Interview with Hugo Finalists Gu Shi and Translator Emily Xueni Jin

Posted on July 16, 2024 by Mike Glyer

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 fifth in the series is a question and answer session with Gu Shi, author of 2024 Hugo-finalist novelette “Introduction To 2181 Overture, Second Edition”, and Emily Xueni Jin, who translated it to English for publication in Clarkesworld.

SUPPORTING CHINESE WRITERS SERIES: 2024 HUGO AWARD NOMINATION INTERVIEW WITH GU SHI AND EMILY JIN

Translated by Joseph Brant.

Part 1

“I had a responsibility to write about the women I meet.”

Gu Shi is a Science Fiction writer, a senior urban planner, and a member of the Chinese Writers’ Association. She has published more than 300,000 words of sci-fi in magazines such as Science Fiction World, Beijing Literature, and Shanghai Literature since 2011, as well as in her own collection, Möbius Time and Space. She has won several major awards, including the China’s Galaxy Award, the Chinese Science Fiction Nebula Award, the Science Fiction Planet Award for Literature, and the Fishing Fortress Science Fiction Award. Her work “Introduction To 2181 Overture, Second Edition” is shortlisted for the 2024 Hugo Award for Best Novelette. Much of her work has been translated into English, Italian, German, Spanish, Japanese, Korean, and Russian, among other languages.

Q1｜Hello, Ms. Gu Shi, first of all, I would like to congratulate you on the shortlisting of “2181 Overture” for the 2024 Hugo Award for Best Short Story. Some readers may not have read this work, so could you please give us a brief introduction to this piece?

Gu Shi: Do you find the full title “Introduction To 2181 Overture, Second Edition” interesting? It has several layers — “2181” sets the story in the future, “Overture”, suggests the story takes place before the future, and “Introduction” and “Second Edition “, shows that it uses a non-fiction style for a non-fiction book. Using this non-fiction style allows me to create a “pseudo-preface” to a book that doesn’t exist. The pseudo-preface condenses six stories, with 16 different characters, and ties it all together with a common trope of science fiction: Cryogenic technology. In this story, I try to explore how far the idea of “hibernation” may go, and I ask a lot of questions about it: if Cryogenics could be realised, what kind of legal issues would its application bring? How would it change our way of life and the thoughts of humanity? Would it create new illustrious billionaires? Would those unable to catch up with the technologic advances become the “left-behinds”? Will people accept cryogenics when it comes to deep space exploration? After answering these questions with five “documentary” stories, Dong Lu, the “author” of the introduction, finally reveals that she is the mother of the book’s “author”, Fang Miao, and explains the background of the creation of the “book”: Fang Miao developed cancer when she was studying at university, and cryogenic technology was her way of cheating in the race against death. The scientist who perfected the freezing was none other than her own mother, Dong Lu. The story originally debuted in 2020 in my collection Möbius Time and Space, and was translated into English by Emily Jin, and published in Clarkesworld Magazine in 2023. It is that English version of the story that was shortlisted for this year’s Hugo Award.

The Chinese version of Introduction To 2181 Overture, Second Edition first published in Gu Shi’s first sci-fi short story collection Möbius Time and Space by Eight Light Minutes Culture, New Star Press.

Q2｜In the “Introduction To 2181 Overture, Second Edition”, all 16 characters are women, which is quite unique, and in your upcoming collection, titled 2181 Overture, almost all the stories are told from a female perspective. What is it that drives you to write in this way?

Gu Shi: Until 2018, most of the Sci-fi I wrote had male protagonists, but in my newer work, I’ve almost exclusively used women. The thing that made me change was translation. In 2017, when my work started to reach an international arena, Readers began to ask me “Why are all your protagonists male? Why don’t they feature China?”. These questions made me think about how I, a Chinese Female writer, could better reflect my life experiences, unique from foreign writers, and was surprised to find that the brilliant, positive, calm, and intelligent women present in my everyday life were almost invisible in both Western and Chinese Science Fiction. I had a responsibility to write about the women I meet. In the “Introduction To 2181 Overture”, The women are scientists, businesspeople, lawyers… They could be the ones who take on the responsibilities of their families, or the ones who abandon their families to become the forerunners of interplanetary travel.

Q3｜So how do you define “Women’s Sci-fi”?

Gu Shi: I have resisted that concept of “Women’s Sci-fi”, or of “Female Writer”. If there’s such a thing of “Women’s Sci-fi”, why not “Men’s Sci-fi”. Once you single out a gender as a label, it’s as if you are naturally placing it in a lesser position, though in the past few years I’ve realised that it’s not gender per se that I’m resisting, but the gender stereotyping that comes with “Women Writers” and “Women’s Writing”.

What is it we expect when we open a volume of “Women’s Science Fiction”? A more emotional perspective? A more literary tone? Or maybe just a more domestic setting?

Women’s Sci-fi isn’t there to prove that women can write as well as a male writer, just as Chinese Sci-fi isn’t there to prove we can write as well as a Colombian (or any other Country’s authors). What makes Women’s science fiction unique is the writer’s ability to confront the future through speculative fiction. The process lets the writer confront the dilemmas they face or imagine more egalitarian views of gender in a possible, positive future, and that second route is the one I’m taking.

Q4｜Your early works, published in things like Super Nice Magazine were very standard genre stories, very fast paced, with twist endings, whilst more recent works, like “Choosing The City”, “Introduction To 2181 Overture” and “Magic Mirror Algorithm” are more literary, with deeper explorations of social issues, such as the aging population, and city planning. What led to this change in style?

Gu Shi: First of all, It’s really about selecting the topic and style that match the publication. Super Nice is very genre-based, and the Editors’ notes to me were very effective, but now, I have access to a much wider range of platforms and magazines, so I can experiment with different styles and subjects, and submit them to the most suitable outlets. I’ve always been interested in the subject of aging, because associated topics kept making their way into my early work, like The Memory Of Time, where a male celebrity relied on virtual reality recordings to relive his past experiences as he grew old and infirm.

Other topics, I had wanted to approach earlier, but it’s only recently that I gained editorial control and could decide to write about urban planning and construction in “Choosing The City”, which is a little like doing a thematic study of my day job, so was actually a very difficult writing process. Fiction is more of a hobby for me, so I hope to always try new things, and explore more challenging content, in both the subject and technique, as well as the style.

When I finished “Introduction To 2181 Overture”, I hit a block, and found it hard to start a new genre piece that would surpass anything I’d already written. This coincided with an opportunity to read through a lot of purely literary fiction from the past few years, and from them, I learned a great deal of literary possibilities I hadn’t previously been aware of.

Gu Shi’s first sci-fi short story collection Möbius Time and Space by Eight Light Minutes Culture, New Star Press.

Q5 | “Introduction To 2181 Overture” focuses on cryogenic hibernation. There are many sci-fi novels depicting cryogenics, but most of them focus on the sleepers, while this story has the alternative focus of those who do not hibernate, who cannot cross the seas of time, and who are left behind. If the technology of cryogenics is actually realised one day, would you be willing to try it? Or would it feel like an escape from reality?

Gu Shi: We’re all strive for ideals, innovation and efficiency, but sometimes we have to admit that some people, even if they are working to exhaustion, are going to get left behind by the future. The origin of the concept of “left behind” is closely associated with “leftover”, specifically “leftover women”, and when I was labeled as such, I was shocked to look at exactly where it was I had been left behind, and whether it was really necessary for me to try to ‘catch up’ with the others, but ultimately I decided I wanted to live my life at my own pace, and I wish everyone had the courage to do the same. If cryogenics was actually realised one day…… I don’t think I’d feel compelled to try it. Our reality is something that needs to be faced head on, and running away from it doesn’t help. Whilst I’m not sure I would try for my own sake, if I was “summoned” by a someone like “Man Ge” from the story… I think I would.

Q6｜Throughout your years as a science fiction writer, which stories have you been most satisfied with?

Gu Shi: So hard to choose! “Chimeras”, “Introduction To 2181 Overture” and “Mothership” are all works I’m very happy with, but If I had to choose just one that I’m most pleased with, out of all the stories I’ve published, I would have probably say “Magic Mirror Algorithm”. When I was writing it, I tried so hard to put aside all the technical skills I’d already honed, and just let the characters, plot, and sincerity drive the story, and I loved the final result. If you include the unpublished work too, it’s probably a fantasy novella I wrote in middle school called “The Godkiller”. It was a very indulgent story that I wrote without restraint. I happened to be chatting to Ken Liu at the time, and he said that when he signed books for his readers, he always added “May you get to tell the story you want to tell, always”. Even as I started writing “Godkiller”, I knew it was not the story I wanted to write for any publisher, but it was exactly the story I wanted to write for me. I’m glad I finished it, and I look forward to hearing what readers think of it.

Q7｜I hear you are currently working on a full length science fiction novel. What do you think is the main difficulty in transitioning from a short story to a full-length one?

Gu Shi: Long and short form fiction have such different requirements for their authors, from the state of mind, the technical skills to the rhythm and pacing. They all need to be fine tuned. Perhaps it’s most like the difference between a marathon and a sprint. When I first started writing, it was online romance novels, all long form. I mean, not compared to what we see online these days, which can be 100,000 to 200,000 characters, but still, I’ve always considered myself a long form writer, and the greatest pleasures I’ve found in writing, are the ensemble scene plotting, the character arcs, and the sense of fatalism, which can only really be explored in longer stories. I’ve been working on longer pieces for the last few years, but various things have meant I’ve had to stop half way through, sealing up projects of 100,000 characters. If you look at the difficulties faced, on one hand it is that investment of time and energy, but on the other, It’s my own desire to finish a story, that I’ve developed further with short story writing. Short stories can be brought to a high level of completed state with a sufficient number of revisions, but with novels… I often kept changing them as I write, and once they were half way done, I gave up.

Q8｜Please say a few words to the Sci-fi fans who are currently considering the Hugo Awards

Gu Shi: I’m very happy that “Introduction To 2181 Overture, Second Edition” has been shortlisted for the Hugo Awards. A few months ago, the Hugo committee sent out reading packs of the shortlisted works, and the best thing for me about this whole process is that all the sci-fi fans preparing to attend Worldcon in Glasgow will be able to read this story in those packs. I believe Science Fiction is a bridge that can span this messy, fragmented reality, and connect us all with the future. I hope that Sci-fi will also help all its fans define their own futures.

Part 2

“I see fragments of myself, and my own potential future in them.”

Emily Xueni Jin is a PhD student in the Department of East Asian Languages and Literature at Yale University. As a young student, she translates from both English-to-Chinese, and Chinese-to-English, and her works include The Search for Philip K. Dick, the Kingdom Of Clockwork series, and Chlorine. Her translations have appeared in Clarkesworld and other genre fiction publications, as well as the first collection of Chinese sci-fi and fantasy written and translated by female and non-binary writers, The Way Spring Arrives and Other Stories, AI2041, jointly written by Chen Qiufan and Dr Kaifu Li and Liu Cixin’s anthology A View From The Stars.

Q1｜Hello Ms Jin, you’re the translator of the English version of “Introduction To 2181 Overture”. What are your thoughts on this story?

