave Coxon Chris Garcia Kat Tanaka Okopnik says Nice is not bidding for 2026 Crying movies Fran Dowd: Platoon Farah Mendlesohn: Fried Green Tomatoes Ang Rosin: Dead Poets Society Alison very much appreciated this sponsor read on Podside Picnic Year's Best African Speculative Fiction edited by Otherwise Award-winning author Oghenechovwe Donald Ekpeki Kindle Direct Publishing took down Ekpeki's account shortly before having to pay him royalties File 770 reports on the eventual end of the saga This is a continuation of Jason Sanford's discussion of financial barriers to global authors The DisCon III Site Selection fiasco Salon Futura's write-up of DisCon III File 770's comment thread with a lot of inside baseball Steve Cooper has set up a mailing list on groups.io to look at Electronic Site Selection Chicon 8 says: “Hugo nominations will open later in January, and will run through mid-March. All members of DisCon III and anyone who joins Chicon 8 before the 31st of January 2022 will be eligible to nominate in this year's Hugo Awards.” Section 3.7.1 of the WSFS constitution, fact fans Awards! Nicholas Whyte answers our questions Nerds of a Feather has recused itself from the 2022 Hugo Awards Commentary and interesting history courtesy of File 770 We listened to Hugo, Girl!, a fancast in which feminists read and discuss SF The FAAn Achievement Awards 2022 The Incompleat Register 2021 “A ‘fanzine', for our purposes, is defined as an immutable artefact, once published not subject to revision or modification. The fanzine might not exist in a physical form. A PDF, for example, is an artefact.” “[A perzine is a] fanzine which typically has few, if any, contributors other than its editor(s).” Alison has joined the Hugo Award Study Committee which is a Discord server If you'd like to join then contact the chair, Cliff Dunn Their last report was in 2018 at the San Jose Worldcon New Year's resolutions John: Publish more fanzines and make an app Alison: Have at least one SFF book a month ready to talk about on Octothorpe. Alison's super nerdy iPad board game challenge Liz: Read 80 books on Goodreads (maybe) Picks Alison: Sinopticon: A Celebration of Chinese Science Fiction translated and edited by Xue Christine Ni (epub, Kindle) Liz: She Who Became The Sun by Shelly Parker-Chan (epub, Kindle, hardback, paperback pre-order) John: The Expanse (Amazon Prime) Music credits Our theme music is Fanfare for Space by Kevin MacLeod, used under a CC BY 4.0 license

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The late 1970s to the mid-1980s, a period commonly referred to as the post-Mao cultural thaw, was a key transitional phase in the evolution of Chinese science fiction. This period served as a bridge between science-popularization science fiction of the 1950s and 1960s and New Wave Chinese science fiction from the 1990s into the twenty-first century. Chinese Science Fiction during the Post-Mao Cultural Thaw (University of Toronto Press, 2021) surveys the field of Chinese science fiction and its multimedia practice, analysing and assessing science fiction works by well-known writers such as Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Xiao Jianheng, as well as the often-overlooked tech–science fiction writers of the post-Mao thaw. Exploring the socio-political and cultural dynamics of science-related Chinese literature during this period, Hua Li combines close readings of original Chinese literary texts with literary analysis informed by scholarship on science fiction as a genre, Chinese literary history, and media studies. Li argues that this science fiction of the post-Mao thaw began its rise as a type of government-backed literature, yet it often stirred up controversy and received pushback as a contentious and boundary-breaking genre. Topically structured and interdisciplinary in scope, Chinese Science Fiction during the Post-Mao Cultural Thaw will appeal to both scholars and fans of science fiction. Hua Li is an associate professor at Montana State University. Clara Iwasaki is an assistant professor in the East Asian Studies department at the University of Alberta. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

So… there's this Chinese Science Fiction book series called, Remembrance of Earth's Past and it absolutely took my breath away. It was one of those fictional experiences that can change how you see everything around you and transform you as a person. At least that's how it went for me.  ^__^; My friend Angus and I actually recorded this months ago, but I really wanted to share it with the Couch Command listeners. If what we're taking about makes no sense to you, that's kinda normal when talking about Three Body Problem and not having read the books. I recommend you find them, give them a read and maaaaybe come back to our discussion at some other date. You can find them all on Amazon riiight over here. A friend of mine has already touched upon the world of Three Body with her PopGeeks article regarding the fan created animated series: My Three Body. If you like weirdness, philosophy, astrophysics and mystery, step right up and take on the Three Body Problem challenge.  I assure you.. you won't be disappointed. Going in knowing nothing is the most fun way to go about it, but if you want a preview of the wild world, YouTuber Quinn has an excellent primer for those who want a glimpse at what the big deal is: WALLFACERS: Keith Justice Hayward (Twitch, Instagram, Facebook) August Stewart (Twitter, Podbean)

Featuring classics such as »Little Smarty«, »The Three-Body Problem« and »Pacific Rim 2«

Today Pip talks about Life's Edge: The search for what it means to be alive by Carl Zimmer and Goodnight, Melancholy' by Xia Jia from Broken Stars: Sixteen Stories from the New Frontiers of Chinese Science Fiction edited and translated by Ken Liu

#ai2041 #chenquifan #kaifulee #scifi A fiction writer, screenwriter, and columnist—Chen Qiufan (a.k.a. Stanley Chan) has published fiction in venues such as People's Literature, Youth Literature, Science Fiction World, Esquire, and Chutzpah!. His futurism writing may be found at places like Slate and XPRIZE. He has garnered numerous literary awards, including Taiwan's Dragon Fantasy Award and China's Galaxy and Xingyun(Nebula) Awards. In English translation, he has been featured in markets such as Clarkesworld, Pathlight, Lightspeed, Interzone, and F&SF. “The Fish of Lijiang” won a Science Fiction and Fantasy Translation Award in 2012, and “The Year of the Rat” was selected by The Year's Best Weird Fiction: Volume One. More of his fiction may be found in Invisible Planets. Liu Cixin, China's most prominent science fiction author, praised Chen's debut novel, Waste Tide(Chinese edition 2013; English edition scheduled for 2019 by Tor, translated by Ken Liu), as “the pinnacle of near-future SF writing.” He previously worked for Google, Baidu, and a VR/Mocap leading Startup Noitom Technology for over ten years. Now He is running Thema Mundi Studio which developing his IPs. Also as an evangelist, he promotes Chinese Science Fiction and tech trends domestically and internationally. http://chenqiufan.cn https://twitter.com/ChenQiufan https://cn.linkedin.com/in/chenqiufan

It is not often that one has the opportunity to observe the extinction of an entire civilisation In the forty first episode of The Translated Chinese Fiction Podcast, we are venturing into Cat Country (猫城记 / Māo Chéng Jì), a science fiction oddity of the Republic of China. Helping me save the nation and stay off the damned reverie leaves is Molly Silk, a doctoral researcher of Chinese Space Policy. - // NEWS ITEMS // Little Smarty Travels to the Future comic now available in translation Chinese Science Fiction Goes Global by Regina Kanyu Wang Celestial Empire: The Emergence of Chinese Science Fiction by Nathaniel Isaacson - // WORD OF THE DAY // (迷叶 / Mí Yè / reverie leaves) - // MENTIONED IN THE EPISODE // The Wandering Earth: A Device for the Propagation of the Chinese Regime's Desired Space Narratives? by Molly herself The Trial by Franz Kafka Lao She in London I Am a Cat by Natsume Sōseki The Cat Returns (2002, dir. Hiroyuki Morita) - // Handy TrChFic Links // Buy Me a Coffee Bonus Shows on Patreon  The TrChFic Map INSTAGRAM

It is the future. The solar system has been colonized by the Greeks. But there's an enemy lurking in the dark. This is an alternate history audio drama inspired by Chinese science fiction authors such as Cixin Liu. Written and produced by Josh Hutchins. Hosted and with introduction by Jordan Harbour. Music by Cryo Chamber. SciFi, Alternate History, Greece, Chinese Science Fiction