Emily Xueni Jin: It’s hard for me to talk lightly about “2181 Overture” just as a story, because it is clearly a magnificent epic of women’s future. Gu Shi, who I know is a big fan of operas and musicals, will probably get this: reading this story is like sitting dead centre in the middle of a great ancient amphitheatre, where centuries rush by, and countless female voices form this…a sublime Greek Chorus, each singing softly or richly their own part, using their voice to write their unique personal chapter. Everyone is independent and vivid, but in the end, they converge into this symphony of colourful intertwining, telling the destiny of all women.

As a translator, the experience of bringing this story into English was definitely very special. It was like… traveling through an “instantaneous multiverse” singing all the parts for each of the women on the page, subtlety transposing the Chinese scales to an English one, with the same rhythm and cadence working in this very different language system, and ways of emphasising the words. Most importantly, each voice has its own personality and narrative style, which I had to present in English. I needed to empathise with each of them, recreating those individuals in English, but also constantly keeping my mind turned to the macroscopic structure, and the overall narrator that dominates the story, a scientist who is writing a scholarly work on a period of history, meaning that I too had to detach myself from these individuals at the right time, so I could, like the author, become a master of the story world.

The story’s uniqueness, for me, really comes from its three-stranded intertwining structure. As the translator, I have to really sync with the author. As the narrative perspective switches, I need to attune to each new voice. As a woman, I am part of the history of each of the millions of women from this future, in each of whom I see fragments of myself, and my own potential future.

“Introduction To 2181 Overture, Second Edition” really provides a new paradigm for the future of women’s sci-fi. It’s not necessarily emphasising gender specificity throughout, but it’s certainly integrating gender perspectives throughout, in its settings, in every line. What’s female is human, that’s all.

Q2｜In previous interviews, you’ve shown a great interest in Chinese science fiction. When you translate these works, how do you break those cultural barriers so that English readers can better appreciate the charm of Chinese sci-fi?

Emily Xueni Jin: For me, I really started just to challenge myself, and to challenge that innate orientalist stereotyping caused by a colonialist mindset. It’s frustrating that without an in-depth understanding of the base culture, it’s so easy for a Chinese story translated into English to just become a dose of orientalism. Or the Chinese elements to be reduced to decorative elements to attract attention, which shifts the reader away from their presence in the story itself. So, I have to remain very conscious of the fact I need to counterbalance that, and I’m very particular in the words I use in my translation. Compared to sci-fi based on the familiar, and near-future settings, it’s definitely more demanding to translate a story that references traditional culture, mythology, and history, because I don’t have that set of English commonplaces I can just ‘plug and play’. I have to build my translations on the fact that an English reader will have no concept of these elements, so I put a lot of effort into researching them, and sometimes almost ‘reverse engineer’ the reference material for that concept of culture, independent of the story.

Moving forward, we’re only going to see more science fiction growing out of Eastern traditions, and as someone in a fortunate position of being able to navigate both cultures, The work I’m doing now to slowly build up that body of references, will make it easier for future translators moving forwards. It’s just starting to lay the groundwork, I suppose.

Q3｜Apart from translating sci-fi stories, you’ve also translated titles like In Search of Philip K. Dick. Is there a big difference between translating fiction and non-fiction? What do you feel are the main differences?

Emily Xueni Jin: In general, translating non-fiction requires lot more cross-referencing, and the narratives tend to be more linear and straightforward. I try to suppress my personality, and remain objective. Sometimes, it’s like the process of preparing material for when I teach a class at university. The translator needs to have a good understanding of the content to be translated, and then explain that back to a reader using a completely different language. In Search of Philip K. Dick was not quite the same as other non-fiction. Being both a biography, and coming from Dick’s Ex-wife, Anne, it could be said that the book was a culmination of poetic narrative, private correspondence, and objective reporting. I needed to be able to switch between that passive voice (translated in a straightforward tone), discussing his life and work (with references, reviews, and an unexpected deep dive into Californian hippie culture), and a lyrical voice (aligning with Anne, and measuring my words against her thoughts and love language).

Anne Williams Rubenstein’s In Search Of Philip K. Dick, Translated by Emily Xueni Jin, published by Eight Light Minutes Culture, New Star Press.

Q4｜Besides Translating, do you have any plans to write your own works?

Emily Xueni Jin: Between the ages of about eight and my early 20s, I was really interested in creative writing, and quite prolific. I wrote a lot of Sci-fi and Fantasy stories, as well as fanfic. I was a dedicated user of AO3 and Lofter. When I was sixteen or so, I uploaded a full length YA novel I’d written when I was fourteen. It was a Sci-fi /Fantasy /Procedural drama, but since it was pretty mediocre, we just consider that a dark time that we don’t talk about. (It was still dug out by the sci-fi critic Sanfeng. His research skills are scary!)

At university, I started to write a long series with my own worldbuilding. It was a Seafaring /Steampunk/ Female led Fantasy story, but before I finished it, I found my interest in writing fading, and I found more enjoyment in translation, and academic writing, so I stowed it away. However, after the last couple of years, I feel I’m ready to return to my old ways, and with the encouragement of a couple of friends, I hope I can go back and finish the first volume. In the next year or so.

With that said, I want to address the relationship between translation and creativity. Honestly, I find most people have this notion that creative writing is just naturally superior to translation. Writers get all the accolades and respect, and if there’s a multilingual author who then goes on to translate, that’s just considered the icing on the cake, whilst a translator can put their entire talent to bringing work into the global sphere and be asked “Are you just doing this because you can’t write your own work?”. I’ve been asked that by more than one person, as though translation is a second class job. However, the reason I shifted my focus to translation, was I happened to read Ken Liu’s translation of Three Body Problem before graduating, and became interested in the art of translation, which appealed far more than mere writing. The ability to translate well was a remarkable skill to me. It’s a very different set of challenges, and whilst a translator with no creative experience could still produce an excellent translation, not every skilled writer will make a good translator.

As a writer turned translator, the greatest challenge I faced was letting go of my subjectivity. I had to avoid making every translation feel like my own voice, but instead, become as pliable as possible, soaking up the writer’s text like a sponge and then transform that into another language, even if my ‘authorial voice’ is constantly screaming from backlash during the process. For me, it’s the same sword in my hand, so writing is conquering and translating is protecting.

It’s true however, that the experiences to gain through translating can then be transferred back into creative writing. For example, when I’m translating, rather than just reading a piece, I’ll develop a much deeper understanding of the different author’s creative techniques, or approaches, as both a bystander, and an insider, in ways that then allow me to use them in my own writer’s toolbox. This bidirectionality lets me switch perspective far more easily when it comes to my own work. When I think about “How would I translate this piece”, I tend to see my own characteristics, strengths, and weaknesses. On the other hand, the mastery of words and consideration that’s developed over time from my author’s mindset also helps in the translation process. In the end, both avenues are about exploration of both oneself, and the frontiers of creativity.

Liu Cixin’s Three Body Problem, translated by Ken Liu.

Q5｜There is a debate in the field of translation between those who feel the text must be preserved in the most faithful manner, whilst others see the translation as its own stand alone creation. Which of those best represents your viewpoint?

Emily Xueni Jin: On the D&D alignment chart, my translation are firmly in the “Chaotic Good” camp, meaning I’m faithful to the original text, but abstract in my approach. My definition of faithfulness does not stop at the level of each word, rather I use my own cultural understanding, and creative imagination to absorb the story as a whole, and release it in another language. As long as it’s true to the story that the author wants to tell, the emotions it induces, and the concepts it conveys are all intact. Then I think that it is reasonable to use any tool of translation to secure that. That’s why I feel it’s important to have a rapport with the author and develop a level of trust. Any translator, passed a certain threshold of lingual skill can produce a competent translation, but unless there is a real connection with the the author (If they are still with us), where the translation can be nurtured in this new language like a child, can the translation truly shine. Of course, it’s common that a translator may have a limited understanding of the original author’s text, and the power in that writing; and there are rare occasions when the translation is heralded as “better than the original”, and becomes very popular. This could be the product of the translator putting themselves above the work, displaying their skills and whilst it may be a good story, it may not be a good translation.

With each language and culture being based thousands of miles apart, and no correspondence being perfect, translating a piece word by word may not work well. For example, if you translate a Chinese word into English, strictly looking for some kind of English equivalent, that translation will probably only be about 60% accurate, but if you are flexible, and you add, subtract, reduce, and transpose your way around the original work, that accuracy is more likely to reach above 90%. With “2181 Overture”, Gu Shi asked for me by name, whilst I was trying my best to secure the role of translator. It was a two-way street. I was touched by her absolute trust and recognition. It felt like I’d met my soulmate.

“Introduction To 2181 Overture, Second Edition”, published in Clarkesworld, Issue 197, February 2023, translated by Emily Xueni Jin.

Q6｜You’re currently studying for your doctorate in the US, and have access to the cutting edge of developments in Science Fiction. What state do you feel American sci-fi is in today?

Emily Xueni Jin: The Anglophone world has always had softer divisions between sci-fi and other Fantasy genres, as can be seen in the Hugo Award nominations through the years. On one hand, some fans think this has negatively affected the genre’s development, and we’re departing from “Golden Age” sci-fi, with its grand worldbuilding, and high tech settings, whilst others think it’s broadened the possibilities of fantasy, because, honestly, our relationship with technology is developing with the times, and with its ever-presence in our daily life, perhaps the focus should be on making life better, rather than creating a sense of wonder. In this way, both magic and technology become metaphors for human civilisation, and the future we want for it.

In contrast to the extremes of exploration it’s known for, the main focus of American Sci-fi seems to have shifted to introspection. More examination of the self, cultural identity, and private feelings, questioning and challenging the ingrained sci-fi aesthetic laid down by White male writers over the past 100 years. Despite many of the biggest hits being criticised for “Pandering to the Woke agenda”, I believe that, when viewed over a longer timescale, these explorations and attempts are similar to those made at every transitional period of a megatrend. Any form of representation and inclusion of diversity can only be a good thing, making Science Fiction more dynamic. Similar to American sci-fi, I feel maybe we have also reached the crossroads with Chinese sci-fi, where we are questioning the definition of sci-fi, and remoulding our “selves” in science fiction, not only do we need to consider China’s own Science Fiction tradition and goals, refer to the world, faithfulness to the self and an open mentality are both key parts of this process.

Q7｜Please say a few words to the Sci-fi fans who are currently considering the Hugo Awards

Emily Xueni Jin: It is my great honour, and pleasure to put this beloved work before so many more readers, as a translator. I have to say, that the criteria for judging the excellence of Science Fiction is still being shaped predominantly by the Anglophone world, and European, and American pop culture, but in recent years, there have been numerous novels and stories from East Asia and Africa, as well as work by Northern Europeans, Native Americans, and so on, which have, between them, been broadening the definition of sci-fi, along with our own endeavours. Although it seems we still need to translate everything into English before they can reach the “World” stage, I hope that in time, we will see the furthermore decentralisation of Science Fiction.

The Hugo Awards are really an honour and recognition, but most importantly, its essential roles are entertaining and connecting. If more readers read this novelette and are moved by it, because of the nomination, then all the better. My motto is “since you’re already here”, happy reading!

Interview with Baoshu, 2024 Hugo Finalist

Posted on July 15, 2024 by Mike Glyer

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 fourth in the series is a question and answer session with Baoshu, whose “Tasting the Future Delicacy Three Times” is a 2024 finalist for the Best Short Story Hugo Award.