Happy New Year, Spectologists! Late in 2019, Matt sat down with Chen Qiufan / Stanley Chan, the author of Waste Tide, to discuss the book, the process of translating & editing it for an American audience, the importance of prose in genre fiction, how science fiction & startup culture interact in China, some of his favorite upcoming authors, and much much more.  The conversation took place in English, although the conversation took place while Stanley was calling from the Hong Kong airport between flights so the audio is a bit more rough than usual. However, the conversation they had should more than make up for that. If you enjoy this interview, make sure to check out our episodes on Stanley's book (18.1 & 18.2), as well as our discussion of the mentioned Ning Ken essay on the Ultra Unreal. You can find many of Stanley's stories at Clarkesworld, and follow Clarkesworld generally for many other translated Chinese SF stories.  --- As always, we'd love to hear from you! Chat with us on twitter at @spectologypod, send us an email at spectologypod@gmail.com, or submit the episode to r/printSF on reddit. We'll reply, and shout you out in the next podcast when we talk about your comment. And if you like the episode, subscribe at spectology.com or whever you listen to podcasts, and share it with your friends! Many thanks to Dubby J and Noah Bradley for doing our music and art.

'Everything is going to descend into chaos and disorder. Entropy will accelerate rapidly...' this is episode 5 of 7 in our Chinese Science Fiction Season In the twenty first episode of The Translated Chinese Fiction Podcast, we are looking at Han Song's The Fundamental Nature of the Universe (宇宙的本性/yǔzhòu de běnxìng) A tale of artificial intelligence and ennui. Or should it be angst? Or simply just yanjuan? Musing darkly with me on this episode is its translator Nathaniel Isaacson, author of Celestial Empire: The Emergence of Chinese Science Fiction. He translated this story, so he ought to know a thing or two about it! FULL TEXT - academic access required  Han Song on Paper Republic - // Discussed in this Episode // My That's Shanghai! article on Chinese fast rail The Shanghai Metro Museum   // Handy TrChFic Links // Episode 21 transcript Buy Me a Coffee Bonus Shows on Patreon  The TrChFic Map   INSTAGRAM // TWITTER // DISCORD // MY SITE

This is a special episode examining the rise in the popularity and influence of Chinese Science Fiction. In the last twenty years, Chinese Sci Fi has flourished across a range of media, spurred by successes like Liu Cixin's Hugo Award-winning novel The Three-Body Problem, and this year's Chinese funded and created movie The Wandering Earth. In this episode I talk to two writers: Chen Qiufan and Peng Simeng, and an editor, Gabrielle Wei of Science Fiction World, all based in China, to discuss the issues that are important to Chinese writers and to find out what opportunities writers from the West might have in this newly emerging market.

This is a special episode examining the rise in the popularity and influence of Chinese Science Fiction. In the last twenty years, Chinese Sci Fi has flourished across a range of media, spurred by successes like Liu Cixin's Hugo Award-winning novel The Three-Body Problem, and this year's Chinese funded and created movie The Wandering Earth. In this episode I talk to two writers: Chen Qiufan and Peng Simeng, and an editor, Gabrielle Wei of Science Fiction World, all based in China, to discuss the issues that are important to Chinese writers and to find out what opportunities writers from the West might have in this newly emerging market.