SUPPORTING CHINESE WRITERS SERIES: 2024 HUGO AWARD FINALIST INTERVIEW WITH BAOSHU

Translated by Xueting C. Ni

Baoshu宝树 is a science fiction writer, translator, a member of the China Writer’s Association Science Fiction Committee, and a scholar of the Peking University Bergruen Research Centre. Immersed in stories related to time, he believes that every story has a real existence in one of the infinite dimensions of time and space. His famous works include the long form works Universe of Sight and Thought, Seven States of the Galaxy and many anthologies. He has published almost 1 million words of short and mid-length stories, has won multiple awards in the main categories of the Chinese Galaxy and Nebula, and his works have been translated into English, Japanese, Italian, German and other languages. He has edited the anthology History in Chinese Science Fiction, translated The Cold Equations and Star Maker. His “Tasting the Future Delicacy Three Times”, published in Galaxy’s Edge 013: Secret Room in the Dark Domain, has been nominated as a finalist for Hugo Award for Best Short Story.

Q1. Mr Baoshu, congratulations on the nomination of “Tasting the Future Delicacy Three Times” as a finalist for the Best Short Story Hugo Award. We’re delighted for you! This is affirmation and appreciation indeed for your many years of hard work in the creation of science fiction, and a point of pride for Chinese science fiction. I’d like to take this opportunity to ask you some questions, on behalf of all your fans, and thank you in advance for answering them.

Whilst you have won multiple times at the Galaxy, Nebula and Lenghu awards, this is the first time you’ve been nominated as a Hugo finalist. Could you talk a little about your award-winning history? I heard that the first award you have ever won in your literary career was the New Concept Essay Contest…

Baoshu: I took part in the first New Concept Essay Contest in 1999, but at the time it wasn’t literature that motivated me. Apparently, the winner gained extra points for the gaokao (National Exam), and would be guaranteed university entrance, but I only came second, so it wasn’t ideal, and didn’t really help with my grades in the end. But, the piece that won was published in some periodicals, got some attention in my high school, but for me it wasn’t a great thing, as the exams were imminent, it just felt like extra pressure…later though, a lot of big names came out of “New Concept”, so my small achievement was nothing to speak of.

Many years later, after I had formally settled into writing science fiction, I won several awards in the sci-fi category in succession. Of course, I was very pleased to win them, but many other science fiction writers have also won them, so it wasn’t anything special. When The Ruins of Time won the Nebula Gold in 2014, it was probably the occasion that first left a deeper impression on me, because it was the first time I’d won a heavy-weight award for science fiction. Another time was when Everybody Loves Charles won Best Novelette at the Galaxy in 2015, I remember Mr Yao Haijun saying the work was going to transcend its time. For me, it was an immense encouragement; the recent Science Fiction Planet Award for Our Martians also made me very happy, because the monetary reward was quite high.

This year, I wasn’t expecting to be nominated. I should say that a lot of factors combined to contribute to this, including the increased development of Chinese science fiction as a whole, the enthusiasm and surge in Chinese participation in the voting. It’s something that I’ve recognised quite clearly. Moreover, I just treat it as something to spur me on, to produce even better works.

Baoshu, The Ruins of Time, Eight Light Minutes Culture and People’s Literature Publishing House.

Q2. As one of the representatives of the sci-fi renaissance, you have devoted yourself to the creation of science fiction for over a decade, apparently you began writing sci-fi when you were studying your PhD in Belgium? Can you tell us how you came to dedicate yourself to sci-fi writing?

Baoshu: I’ve been a science fiction fan for many years, and tried to write a few things during university, though they didn’t take off. Perhaps it was thanks to the increased hours of leisure time during my studies abroad, that I began writing novels. Of course, at first, I was publishing them on internet forums, so I wrote whatever I felt like, including pieces contained sardonicism or caustic humour. For instance, in one of the early ones, which I later named The Cruel Equation, imagined an astronaut dismembering a girl who stowed away on his shuttle, to reduce her weight, and prevent her from dying in space…of course, I could hardly publish something like that in print. I gained some readers on the forums, and their enthusiasm encouraged me to keep writing. Some of the exchanges I had with Big Liu (Cixin) on the forums around this time, gave me a lot of encouragement.

In the summer of 2010, I wrote The Great Age, a piece of about 40,000 characters, as an independent story. Even though it was rejected by Science Fiction World, the experience of writing it gave me an inner confidence, I felt capable of completing complex stories. From this point onwards, my urge to write grew greater and greater. Not long after that, Three Body 3: Death’s End came out. I read it in one sitting, and I wanted more, so, wrote a fan fic novel called Three Body X: Redemption of Time, which somehow got the extremely fortunate opportunity to be published. From that point, more and more opportunities to publish my work came up, so this is how I “strayed” into the path of sci-fi writing.

Q3. “Tasting the Future Delicacy Three Times” is a new work you published in Galaxy’s Edge in Chinese, could you please introduce the piece, and talk a little about the inspiration behind it and your creative processes?

Baoshu: The inspiration for this story was quite plain and simple. We all love good food, especially the expensive luxuries, the rare delicacies we can’t afford. It was this universal desire that fired the imagination. No more than what the average person imagines… what would they eat, what kind of dining experiences would they have, if they ever became super rich. Science fiction provides us with another dimension to imagine: would it be possible to attain this experience from the brainwaves of someone else who was eating that gourmet dish?

The concept isn’t new, and my own previous work Everybody Loves Charles has a similar construct. But “Three Tastings” sets a limit on the other senses and concentrates the focus on taste. If only the sensation of taste is felt, with complete oblivion to everything else, what can this experience show us? Can this kind of technology find commercial use? How would it impact on society and human nature? This gives rise to infinite plotlines.

Q4. The structure of “Tasting the Future Delicacy Three Times” is quite interesting, three small stories “combined” into a complete one, a marvelous set-up that strengthens the storytelling and enriches the reading experience, how did you come to employ this structure?

Baoshu: Actually, at first, it was just a short story of about 3000 characters called “Banquet”, exploring the question “what is the pinnacle of gourmet experiences?” The managing editor liked it so much that they not only decided to publish it but commended it highly and made me feel that there was a lot more potential to be excavated from the concept. I also thought of many possible ways of interpreting it, so I wrote two more stories, each based on the previous story, taking it to the next level, so this is how we ended up with “Three Tastings”. Three small, interconnected stories making up a bigger one, which contemplates the relationship between delicious food and human nature.

Q5. “Tasting the Future Delicacy Three Times” appears to be just an engaging, humorous sci-fi story about sensations and future delicacies, but actually it’s about the future fate of humanity, it has great scope, and is very classic Core Science Fiction. Many of your works are like this, seemingly fun and light, but in fact, concern themselves with the whole fate of humanity. How did you come to form this kind of sci-fi aesthetics?

Baoshu: I think this work is mostly sci-fi, with characteristics that are very common to Core SF. Science fiction is a form that seeks to astonish and amaze, it does not stop at the level of superficial sensationalism, but, as a means of exploration and inference, it goes deeper and reaches across the whole of human society. In other words, it opens up ways of imagining, the potentials within an idea itself, like conducting a thought experiment on the entire world, a deep-level experience.

Specifically looking at “Three Tastings”, perhaps its uniqueness lies in its exploration of appetite, a facet so deeply imbedded within human nature, and intimately connected to the fate of humanity. On one hand, the development of civilisation can be seen in the evolution of gourmet dining, people wrack their brains in order to provide the physicality of their taste buds with the most exquisite experience; but on the other hand, it’s precisely because they can satisfy their appetites that humanity was able to break free of this basic instinct, to develop art, literature, philosophy…anyone who has owned a pet will know this, the craving and single-mindedness towards food in animals far exceeds that in humans. Therefore, if technology could be used to massively increase the satisfaction of the mouth and stomach, what influence will this bring to human society and human nature? This is an extremely interesting question, not detached from reality. For instance, advanced societies provide far more affordable and delicious junk food than traditional societies, which causes a lot of people to put on weight, making dieting into an industry. You could have told this to people a hundred years ago, as science fiction. Science fiction allows us to think about these questions in the most extreme of possibilities.

Q6. What’s the biggest influence on your science fiction writing? When you’re struggling to find inspiration, what do you use to “recharge”?

Baoshu: Quite a few writers have had deep influences on me, needless to say, writers such as Liu Cixin and Wang Jinkang; there’s also Zheng Wenguang. I read most of his works when I was little and, even looking at them now, while some plotlines might seem a little simplistic or formulaic, the zeitgeist and sci-fi spirit that they convey, still captivate me immensely. Quite a few of my most recent pieces explore the legacy of Zheng’s era. I also like British authors such as Olaf Stapledon and Stephen Baxter, with their vigorous and grand imaginations, they are also my mentors.

As for “recharging”, it’s difficult to say, because nothing can really guarantee that inspiration will flow. I think this is a problem that has bothered a lot of writers, it depends on the situation. Of course, the accumulative effect of reading can help. When I’m stuck with writing, watching a film, or seeing an exhibition, going travelling, having a chat with friends, having a hot bath, all of these could bring unexpected inspiration, but maybe none of them will. But no matter what, that bowstring of creativity is always taut, and never let slack. Anything and everything could become the inspiration to create.

Q7. With a PhD in Philosophy, you are the quintessential intellectual, but your sci-fi works are well loved by ordinary readers, clearly your aesthetic and reading tastes are at one with the masses, could you explain this?

Baoshu: Essentially, science fiction is an intersectional space in which all kinds of fields such as literature, science and technology, sociology, philosophy interact with each other, so the criteria to measure it must necessarily be a diverse one that accounts for appropriateness within all of them. A lot of people tend to take the “older is better” point of view, that literary fiction is superior to science fiction, or avant-garde is better than popular, or hard science fiction is superior to soft and so forth. But all these ideas are probably unfounded, or follow some unsupported theories, or in the end turn into some kind of struggle for the freedom of speech, or points of contention between opposing groups. Regarding the reading of science fiction, I suggest we maintain an open attitude, and try to accept the possibilities of all kinds of alternative science fiction. From another perspective, the main role of philosophy, according to Socrates, is to “know yourself”, a creator should understand their nature and innate talent, and write from their heart. Don’t compromise yourself by following fads, fashionable concepts or seeking validation by conforming to trends.

I have always seen myself as a down-to-earth storyteller, because of my personal academic background, I infuse my work with some philosophical thinking, but there’s no conflict between philosophical concepts and popularity, when I’m writing, they naturally flow together. There’s no need to think that philosophical science fiction is something esoteric and full of intimidatingly unintelligible terms. For instance, Our World of Science Fiction explores the relationship between the past and present, and employs Heidegger’s “Re-enactment” Theory, but there’s no need to mention these theories by name. When you have internalised the core of this philosophy, it integrates naturally with the story, and they become intricately connected.

SF World has been translated and introduced to Japan, where it gained great popularity with readers.

Q8. A lot of your science fiction can be categorised as humorous sci-fi, and almost all of them have some kind of amusing and comedic vibe that makes the reader smile, this makes them feel more light-hearted than a lot of other works in the genre, even if they are depicting a great crisis of humanity, they don’t feel heavy or oppressive. Is this because you yourself have an optimistic, and carefree character and a sense of humour? What do you think of the relationship between humour and science fiction?

Baoshu: you’re very observant. When my writing goes into a state of natural, unrestrained flow, it does indeed contain some light-hearted humour. This perhaps bears some relation to my own personality; I probably feel most comfortable expressing my inner self while in this state. Although I’m not stand-up material, I like to make people laugh and smile. This might not always be appropriate, for example, making a joke when things should be escalated, or during moments of aestheticism or lyricism would ruin the atmosphere, but on the whole, for the reader, when I’m at east, I can create better works.

As for the relationship between humour and sci-fi, this is a difficult theoretical question. For instance, what is the essence of humour? A lot of scholars have considered this, and there’s a lot of debate about it. Personally, I feel that that science fiction writers gravitate towards the grand, or the forefront of things, in any case, the serious aspects, whilst humour can construct a kind of offset to balance this out, and in doing so, enrich the story. However, whether it can always be employed, and how one uses it, are very personal questions.

Q9. Your novels are also very popular, for example, The Ruins of Time, Seven States of the Galaxy have both won great public acclaim, could you talk a little about the long form works you’re currently writing?

Baoshu: I’m writing a book temporarily titled Our Era of Science Fiction, it’s a novel made up of several novellas, Our World of Science Fiction, Our Dinosaur Island, and Our Martians, which have already been published, and another two or three that have been plotted out, and I’m currently writing. When complete, it will be unique. I can’t say how good it will be, but it will be unique. No one has written science fiction in this way before. Moreover, Seven States of the Galaxy II is also in the works, temporarily titled The Legend of Beiming. I hope to finish it by the end of the year.

Seven States of the Galaxy Saga, Eight Light Minutes Culture and People’s Literature Publishing House.

Q10. What’s a typical day for you? As a full-time writer, do you have any particular hobbies, apart from writing?

Baoshu: Usually, I write for a couple of hours in the morning, pick up my kid in the middle of the day, and read a little in the afternoon. The evening is mainly taken up with helping my kid’s studies, and if there’s time to spare, some more reading, or a trip to the cinema, followed by another two or three hours of writing in the night.

I like reading, and my tastes cover works from all kinds of areas. For a writer, this is essential nourishment, so it can’t really be called a hobby, but I’ve collected a lot of science fiction and fantasy works, about 20,000 volumes in total, so maybe be this can be counted as an obsession.

Q11. Please say a few words to the Sci-fi fans who are currently considering the Hugo Awards

Baoshu: I don’t think we need to be overly concerned about the Hugos. The fact that Three Body won it was an exceptional coincidence, even without the award, it’s still a masterpiece; yet a lot of works that have won the Hugos may not withstand the test of time. This has always been my view, but since I’ve been nominated, you can’t say it’s the sour grapes mentality.

Once up a time, the significance of the Hugo Awards was to encourage us to seek out great works, but we already have quite a good idea of the Western science fiction landscape, every year a huge amount of excellent foreign works are translated, for example Greg Egan, Alistair Reynolds, Neil Stephenson, Ian M. Banks, Peter F. Hamilton, John Varley…all these leading contemporary authors are being systematically imported, and are already providing outstanding models for science fiction. Sci-fi fans of our generation could hardly imagine such good fortune when we were children.

Interview With He Xi, 2024 Hugo Finalist

Posted on July 14, 2024 by Mike Glyer

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 third in the series is a question and answer session with He Xi, whose “Life Does Not Allow Us to Meet” is a finalist for the 2024 Hugo Award for Best Novella. He Xi was also a co-chair of the Chengdu Worldcon.

SUPPORTING CHINESE WRITERS SERIES: 2024 HUGO AWARD NOMINATION INTERVIEW WITH HE XI

Translated by Joseph Brant.

He Xi 何夕, real name He Hongwei, was born in December 1971, and has been a science fiction fan since childhood. He began writing Sci-fi as a hobbyist in 1991, with stories focus on exploring the future of macro-sciences and human nature. He is now a member of the Chinese Writers’ Association and the Sichuan Writers’ Association. His works include The Other Realm, Six Paths of Being, and The Heartbreaker. Life Does Not Allow Us to Meet is shortlisted for the 2024 Hugo Award for Best Novella.

Q1｜On The Afternoon (UK time) of the 29th of March , the 2024 Hugo shortlists were announced, including the works of five Chinese authors (as well as their relevant translators). Life Does Not Allow Us to Meet was shortlisted for Best Novella, alongside Wang Jinkang’s “Seeds Of Mercury”. This was a fantastic surprise for your readers, and we would like to congratulate you on the Nomination. How do you feel about being Shortlisted?

He Xi: I learned the news by email from the Hugo Award Committee, and felt both happy, and calm. The exchange between Chinese science fiction and the rest of the world is growing closer and closer, and in the future, we’ll see more Chinese Sci-fi in the Hugo Awards.

Q2｜This is an unprecedented moment in the history of the Hugo Awards, where outstanding works from three of the “Four Heavenly Kings of Chinese Sci-fi” have been simultaneously nominated, the fourth, Liu Cixin, having already won a Hugo. Could you explain this phrase ”The Four Heavenly Kings”?

He Xi: China’s sci-fi scene has had a long periodical era, and this phrase may have been in use for almost 20 years. There were certainly other names for the top writers, but this phrase has certainly been the most common. Where it originally came from is hard to say, but it should certainly be taken as high praise from the fans to the authors who were particularly prolific at the time. Personally, I feel it puts the pressure on me to keep writing something worthy of readers’ expectations.

Q3｜The original Chinese version of Life Does Not Allow Us to Meet was published 14 years ago, in 2010. What made this nomination possible? And how do you feel about that?

He Xi: Life Does Not Allow Us to Meet was nominated for its appearance in the book Adventures in Space: New Short Stories by Chinese & English Science Fiction Writers (Published by People’s Literature Publishing House), which collected works in translation by Chinese authors, alongside overseas writers. When the story was first published back in 2010, it won China’s Galaxy Award, as well as a Chinese Nebula Award. Science fiction has an ability to transcend cultural barriers, and resonate with everyone. There are very few good sci-fi translators out there, but I hope that situation will improve in the future.

Adventures in Space: New Short Stories by Chinese & English Science Fiction Writers) Featuring HeXi’s Life Does Not Allow Us To Meet

Q4｜Like much of your work, Life Does Not Allow Us to Meet is popular amongst the domestic audience, and the fact it has been selected for an overseas translation project shows its charm, and classicism, however, Overseas fans may not be familiar with the piece. Could you introduce your story, and tell us some of its inspiration?

He Xi: Life Does Not Allow Us to Meet was written in 2010, and explored the idea that Humans would have to leave the planet, in order to sustain life, but that sort of interstellar migration would inevitably lead to the alienation of humanity. In 2016, Elon Musk famously said “Humans need to be a multiplanet species”, making a similar point from a realistic perspective. The Galapagos Islands, which are only a few tens of kilometres apart, gave Darwin a glimpse of the development, and disconnection of different species in the same region. What would the distance of light years, and the vastly different geographies make of the interstellar migrant humans? Chauvinism, which originally referred to exaggerated patriotism and nationalism, is already part of the space age, and there’s no reason to believe that this notion of “Self-Supremacy” won’t extend to wider areas, and that Human-centricism won’t deepen, in the endless unknown environments of space, which are always accompanied by fear. Earth’s history is full of empires which have strived on aggression and power, that have largely failed, but it is also full of fallen leaders, who remained simple and honest. The call to the stars is irresistible, but on this path, mankind may thrive by its “tyranny”, or perish due to its “kindness”. It’s like facing a multiple choice question without any context. Human intelligence means we’ve begun to understand the structures of universe, but the ‘meaning’ is still closed to us. Perhaps the secrets will be revealed only once we’ve made our decisive choices, but who knows if, by then, there will still be a recogniseable ‘mankind’.

Q5｜Besides being called one of the “Four Heavenly Kings”, you were also once called “The Lyrical Prince” of Chinese Sci-fi, and in Chinese Science Fiction: An Oral History, Dong Renwei calls you “The premier of Romantic Sci-fi”. In short, your work usually has such delicate, and emotive descriptions, as in The Heartbreaker, Love Of Farewells and Pangu, all of which have moved many Chinese Sci-fi fans. Of course, you’ve also stated that the title “The premier of Romantic Sci-fi” is another burden for you to bear, so, what do you consider to be the role of emotion in science fiction, and in the debate between “soft” and “hard” Sci-fi? Is your work “Soft Sci-fi”?

He Xi: Emotions, such as love, friendship, and loss have always been important themes in literature, and science fiction, as part of literature, is certainly no exception. Since depictions of emotions can enhance the captivating nature of sci-fi, and sometimes deepen the thematic content. You mentioned The Heartbreaker for example, which readers say touched them with the depiction of motherly love. In reality, resources are always biased towards the strong, whilst mothers tend to have more compassion towards their weaker children. If scientific research could be compared to children, I hope society can learn from the mother. Here, emotion is no longer a garnish, but an intrinsic part of the story’s theme. I have never felt that the actual difference between “soft” and “hard” sci-fi is great enough to form them into two distinct camps, and that the majority of “Hard Sci-fi” has a much simpler intellectual content than most popular science books. I’m also of the opinion that many works, who’s technology is already very close to our reality, shouldn’t even be classed as sci-fi, like the film Gravity, which would be more accurately be described as a disaster, or survival movie.

Q6｜The plot of Life Does Not Allow Us to Meet contains a number of themes, such as catastrophes on earth, extra-terrestrial exploration, bioethics, and love. May I ask, how do you organically integrate all these, the emotional plots, Sci-fi elements, and deep reflections of technology and ethics, during the creative process?

He Xi: Storytelling, including the oral tradition, has a history of around tens of thousands of years. Science Fiction is a little over 200 years old, but still, in its brief lifespan, it has expanded the boundaries of literature greatly, with most of the areas explored by science fiction never having been touched by traditional literature. I was once asked whether I thought that future technology would change human nature. I answered yes, because so much of our current core humanity, such as loyalty to spouses, love of children, friendship and suspicion between collaborators, are all the result of the technological advances we have made since the age of hunting and gathering. Emotions, technology, and ethics are always intertwined in sci-fi, not because that’s what makes a good story, but because that’s the true nature of humanity in the current technological age.

Q7｜ Life Does Not Allow Us to Meet has been agented by Eight Light Minutes Culture and the film rights were snapped up a few years ago. I also know there were plans to produce a stage play. How are those going? We also hear Shanghai Film Group is interested in developing a series based on your work, and have opened up the licensing of several of your stories in the call for entries for the Global AI short film competition. What are your expectations for film and TV adaptations of your work? Are there any particular stories you want to see brought to the big screen? And what do you think of this current wave of AI creation?

He Xi: As the creator, of course I want my stories to become Film and TV series. Those are, after all, the media with the largest audience, but once you’ve signed over the copyright, the writer themselves don’t really have much say in the adaptation. Personally I’d like to see The Other Side, The Six Paths of Being, Pangu, The Heartbreaker, Life Does Not Allow and Years Of Heaven all make their way onto a screen sooner, rather than later. On the subject of AI, I’m an AI optimist, and personally, I think the threat of AI, or aliens, “actively” seeking to harm the human race is a very primitive fear. AI does not exist in the same ecological niche as humans. To robotic logic, the arid deserts of the Sahara are a better home than any human city, and the moon, or Mars, would be more hospitable than Earth. Food and water, which humans need, are just clutter and hazard to a robot, so from the point of view of competing for survival, robots are unlikely to ‘actively’ hunt us down. There’s also a popular idea about “unintentional harm”, that aliens or robots, with no active attempt to do so, may inadvertently wipe us out in achieving one of their goals. This scenario is practically identical to a natural disaster, such as a star going supernova, and the only way to combat natural disasters, is to enhance the capacity of humanity as a whole, which only AI can help with. There will be a general blurring of AI and humans at some point. Soon, Alzheimer’s patients will be restored to full health by implanted smart devices, and then, we’ll see healthy people implanting devices to improve their intelligence, so it’s almost inevitable. In the way that the Han dynasty chose to merge with the Xiongnu for a lasting peace, the merging of man and machine is also a foregone conclusion. In the future, there’ll be no pure human, or pure machine, the two factions will have long since become one, so why would robots be a threat to humanity?