For today's episode, Matt & Adrian read an essay about Chinese Science Fiction by Chinese SF author Ning Ken, and talk about it. The essay, published as "Modern China is So Crazy It Needs a New Literary Genre" on LitHub (https://lithub.com/modern-china-is-so-crazy-it-needs-a-new-literary-genre/), outlines a subgenre of SF that (supposedly) doesn't exist in English, and discusses why it's so important in China. We take the conversation far afield pretty quickly, asking what makes a genre, whether Ultra Unreal works exist in English, how relevant these works actually are in Chinese SF, and who ultimately gets to define genre. Adrian rants a little about one particular author who annoys him online when he talks about genre, and Matt has very reasoned and smart things to say about whether it's even a good idea to argue about genre in the first place. As always, the essay is an interesting one, and we hope you'll read it in addition to listening to us argue about it. In addition, here are some other related works to the conversation: - Follow-up essay by Josh Feola & Michael Pettis- "Folding Beijing" by Hao Jingfang- Waste Tide by Chen Qiufan (see also the 18.x episodes of this podcast)- The New & Improved Romie Futch by Julia Elliott (see also our 4.x episodes)- Sorry to Bother You, dir. Boots Riley- "Welcome to the Future Nauseous" by Venkatesh Rao As always, links at spectology.com if they don't show up in your podcatcher. We'll be back next week (Oct 1st) for our Waste Tide post-read, then October 8th we'll have the post-read for our horror-themed October novel. --- As always, we'd love to hear from you! Chat with us on twitter at @spectologypod, send us an email at spectologypod@gmail.com, or submit the episode to r/printSF on reddit. We'll reply, and shout you out in the next podcast when we talk about your comment. And if you like the episode, subscribe at spectology.com or whever you listen to podcasts, and share it with your friends! Many thanks to Dubby J and Noah Bradley for doing our music and art.

https://www.kickstarter.com/projects/clarkesworld/a-hundred-ghosts-parade-tonight-and-other-stories​

In the past few years, science fiction as a genre has entered the Chinese mainstream in an unprecedented way, thanks to sci-fi writers from China and from the Chinese diaspora. If “The Three Body Problem” introduced the world to Chinese sci-fi, then the 2019 blockbuster “The Wandering Earth” (acquired by Netflix) certainly kept the momentum going. This is the context under which we are having this discussion about Netflix’s high-profile sci-fi animation anthology “Love, Death & Robots." The series was received extremely positively by the Chinese audience (according to Douban ratings.) But Loud Murmurs being Loud Murmurs, we will not only talk about the stories themselves but also how gender and sex play a role in them. We are honored to be joined by acclaimed Chinese sci-fi author Chen Qiufan, whose works have won three Galaxy Awards for Chinese Science Fiction. To Chinese sci-fi fans, Qiufan needs no introduction. Highlights: In the episode “Beyond the Aquila Rift”, there’s a long CGI sex scene in space. Does the scene serve the plot or does it merely serve a trite male fantasy? Would this story still make sense if the genders of the two main characters are reversed? Is there a subtle religious theme to this story? We really like the 8th episode, “Good Hunting,” which combines elements of “silk punk” and “Strange Stories from a Chinese Studio” (Liaozhaozhiyi by Qing Dynasty author Pu Songling). This is written by Chinese American science fiction author Ken Liu, a friend of our guest Chen Qiufan and translator of the “Three Body Problem.” There’s a difference between cultural appropriation and appreciation. We think this story is doing it the right way. Why are so many episodes in “Love, Death and Robots” accused of sexualizing the female body and glorifying violence towards women? Is this a bigger problem with the sci-fi genre in general? As a science fiction writer, Chen Qiufan’s works often concern the theme of “justice.” How does Chen explore this theme in the Chinese context and challenge the social status quo? How can male sci-fi writers better include the perspective of women, create fully developed female characters with agency, and challenge the -isms of our real world when building new, imaginative worlds? The English version of Chen Qiufan’s book “The Waste Tide” has just come out. Please check it out here! Thanks for listening! Find us in the iTunes podcast store, Google Play, Spotify, 喜马拉雅 for our fans in China, and wherever you listen to podcasts (e.g. Pocket Casts, Overcast)! Please subscribe, enjoy, and feel free to drop us a note and leave us a review. BECOME A PATRON TO SUPPORT US:https://www.patreon.com/loudmurmurs Support the show (https://www.patreon.com/loudmurmurs)

The new generation of Chinese science fiction authors talk of their inspirations, their insights, and what makes science fiction in China special.

null

In this episode we review our year. We also invite Tade Thompson back to the podcast, Ryan Pruchnic, and for the first time ever, the Chinese Science Fiction author Zhang Ran.  We talk about a wide range of things from Marvel movies, to our favorite books, to cryogenic freezing yourself in order to time travel.  We also have a lot of fun making this episode and some of us get tipsy.  Thanks to all our listeners for a great 2018. Here's to having an even better 2019.      