Project Cold Plum (2021) based on He Xi’s The Heartbreaker

Q8｜The title of Life Does Not Allow Us to Meet is a reference to a poem by Du Fu, For My Old Friend, Weiba which is also the origin of your pen name. It opens with “Life Does Not Allow Us to Meet, Acting the stars of Shen and Shang. So what an evening this evening is, That together we share the light of one lamp?” What influence has classical Chinese literature had on your science fiction career?

He Xi: “What an evening this evening is” comes from the Classic of Poetry which precedes this. I feel lucky to have been born in China, because classical Chinese literature is a cornucopia of creativity. China’s long history, and rich culture contain so much nourishment I can use for my sci-fi.

Q9｜Set aside the lyrical nature of your work, many of them can be considered ‘High Tech Mysteries’, like A Visitor After a Billion Years, and The Darwin Trap, which are similar to the popular fiction of Ni Kuang. What do you think of your writing style?

He Xi: I don’t really think I have a fixed style. As science fiction continues to develop, diversity is an evident trend. Some of my work is in the popular genre of suspense, whilst others are far more works of realism, like The Heartbreaker and my novel Years Of Heaven. The style serves the subject.

Q10｜Science fiction in China has had a very turbulent history, and even Liu Cixin has pessimistically remarked “When science fiction is dying, nobody visits its sickbed” and that “Sci-fi is sailing on a sinking ship”. You yourself have abandoned the genre several times due to changes in your circumstances. How do you judge the current state of sci-fi in China?

He Xi: Actually, Liu Cixin himself said later that the flourishing of Chinese science fiction had altered his view, but in general, sci-fi is not yet fully thriving in China, and only a small number of works and authors gain the public’s attention. Currently the mainstream of Chinese science fiction is mostly concerned with reality, whilst Western Sci-fi explores the ultimate issues, which probably has something to do with the different levels of socio-economic development.

Q11｜What cutting edge technologies interest you at the moment? And what sort of Sci-fi stories do you feel we really need right now?

He Xi: I’m most interested in the areas of science and technology that can bring tangible benefits to a country with a large population, like China. Energy. Food. Important breakthroughs in Medicine, like anti-aging and artificial wombs. As for which kind of sci-fi story is needed right now? I’d say as many different kinds as possible. Sci-fi is supposed to be the freest domain of the imagination, so should be unrestrained.

Q12｜You’ve been living and working in Zigong, Sichuan all along. What sort of place is it? It’s much smaller than Beijing and Shanghai and lacks that cultural atmosphere. What are the advantages and disadvantages for you as a writer, especially 20-30 years ago, when the internet wasn’t so developed?

He Xi: It’s just an ordinary old industrial city, though it’s now known for its dinosaur fossils, and growing Sichuan cuisine industry, but before the internet… Living in a small inland city did affect my creativity. I actually got the internet in the late 90’s, due to the work I used to do, and sci-fi writing in particular requires an understanding of lot of very disparate subjects.

Q13｜What about the way you write now? Do you find that the ways you work and focus different from before?

He Xi: The way I write now is just fine. My biggest problem is time, and the main thing I need to focus on is breaking through to write something new.

Q14｜Science fiction fans are very interested in the Years Of Heaven trilogy of novels you’ve been working on. How is that going? And what do you feel is the biggest difficulty in shifting from short works to novels?

He Xi: Years Of Heaven 2 is almost finished. The sci-fi long form is a difficult genre to work in because it requires a lot of intricate and original science-fictional concepts and ideas, which is completely different conceptually from traditional literature.

Q15｜In Chinese Science Fiction: An Oral History, you mention that print publishing is of the greatest symbolic significance to Chinese science fiction. In the new 2024 China Science Fiction Industry Report, the industry is valued at over 100 billion RMB, but within that, only 3% is from print publication, with the majority coming from games, theme parks, merchandise and movies. What do you think about that phenomenon? Do you play games yourself?

He Xi: the phenomenon has to be accepted. It’s not just a malady of the sci-fi world, since the invention of film and TV, the numbers of people who read for pleasure has decreased. I do play computer games, sometimes, but I feel games are getting bigger and bigger, often needing hundreds of gigabytes of storage to run. The graphics keep getting better and better, but there seem to be fewer excellent titles.

Q16｜Which of your works are your favourite?

He Xi: That’s more appropriate for my readers to answer.

Because Of Love, I Persevered, by He Xi, published in Chinese Science Fiction: An Oral History, vol. 2 by Eight Light Minutes, Chengdu Times Press

Q17｜As Co-chair of the last Worldcon, held in Chengdu, what do you think about the values of promoting Worldcon and the Hugo Awards in China?

He Xi: Worldcon, held in China in 2023 was a great success, and countless Chinese people outside the Sci-fi circle learned about it, and enjoyed the culture of Science Fiction through The Hugo Awards, A world class Sci-fi award, the resulting positive influence of which, will be felt for years to come. We often say that science and technology are the first productive forces, but these are not themselves natural products. It is the creativity of human thought that brings science and technology into existence, which means that creativity and imagination are the true original productive forces. Promoting Sci-fi culture in China helps improve scientific literacy throughout its population, and helps build an innovative country.

Q18｜Would you like to say anything to the readers and Sci-fi fans around the world about your nomination for the Hugo Awards?

He Xi: I wrote a message last year, as the Co-chair of Chengdu Worldcon, and I’d like to quote a paragraph here, as my reply.

“Science Fiction knows no bounds. Science Fiction embraces all. Science Fiction is beloved by all mankind. Nowadays, Giant telescopes, built by human beings, can observe the starry sky 10 billion light years away, but the more we learn about this vast universe, the more we can appreciate the immense preciousness of the earth. For ten thousand years, mankind has wreaked havoc on the face of this planet, with the unprecedented power of technology. Now we face a critical crossroads, and the choices we make now, will affect us for our entire future. Science Fiction has given us the chance to explore history and extrapolate the future through thousands of profound thought experiments, to break through our darkness and embrace the light. To become the best versions of ourselves, and help our planet last a little longer.”

Interview with Wang Jinkang, 2024 Hugo Finalist

Posted on July 12, 2024 by Mike Glyer

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.

Q1｜Mr. 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.

Chinese Science Fiction: An Oral History in three volumes by Eight Light Minutes Culture, Chengdu Times Publishing House.

■ Religion and Science are enemies who love each other.

Q2｜Mr. 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.

The Songs of Space Engineers including Wang Jinkang’s Seeds Of Mercury and Challenge Of Medusa by Eight Light Minutes Culture, New Star Press.

Q3｜Seeds 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.

Q4｜Seeds 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”

Q5｜Mr. 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.

The Return of Adam, published in Science Fiction World, No. 5, 1993

Q6｜Before 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.

Q7｜What 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.

Q9｜Do 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.

Q10｜In 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.

Q11｜Throughout 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).

Ant’s Life, Fujian People’s Publishing House

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

Q12｜Mr. 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.

The English Edition of Seeds of Mercury, Translated by Alex Woodend, in Adventures in Space: New Short stories by Chinese & English Science Fiction Writers (2023)

Q13｜What 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.

Jerry Goldsmith: A “First Knight” Celebration

Posted on June 26, 2024 by Mike Glyer

By Steve Vertlieb: Jerry Goldsmith’s work for the motion picture screen encompasses some of the most excitingly original music written for the movies over the second half of the 20th Century.

Born February 10, 1929 in Pasadena, California, Jerrald Goldsmith determined early on that the course of his life would be musically themed, but his earliest aspirations were swiftly sidetracked when he realized that his dreams of composing music for the concert hall would yield infrequent fruit. Artistically precocious, he would study piano at age six and begin his studies in composition, theory, and counterpoint at age fourteen under the tutelage of both Mario Casteinuovo-Tedesco and Jacob Gimpel.

It was Miklos Rozsa’s Oscar winning score for Alfred Hitchcock’s 1945 suspense classic Spellbound that first inspired the gifted teenager to write music for the visual arts and, in later years, he studied under Rozsa at the University of Southern California. Goldsmith found employment in the music department at CBS as a clerk typist in 1950, but was soon writing original music for radio programs like Romance, and the prestigious CBS Radio Workshop.

Remaining with the network for most of the decade, Goldsmith would compose thematic material for both the critically acclaimed Playhouse 90 TV series, as well as music for the weekly program Climax.

In 1957 he scored his first full length motion picture, the Western film Black Patch, and in 1960 began writing original music, along with Bernard Herrmann (from1959), for Rod Serling’s iconic science fiction/fantasy TV series, The Twilight Zone.

In 1960, Goldsmith was hired by Revue Studios to score their new weird fiction anthology series Thriller, which was hosted each week by the distinguished actor, Boris Karloff. Goldsmith, together with Morton Stevens, would write much of the significant body of work composed for the legendary horror program. Goldsmith continued to write for television, most notably for NBC’s popular Dr. Kildare program, as well as the James Bond-inspired, network secret agent series, The Man From U.N.C.L.E.

In 1962, Oscar winning composer Alfred Newman persuaded Universal to hire Goldsmith to write the music for their modern Western drama, Lonely Are The Brave, starring Kirk Douglas. He went on to score an astonishing variety of films including The List of Adrian Messinger (1963), Fate Is The Hunter (1964), In Harm’s Way (1965), the ethereal score for The Blue Max (1966), The Sand Pebbles (1966), Planet of the Apes (1968), the lonely, brooding themes for The Detective (1968), Patton (1970), The Wild Rovers (1971), Papillon (1973), the magnificent score for The Wind and The Lion (1975 – perhaps his greatest work), Logan’s Run (1976), The Omen (1976), the haunting score for Islands in the Stream ( 1977), Capricorn One (1978), Alien (1979), his spectacular signature score for Star Trek: The Motion Picture (1979), the exquisite, yet chilling rhapsodies for Poltergeist (1982), Twilight Zone: The Movie (1983), the delightful Gremlins (1984), Hoosiers (1986), Total Recall (1990), the tragically discarded music for Legend (1985 – ironically, the poetic musical legacy of this troubled film), the lovely, lyrical themes for Medicine Man (1992), the majestic and heroic score for First Knight (1995), and The Mummy (1999).

During his career, Jerry Goldsmith would compose the music for two hundred fifty-two motion pictures, win seventeen nominations from The Academy Of Motion Picture Arts and Sciences for his efforts, and win a single Oscar for his music for The Omen in 1976.

His final film score was for the insanely inspired comedic tribute to the Warner Bros. cartoons, Looney Tunes: Back In Action (2003) for his old friend, director Joe Dante. He passed away far too prematurely from the rigors of cancer on July 24, 2004. He was seventy-five years young. Within mere weeks of his passing, two more of cinema’s great dramatic composers would also, remarkably, come to the end of their own mortal journeys…first David Raksin, and then Elmer Bernstein. It would become the most tragic month in the history of motion picture music…the “day” the music died.

Yet, the music lives on in recorded recollection. Two of Goldsmith’s works have been accorded exhaustive, archival tribute in stunning new two disc releases of his original soundtrack scores, while a third major label is releasing a brand new concert recording of the composer’s science fiction scores, both on DVD, and packaged together with an accompanying CD.

FIRST KNIGHT

La-La Land Records has released a stunning complete recording of Goldsmith’s breathtaking score for Jerry Zucker’s monument to heroism and mythic chivalry, First Knight. Zucker felt that Jerry Goldsmith was the perfect choice to score his 1995 release. Goldsmith had become known as a master of romantic, swashbuckling adventure, writing wall to wall symphonic panoramas for grand and glorious spectacle, much as had Erich Wolfgang Korngold at Warner Bros. in the nineteen thirties for the joyously valiant films of Errol Flynn. The thrilling nobility of Goldsmith’s heroic themes accompanying Sean Connery in The Wind and the Lion are among the most emotionally stirring and viscerally exultant scoring in film history. Visionary writer and poet Ray Bradbury felt so exhilarated by that music that he was inspired to write a novella based upon his own, deeply felt, personal experience of Goldsmith’s score. In his novella “Now And Forever…Somewhere A Band Is Playing” (William Morrow Company, 2007), Bradbury remarks that his adoration of Goldsmith’s score for “The Wind And The Lion” inspired him to compose a lengthy poem, which he later incorporated into the prologue for his story, “Somewhere A Band Is Playing.” Such is the mesmerizing power of art in any of its forms.

Goldsmith was delighted to have been asked to compose the music for First Knight. He felt at home in a colorful world of courageous warriors, fighting valiantly to preserve the honor and value of king, honor, and country. Damsels endangered by distress, and the noble lords who vanquished evil on their sweet behalf, was a concept that appealed deeply to the composer’s traditional Jewish upbringing and sensibilities. He was, at heart, a romantic. Indeed, Goldsmith’s agent at the time, Richard Kraft, comments in the liner notes of First Knight that Jerry “ was very excited when it seemed like he was going to get the job, and while he was working on it he was as happy as I’ve ever seen him.” Goldsmith himself remarked that “It’s more interesting for me to try and write music that gets inside people, and First Knight was perfect…it had all the romance and all that splendor.”

First Knight is, above all else, a deeply felt, passionate musical tapestry capturing an era of romanticism and heroic grandeur that, like visions of Tara, gallantry, and ladies fair, has sadly passed into history and, but for the flickering image on the silver screen in tribute to its memory, has gone with the wind. Zucker’s film offered a somewhat different view of the Arthurian legend and yet, in the end, is handsomely mounted by striking visualizations of Camelot, Sean Connery’s tortured dignity, and Jerry Goldsmith’s brilliant musical score. Rather appropriately, as remembered by album producer Bruce Botnik, “Sean Connery came up to Jerry at the premiere, gave him a big hug and told him that he loved the score and wanted his theme played whenever he walked into a room. Jerry said that it was one of the highest compliments he could ever have received.” This long day’s journey into Knight is deserving of inclusion in any collector’s recording itinerary.

MASADA

Masada (Intrada, 2 CD set), filmed as an epic mini-series for ABC Television in 1981, is yet another reverential, sacred commemoration of courage in the face of tyranny, a solemn testament to the remarkable heroism and sacrifice of a proud people confronting their own mortality in the face of slavery and religious oppression. Airing from April 5 thru April 8, 1981, this ambitious teleplay was estimated to have cost roughly twenty-three million dollars.

According to Intrada Records producer Douglass Fake, Goldsmith had sat with director Sydney Pollack during an airplane flight, during which the director discussed scouting locations in Israel for a television program based upon the story of Masada. Goldsmith, who had apparently never before sought out film projects, told Pollack “I’ve never done this before, but I’ve got to do this picture.” Universal Pictures was thrilled to have the distinguished composer on board for what was essentially a made for television movie, and dispatched the composer to The Holy Land in order to research the project. “It was very exciting because I did get to see and do things that the normal person wouldn’t get to do,” he later related. “It was just the emotional and historical impact of that story. Being Jewish, I feel very close to those subjects, as I did on QB VII, and being in Israel for the first time added to the excitement of it.” Goldsmith felt a special affinity for assigned director Boris Sagal, with whom he had worked on television programs as early as 1960. Though contracted to write the music for the entire four evening presentation, delays in production forced Goldsmith to exit his commitment after only half the series had been scored. Composer Morton Stevens, who shared assignments on NBC’s Thriller series with Goldsmith, finished the massive scoring assignment after Goldsmith was forced to leave due to overlapping film commitments.

What remains, however, is a deeply passionate salute by Goldsmith to the legend and ultimate tragedy of the mass suicide of more than nine hundred Jewish patriots, taking their own lives rather than submitting to forced enslavement by conquering Roman soldiers. Intrada has released a faithful two CD set of both soundtrack scores by Jerry Goldsmith and Morton Stevens, capturing the sweeping spectacle of an historic monument to human dignity and sacrifice.

80TH BIRTHDAY TRIBUTE

Robert Townson, the visionary producer behind Varese Sarabande Records has been responsible for more than one thousand recordings of motion picture music on his prestigious label, culminating with the definitive representation of Alex North’s brilliant score for Stanley Kubrick’s masterpiece, Spartacus (1960).

Having proudly assembled and hosted two previous live concerts for the Fimucite festival in Tenerife, Townson has created a special tribute to Jerry Goldsmith for the third installment of this spectacular performance series. Dedicated exclusively to the superb science fiction and fantasy scores composed by Goldsmith, this marvelous 80th Birthday Tribute Concert evening is being released both on DVD and on CD in a deluxe new package from Varese. The belated release of this ninety minute tribute to Goldsmith’s eightieth birthday features exciting symphony performances of such Goldsmith scores as Capricorn One, Total Recall, Poltergeist,The Swarm, The Illustrated Man, and The Final Conflict. The composer’s widow, Carol, makes a rare, special appearance during the program to accept a heartfelt tribute to her late husband. Filmed in 2009, with Mark Snow and Diego Navarro conducting The Tenerife Film Orchestra and Choir, this stunning latest release from Robert Townson and his remarkable label are merely the newest jewels in an ever expanding and sparkling musical crown.

This is not my first attempt at chronicling this composer’s work in film. I was writing an article about Jerry Goldsmith’s music for cinema at Cinemacabre Magazine back in 1980. I had been writing a regular soundtrack column on the subject of film music for the magazine for several years, and decided that Jerry Goldsmith would make an interesting subject for a feature article. I did some research, and located his agent. I simply wanted to unearth some recent photographic material with which to illustrate the article, and tried to find some current stills. His agent at the time suggested that I telephone Jerry, and ask him directly whether he had any recent photographs that I might be able to utilize. The publicist gave me Jerry’s contact information, and I dialed his home telephone number, speaking briefly with the family housekeeper who informed me that the Goldsmiths were out for the evening. I left my name and telephone number with her, never expecting to receive a return call. Less than twenty-four hours later, however, the telephone in my apartment chimed, and the distinguished sounding caller identified himself as Jerry Goldsmith. Somewhat stunned and at a loss for any sense of verbal eloquence, I merely expressed my admiration for his music and asked if he had any stills that he might send me for the proposed article. He said that he had recently completed a new publicity photo shoot and that, as soon as the photographer sent him the “proofs,” he would send me some new material. True to his word, the photos arrived about a month later and I happily used them in my article.

Shortly thereafter, I received the following communication from Jerry on stationary issued by the 20th Century Fox Music Department…

March 17th, 1980

Dear Mr. Vertlieb:

Thank you very for your letter, for your kind and flattering comments about my music and for a copy of the article you wrote.

I hope you will pardon the delay in responding to you. My wife and I had some problems with the incredible rain storms we had in Southern California.

I enjoyed reading your very discerning article and appreciate your sensitivity regarding my music. Thank you again.

Sincerely,

Jerry Goldsmith

From First Knight to last, Jerry Goldsmith was a class act.

Xanadu: A Castle in the Clouds: The Life of Orson Welles

Posted on June 20, 2024 by Mike Glyer

By Steve Vertlieb: An elderly man sits alone in a room, contemplating the years of his life. He is large of form. His belly hangs loosely over his belt. His hair has grown gray. He has known the enormity of success, and the emptiness of failure. He has known great wealth, and has had to beg for loans. He has experienced international success and fame, and succumbed to the torment of obscurity.

He knew blinding respect and, later, endured the humiliation of ridicule. He savored the delicate passions of some of the world’s most beautiful women and, for this particular moment, suffered unimaginable loneliness. Somewhere in the night, he expired. Frustrated, spent, he considered his life a grand exercise in futility. And yet, for a time, he had wielded power and fame like no one before him.

No, he wasn’t Charles Foster Kane. Rather, he was the actor who portrayed him. At the end, in one of life’s innumerable and cruel ironies, the controversial story of the greatest film ever made seemed to resemble less the life of the newspaper czar it was inspired by, than by the cocky, self-assured wunderkind who filmed it. Long after the influence and memory of William Randolph Hearst had passed into history, Citizen Welles had drafted the tragic screenplay of his own demise.

Some years earlier in another lonely hotel room, the legendary filmmaker had entertained his friend, Peter Bogdanovich. Welles sat in his great chair, seemingly transfixed by the image on the small television screen. A local station had been airing his version of The Magnificent Ambersons. The younger director noticed that Welles had been crying. “Orson,” he asked, “What’s the matter?” The older man, tears streaming down his cheeks, replied “It’s over–it’s all in the past.” Bogdanovich stared quietly at his friend. There was nothing, after all, that he could say.

George Orson Welles was born on May 6, 1915, in Kenosha, Wisconsin. He weighed ten pounds at birth. His imposing size and larger-than-life demeanor precluded the company of friends. He wasn’t particularly liked by the other children, and seemed to enjoy being a loner.

His parents regarded their son with the same awe as the neighborhood children. Richard Welles and Beatrice Ives had married in November, 1903. Beatrice had been a concert pianist until hard times forced her into more mundane work. Richard pictured himself a struggling inventor, although he invented little. Both Richard and Beatrice realized early on that George Orson was a specially gifted child. As such, he was given free reign of his existence and rarely admonished or controlled. At times, it seemed that he had become the parent, while they obeyed and adhered to his every wish.

His dreams flourished with the passing years. As far as his parents were concerned, their son was a genius and could do no wrong. Whatever he desired was given freely and with devout encouragement. From his earliest years, the boy was told that he could do virtually anything…that he was a genius. The continuing idolatry by his parents gave the boy a feeling of weightlessness, of superhuman destiny.

His gifts, he learned, were virtually without limit and he was nourished and nurtured as one might paint and develop a delicate portrait. The enormity of his talents and massive intellect were stimulated beyond imagining by this unfettered environment. The results of such pampering would both bless and curse him in later years when exposure to the elements of societal pressures would scar and diminish him. The slings and arrows of outrageous fortune would not suffer genius easily.

[The rest of the article follows the jump.]

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SFPA Announces Generative AI Policy

Posted on May 30, 2024 by Mike Glyer

The Science Fiction and Fantasy Poetry Association (SFPA) membership has voted a complete ban against using AI-produced work in their publications, and will treat such work as ineligible for its awards.