Jay and Austin are back for another episode of their podcast that has definitely always been called We're Just Two Guys (and We're Having a Good Time). This time they discuss science fiction, what good sci-fi looks like, what sci-fi is good for, and what sci-fi actually is in the first place. They move the discussion through some of their favorite shows and books like The Lathe of Heaven, Star Trek, Hyperion, Brave New World, and The Three-Body Problem. They end up getting into religion and vow to start a new band called Minutiae Dick Measuring Contest. The intro and outro song is Astro Turf by Purple Funk Metropolis.

Jon didn't want to talk with me about The Three-Body Problem, that Chinese Science Fiction novel everyone's talking about. I guess because he's an uncultured boob. You know who did read The Three-Body Problem? President Barack Obama, that's who! Maybe I should see if he wants to team up on a Hagar the Horrible podcast or something...Anyway, here's a better recording of Fats Waller's "Your Feet's Too Big," set to a cartoon for some reason.Today's strip

Ken Liu is a science-fiction writer, translator, computer programmer, and lawyer. He has written two novels and more than 100 short stories. His short story “The Paper Menagerie” is the first work of fiction, of any length, to win all three of the Hugo, Nebula, and World Fantasy Awards. Among his translations are two of the three parts of the Chinese science-fiction hit The Three-Body Problem, by Liu Cixin. In this episode of the Sinica Podcast, Ken talks to Kaiser and Jeremy about his own work, the significance of The Three-Body Problem in the Chinese literary world, and the current state of Chinese science fiction. Recommendations: Jeremy: Understanding China Through Comics series, by Liu Jing: Foundations of Chinese Civilization: The Yellow Emperor to the Han Dynasty, Division to Unification in Imperial China: The Three Kingdoms to the Tang Dynasty, and Barbarians and the Birth of Chinese Identity: The Five Dynasties and Ten Kingdoms to the Yuan Dynasty. Ken: Consider the Fork: A History of How We Cook and Eat, by Bee Wilson. Kaiser: Deadwood TV series. References: The Three-Body trilogy, by Liu Cixin: The Three-Body Problem, translated by Ken Liu, The Dark Forest, translated by Joel Martinsen, and Death’s End, translated by Ken Liu. Invisible Planets: An anthology of contemporary Chinese science fiction, translated by Ken Liu. Fiction by Ken Liu: The Grace of Kings, The Wall of Storms (read an excerpt on SupChina here), and The Paper Menagerie and Other Stories.  

In this Sydney Ideas lecture China's est-selling contemporary science fiction author Liu Cixin, winner of the 2015 Hugo Award for Best Novel, talked about how his vision for modern China is reflected in his work. Professor Song Mingwei, critic and literary scholar at Wellesley College, USA, was in conversation with Liu Cixin to talk about the growing popularity of science fiction in China, and how it reflects the population’s longing for, but anxiety about, development and its unknown impact on humanity. For further info see this page: http://sydney.edu.au/sydney_ideas/lectures/2015/liu_cixin.shtml

Sydney Ideas partnered with the Confucius Institute to present Liu Cixin, leading contemporary Chinese science fiction writer, and recent winner of the 2015 Hugo Award for Best Novel. In an exclusive and rare appearance outside China, Cixin talks about his visions of modern China.

Following on from our recent conversations about British and Australian Science Fiction, this week we invited Hugo, Nebula, and World Fantasy Award winning author and translator Ken Liu to join us to discuss translating fiction, his experiences with Chinese SF and his forthcoming translation of Liu Cixin's The Three Body Problem (which Gary officially has recommended as a Coode Street Recommended Book). We'd like to thank Ken for joining us in what proved to be an extremely interesting conversation. Next week: Canada! Till then, we hope you enjoy the episode.