The organization will not accept or publish poetry, art, or other works created using a generative tool, either wholly or in part, and that published works created using a generative tool will not be eligible for SFPA awards, including the Rhysling, Elgin, and SFPA Poetry Awards.

Earlier this month the SFPA Executive Committee presented members two options for the SFPA to adopt as its policy regarding works derived from generative tools (including AI, large language models, etc). With 168 members voting, the outcome was as follows:

69%: I support a complete AI ban.
25%: I support a limited AI ban.
7%: I support neither statement.

The statement SFPA adopted follows.

SFPA’S STATEMENT ON GENERATIVE AI

SFPA Statement on Generative AI[1]: Introduction

The SFPA recognizes and supports the creative talent of human beings. While the organization encourages creative exploration of new tools, we can not support the use of tools built on the exploitation of other people’s creative work without their consent or compensation.

While the terms “AI,” “LLM,” and “generative media” (which we will call “generative tools” for this statement) are being used for many applications, these technologies are part of a rapidly changing environment and no two are designed the same way. There have been cases of proven and alleged copyright infringement with many such tools, however, as well as arguments that they exploit creative work.

The allegations of copyright infringement in generative tools typically rests on the fact that these tools are “trained” on datasets made of other artists’ and authors’ work without their consent[2]. These training materials are how generative tools create “new” works, which may or may not resemble the original creator’s work. However, not all generative tools are necessarily exploitative or plagiaristic, with some companies looking to create ethical alternatives trained on datasets that are made up solely of creator-submitted and compensated materials.

As an organization that supports creators, the SFPA will not accept or publish poetry, art, or other works created using a generative tool, either wholly or in part.

Published works created using a generative tool will not be eligible for SFPA awards.

The SFPA will also not use generative works in any of its official publications, including Star*Line, Eye to the Telescope, the SpecPo Blog, and the SFPA website.

[1] Generative AI can be thought of as a machine-learning model that is trained to create new data, rather than making a prediction about a specific dataset. A generative AI system is one that learns to generate more objects that look like the data it was trained on.” (Zewe, 2023)

[2] “In a case filed in late 2022, Andersen v. Stability AI et al., three artists formed a class to sue multiple generative AI platforms on the basis of the AI using their original works without license to train their AI in their styles, allowing users to generate works that … would be unauthorized derivative works.” (Appel, Neelbauer, and Schweidel, 2023)

Gunn Center Names Drake as New Director

Posted on May 10, 2024 by Mike Glyer

Professor Philip Drake will become the new director of The Gunn Center for the Study of Science Fiction (CSSF) at the University of Kansas it was announced today.

The center was founded in 1982 by James Gunn (1923-2020), a SFWA Grandmaster. KU Professor Christopher McKitterick superseded him as Director of the CSSF in 2010. KU Professor of English Giselle Anatol replaced McKitterick in 2021, however, for the past year she also has served as Interim Director of the University of Kansas’ Hall Center of the Humanities, an appointment that now has been made permanent.

According to the press release, Professor Drake has a long-time interest in science fiction and speculative fiction. He brings that interest together with his scholarship and teaching in science and technology studies, animal studies, and environmental humanities.

GRANT TO BE CREATED. The Gunn CSSF also reported progress on the establishment of a new grant:

Last year, the Advisory Board gave input on a proposed grant for visiting KU’s considerable SFF collections that are housed in the Spencer Research Library, Watson Library, and the Gunn Center itself. We decided that it would be best to wait to launch that grant until the Gunn Center’s collections are fully catalogued. Our archivist, Mike Johnson, has been working on this project in conjunction with the Open Language Resource Center. We anticipate being able to launch the grant in the 2024-25 academic year.

VIRTUAL BOOK CLUB. The Gunn CSSF also will continue their Virtual Book Club for 2024-25. In order to broaden the audience and increase attendance and engagement, they’re asking for feedback. People are invited to fill out this survey whether or not they’ve attended a session.

STURGEON SYMPOSIUM. The 3rd annual Sturgeon Symposium will take place October 24-25 and focus on the work of Samuel Delany, who is planning to attend. Proposals for papers are due May 31. The call for papers and other information is here.

Speculative Sounds: Sonic Discoveries from “John The Balladeer”

Posted on March 31, 2024 by Mike Glyer

By RL Thornton: One of the great rediscoveries of this year has been the stories of World Fantasy Award-winner Manly Wade Wellman. In particular, his magical stories about the high Appalachian wanderer and silver-stringed guitarist John have been republished by Valancourt Press in an anthology called John The Balladeer and in a larger complete two-volume set by Haffner Press (h/t to Michael Dirda of the Washington Post).

As Wellman’s dialect-laden prose slowly pulled me into his fantastic world of deep magic, my inner music geek started to wonder if all the songs in the stories were real. I knew that “In The Pines” had become notorious due to Nirvana’s live acoustic version, but what about the rest? Well, a little bit of YouTube diving reveals that Wellman knew his stuff!

So if you want to hear some of the songs as you read about John’s adventures, check out what I found below and enjoy. In most cases, each song’s YouTube link is accompanied by the lyrics from the story and the performer’s name.

OLD DEVLINS WAS A-WAITIN

When John refers to Bascom Lamar Lunsford, it turns out he was a real musician and song collector who actually recorded for the Library Of Congress!

CALL ME FROM THE VALLEY

His golden locks, John Dowland

“Beauty, strength, youth are flowers and fading seen—

Duty, faith, love are roots and ever green….”

Grace Davidson (soprano); David Miller (Lute)

THE LITTLE BLACK TRAIN

Song: Hell Broke Loose In Georgia

The Skillet Lickers

Song: The Little Black Train

The Carter Family

Song: Many Thousands Gone

Matthew Sabbatella and the Rambling String Band

Song: Sourwood Mountain

Carolina Chocolate Drops

Frank Proffitt

SHIVER IN THE PINES

Song: In The Pines

Leadbelly (aka Where Did You Sleep Last Night?)

Nirvana (aka Where Did You Sleep Last Night?)

Bill Monroe and the Bluegrass Boys

Grateful Dead (Rare from 1966)

“Fare thee well my charming girl

With the golden slippers on….”

Song: Cuckoo Waltz

Song: Pretty Fair Maid In The Garden

Song: Willie From The Western States (variant of Barbara Allen)

Song: I Dreamed Last Night Night Of My True Love, All In My Arms I Had Her

WALK LIKE A MOUNTAIN

Song: Lonesome River

“By the shore of Lonesome River
Where the waters ebb and flow,
Where the wild red rose is budding
And the pleasant breezes blow,

It was there I spied the lady
That forever I adore,
As she was a-lonesome walking
By the Lonesome River shore. . . .”

(Above version currently unknown)

“Went to the rock to hide my face,

The rock cried out,

‘No hiding place!….’”

Song: No Hiding Place

Bessie Jones

Flatt & Scruggs

John Henry

Leadbelly

Johnny Cash

ON THE HILLS AND EVERYWHERE

Go Tell It On The Mountain

Bob Marley

Mahalia Jackson

Dolly Parton

Chinese Science Fiction Database Recommended List 2023

Posted on March 25, 2024 by Mike Glyer

Report by: Arthur Liu, Sanfeng Zhang and Shaoyan Hu (translator): Recently, the Chinese Science Fiction Database (CSFDB) released its annual science fiction & fantasy recommendation list for 2023.

The list is divided into 7 categories: Domestic/Translated Novels, Domestic/Translated Stories, Anthologies, Collections, and Related Works. A total of 59 entries are selected, covering 11 countries/regions. Hopefully some of these could get translated into English.

The complete list in bilingual form is as follows:

DOMESTIC NOVELS

We Live in Nanjing, by Tian Rui Shuo Fu (CITIC Press, January 2023)
The City in the Well, by Liu Yang (People’s Literature Publishing House, January 2023)
Ban’s Cat, by Lu Ban (Chongqing Publishing House, August 2023)

TRANSLATED NOVELS

Qualityland, by Marc-Uwe Kling, translated by Wang Bingyi (Sichuan Literature & Art Publishing House, January 2023)
Infinite Jest, by David Foster Wallace, translated by Yu Bingxia (Shanghai People’s Publishing House, April 2023)
Mockingbird, by Walter Tevis, translated by Gen Hui (People’s Literature Publishing House, May 2023)
Latium, by Romain Lucazeau, translated by Zhu Qianlan, Yu Ning, Wang Shaoxiong, Xue Simin, Suo Yuankai (Zhejiang Literature & Art Publishing House, March 2023)
Dying Inside, by Robert Silverberg, translated by Feng Xinyi (Sichuan Science & Technology Publishing House, September 2023)
Babel, by R.F. Kuang (CITIC Press, October 2023)
Revelation Space, by Alastair Reynolds, translated by He Rui (Hunan Literature & Art Publishing House, September 2023)

DOMESTIC STORIES

Sailing in the Sea of Whales, by Ge Ling Lan (Science Fiction World magazine, January 2023)
In Death, We Seek Companionship, by Han Song (Non-Existent SFF; January 22, 2023)
The Corrector, by Wang Xiaohai (Non-Existent SFF, February 27-28, 2023)
Degradation, by Zhou Yuyang (Fiction World magazine, March 2023)
Cao Yue, by Tan Que (Non-Existent SFF, April 4, 2023)
Abundance of Meat, by Cai Jianfeng (Non-Existent SFF, May 22-23, 2023)
The Palette of Stars, by Jiang Yitan (Original Fiction Monthly magazine, June 2023)
Calamity of Mountains and Seas, by Lin Shuo (Non-Existent SFF, July 24-26, 2023)
The Inverted Tower of Babel, by Wang Zhenzhen (Galaxy’s Edge Vol.15: The Inverted Tower of Babel, edited by Yang Feng, New Star Press, September 2023)
Flight on the Land, by Bai Shu (Literature Port magazine, September-October, 2023)
The Chant of Water Dragon, by Bai Fen (Young Writers magazine, October 2023)
“Burning Poems”, by Liu Tianyi, Wang Zhenzhen (Non-Existent SFF, November 13, 2023)

TRANSLATED STORIES

Petra, by Greg Bear, translated by Zhang Yi (Mirrorshades: The Cyberpunk Anthology edited by Bruce Sterling, Beijing Times Chinese Press, April 2023)
Memories of the Future, by Sigizmund Krzhizhanovsky, translated by Wang Yixiao, Feng Dong (Memories of the Future, Guangxi Science & Technology Publishing House, January 2023)
Oceanic, by Greg Egan, translated by Zhang Han (Oceanic: The Best of Greg Egan, Vol.1, New Star Press, January 2023)
Inside Job, by Connie Willis, translated by Chen Jie (The Best of Connie Willis: Award-Winning Stories, Sichuan Science & Technology Publishing House, November 2023)
Hélicéenne, by Tristan Garcia, translated by Wang Meng (World Literature magazine, February 2023)
A Letter to Sylvia Plath: Soul of Dolphin (Died 2003, Iraq), by Ceridwen Dovey, translated by Liu Zhigang (World Literature magazine, October 2023)
Dunnage for the Soul, by Robert Reed, translated by Qin Hongwei (Science Fiction World: Translations magazine, September 2023)
Love in the Time of Immuno-Sharing, by Andy Dudak, translated by Gao Qipeng (World Literature magazine, June 2023)
Albedo Season, by Ray Nayler, translated by Liu Ruixin (Science Fiction World: Translations magazine, January 2023)
The Beast Adjoins, by Ted Kosmatka, translated by Xu Yan (Science Fiction World: Translations magazine, September 2023)
Masquerade Season, by Pemi Aguda, translated by Renne (Science Fiction World: Translations magazine, August 2023)
Timekeepers’ Symphony, by Ken Liu, translated by Geng Hui (IWC Wechat Public Account, December 20, 2022 – January 12, 2023)

ANTHOLOGIES

Adventures in Space: New Short Stories by Chinese and English Science Fiction Writers edited by Yao Haijun & Patrick Parrinder, translated by Lu Nan, Xiong Yuejian, Chen Yongrong, Liu Weimin (People’s Literature Publishing House, January 2023)
Mirrorshades: The Cyberpunk Anthology edited by Bruce Sterling, translated by Zhang Yi (Beijing Times Chinese Press, April 2023)
First Time (はじめての) edited by Suirinsha (水鈴社), translated by Ju Su (Sichuan People’s Publishing House, June 2023)
The Decameron Project: 29 New Stories from the Pandemic, edited by New York Times, translated by Lu Dongxu (Hunan Literature & Art Publishing House, July 2023)
The Songs of Space Engineers edited by Liu Cixin (New Star Press, October 2023)

COLLECTIONS

The Best of Greg Egan (3 vols) by Greg Egan, translated by Zhang Han, A Gu, Xiao Aoran, Liu Wenyuan, Lu Dongxu, Chen Yan, Yu Baichuan, Yu Xiyun, Chen Yang (New Star Press, January 2023)
Memories of the Future, by Sigizmund Krzhizhanovsky, translated by Wang Yixiao, Fengdong (Guangxi Science & Technology Publishing House, January 2023)
The Serpentine Band, by Congyun “Muming” Gu (Shanghai Literature & Art Publishing House, February 2023)
Weird Words from Nowhere, by Clark Ashton Smith, translated by Ghost Trumpeter (Anhui Literature & Art Publishing House, July 2023)
City, by Clifford D. Simak, translated by Chen Yunru (Sichuan Science & Technology Publishing House, September 2023)
Unwitting Street, by Sigizmund Krzhizhanovsky, translated by Wang Yixiao, Fengdong (Guangxi Science & Technology Publishing House, October 2023)
A Collapse of Horses, by Brian Evenson, translated by Fu Jingying (Writer Publishing House, December 2023)
The Complete Stories, Vol. 1, by Isaac Asimov, translated by Lao Guang (Jiangsu Phoenix Literature & Art Publishing Ltd., December 2023)
The Best of Kim Stanley Robinson, by Kim Stanley Robinson, translated by Cui Gong Rong Xiu, Liang Shuang, Xiao Lei (Sichuan Science & Technology Publishing House, December 2023)

RELATED WORKS

The Anime Machine, by Thomas Lamarre, translated by Zhang Chang (Shanghai Jiao Tong University Publishing House, January 2023)
The Nature of Tomorrow: A History of the Environmental Future, by Michael Rawson, translated by Song Guangrong (China Translation & Publishing House, January 2023)
The Romantic Machine: Utopian Science and Technology after Napoleon, by John Tresch, translated by Liu Huining, Shi Jixin (China Science & Technology Publishing House, January 2023)
Chinese Science Fiction: An Oral History, Vol.1-Vol.3, edited by Yang Feng (Chengdu Times Publishing House, Vol.1: February 2023; Vol.2-3: November, 2023)
Words Are My Matter, by Ursula K. Le Guin, translated by Xia Jia (Henan Literature & Art Publishing House, April 2023)
The Reason for the Darkness of the Night: Edgar Allan Poe and the Forging of American Science, by John Tresch, translated by Li Yongxue (China Translation & Publishing House, July 2023)
The SF Spirit: Komatsu Sakyo Autobiography (SF魂), by Komatsu Sakyo (Sichuan Science & Technology Publishing House, August 2023)
Father of the Galactic Railroad (銀河鉄道の父), by Kadoi Yoshinobu, translated by Li Oulin (People’s Literature Publishing House, August 2023)
The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan, by Tom Shone, translated by Li Sixue (Democracy & Construction Press, September 2023)
Album Calvino, edited by Luca Baranelli & Ernesto Ferrero, translated by Bi Yanhong (Yilin Press, October 2023)
Unlocking the Future: Urban Visions in Contemporary Chinese Science Fiction, by Luo Xiaomin (Shanghai Bookstore Publishing House, November 2023; Routledge, April 2023)
Zero Gravity, Vol.12 – 13 (World Science Fiction special issue) edited by Riverflow, proofread by Riverflow & Ling Shizhen

本土长篇小说

天瑞说符《我们生活在南京》（中信出版社，2023年1月）
刘洋《井中之城》（人民文学出版社，2023年1月）
鲁般《班的猫》（重庆出版社，2023年8月）

海外长篇小说

[德] 马克·乌韦·克林《未来之城》，王柄熠译（四川文艺出版社，2023年1月）
[美] 大卫·福斯特·华莱士《无尽的玩笑》，俞冰夏译（上海人民出版社，2023年4月）
[法] 罗曼·吕卡佐《拉丁姆》，朱倩兰、余宁、王少雄、薛思敏、索元楷译（浙江文艺出版社，2023年5月）
[美] 沃尔特·特维斯《知更鸟》，耿辉译（人民文学出版社，2023年5月）
[美] 罗伯特·西尔弗伯格《内心垂死》，冯新仪译（四川科学技术出版社，2023年9月）
[美] 匡灵秀《巴别塔》，陈阳译（中信出版社，2023年10月）
[英] 阿拉斯泰尔·雷诺兹《天启空间》，何锐译（湖南文艺出版社，2023年10月）

本土中短篇小说

格陵兰《鲸海浮舟》（《科幻世界》2023年01期）
韩松《人死时是需要陪伴的》（“不存在科幻”公众号，2023年1月22日）
汪小海《修正者》（“不存在科幻”公众号，2023年3月27-28日连载）
周于旸《退化论》（《小说界》2023年02期）
谈雀《草月》（“不存在科幻”公众号，2023年4月10日）
蔡建峰《大肉》（“不存在科幻”公众号，2023年5月22-23日连载）
蒋一谈《星星的调色盘》（《小说月报·原创版》2023年06期）
林烁《山海劫》（“不存在科幻”公众号，2023年7月24-26日连载）
王真祯《倒悬的巴别塔》（收录于《银河边缘015：倒悬的巴别塔》，新星出版社，2023年9月）
白树《陆上飞行》（《文学港》2023年09-10期连载）
白贲《水龙吟》（《青年作家》2023年10期）
刘天一，王真祯《焚诗记》（“不存在科幻”公众号，2023年11月13日）

海外中短篇小说

[美] 格雷格·贝尔《彼得拉》，张羿译（[美] 布鲁斯·斯特林编《镜影：赛博朋克文学选》，北京时代华文书局，2023年4月）
[俄] 西吉茨蒙德·科尔扎诺夫斯基《未来记忆》，王一笑、冯冬译（《未来记忆》，广西科学技术出版社，2023年1月）
[澳] 格雷格·伊根《祈祷之海》，张涵译（《祈祷之海：格雷格·伊根经典科幻三重奏》，新星出版社，2023年1月）
[美] 康妮·威利斯《内贼难防》，陈捷译（《烈火长空：康妮·威利斯杰作选》，四川科学技术出版社，2023年11月）
[法] 特里斯坦·加西亚《爱丽司安》，王猛译（《世界文学》2023年01期）
[澳] 瑟立文·达维《致西尔维娅·普拉斯的一封信：海豚魂（死于2003年，伊拉克）》，刘志刚译（《世界文学》2023年05期）
[美] 罗伯特·里德《灵魂的垫料》，秦宏伟译（《科幻世界·译文版》2023年09期）
[美] 安迪·杜达克《爱在免疫共享时》，高麒鹏译（《世界文学》2023年03期）
[美] 雷·内勒《反照季》，刘瑞新译（《科幻世界·译文版》2023年01期）
[美] 特德·科斯玛特卡《与兽同行》，许言译（《科幻世界·译文版》2023年09期）
[尼日利亚] 佩米·阿古达《假面时节》，Renne 译（《科幻世界·译文版》2023年08期）
[美] 刘宇昆《计时器交响曲》，耿辉译（“IWC万国表”公众号，2022年12月20日-2023年1月12日连载）

多人小说选集

姚海军、[英] 帕特里克·帕林德 编《潮166：光年之外》，鲁南、陈雍容、熊月剑、刘为民英译中，[美] 亚里克斯·伍德恩德中译英（人民文学出版社，2023年1月）
[美] 布鲁斯·斯特林 编 《镜影：赛博朋克文学选》，张羿译（北京时代华文书局，2023年4月）
[日] 水铃社 编 《第一次》，鞠素译（四川人民出版社，2023年6月）
[美] 纽约时报杂志 主编 《十日谈：新冠时期故事集》，鲁冬旭译（湖南文艺出版社，2023年7月）
刘慈欣 编 《宇宙工程师之歌：中国工程师硬核科幻精选集》（新星出版社，2023年10月）

个人小说选集

[澳] 格雷格·伊根《祈祷之海》《快乐的理由》《三进数世界》，阿古、陈阳、鲁冬旭、刘文元、萧傲然、张涵、陈岩、于佰川、余曦赟译（新星出版社，2023年1月）
[俄] 西吉茨蒙德·科尔扎诺夫斯基《未来记忆》，王一笑、冯冬译（广西科学技术出版社，2023年1月）
慕明《宛转环》（上海文艺出版社，2023年2月）
[美] C.A.史密斯《虚境奇谭：C.A.史密斯克苏鲁神话佳作集》，无形的吹奏者译（安徽文艺出版社，2023年7月）
[美] 克利福德·西马克《荒城》，陈韵如译（四川科学技术出版社，2023年8月）
[俄] 西吉茨蒙德·科尔扎诺夫斯基《不知情大街》，王一笑、冯冬译（广西科学技术出版社，2023年10月）
[美] 布莱恩·埃文森《瘫倒的马：埃文森黑暗故事集》，傅婧瑛译（作家出版社，2023年12月）
[美] 艾萨克·阿西莫夫《阿西莫夫科幻短篇全集1：最后的问题》，老光译（江苏凤凰文艺出版社，2023年12月）
[美] 金·斯坦利·罗宾逊《金·斯坦利·罗宾逊短篇集》，崔龚荣秀、梁爽、小酹译（四川科学技术出版社，2023年12月）

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Category Archives: Sercon

Interview with Hugo Finalists Gu Shi and Translator Emily Xueni Jin

Interview with Baoshu, 2024 Hugo Finalist

Interview With He Xi, 2024 Hugo Finalist

Interview with Wang Jinkang, 2024 Hugo Finalist

Jerry Goldsmith: A “First Knight” Celebration

Xanadu: A Castle in the Clouds: The Life of Orson Welles

SFPA Announces Generative AI Policy

Gunn Center Names Drake as New Director

Speculative Sounds: Sonic Discoveries from “John The Balladeer”

Chinese Science Fiction Database Recommended List 2023

DOMESTIC NOVELS

TRANSLATED NOVELS

DOMESTIC STORIES

TRANSLATED STORIES

ANTHOLOGIES

COLLECTIONS

RELATED WORKS

本土长篇小说

海外长篇小说

本土中短篇小说

海外中短篇小说

多人小说选集

个人小说选集

相关作品