Chinese Science Fiction in the Arabic World


SFRA Review, vol. 51, no. 2

Symposium: Chinese SF and the World


Chinese Science Fiction in the Arabic World

Linyao Ma

In recent years, Chinese science fiction authors have been internationally awarded many times. Among them, Chen Qiufan won the gold award for best novel in the fourth Nebula Award for Global Chinese Science Fiction for The Waste Tide in 2013, Liu Cixin’s The Three Body Problem, was recognized by the Hugo Awards as Best Novel at the 73rd World Science Fiction Convention in 2015, which made the author the first Asian winner of this prize. In 2016, Hao Jingfang won the 74th Hugo Award for Best short story for Folding Beijing. During this time, the Chinese-American science-fiction novelist Ken Liu played an important part, for he translated Liu Cixin’s “Three Body” trilogy and other works of Chen Qiufan as well as Hao Jingfang, etc. into English. These English translations of which he is in charge could be regarded as the first step of Chinese science fiction toward the international literary field and worldwide recognition. 

The Chinese science fiction novel in the Arabic world 

Take the currently most well-known Chinese science fiction work “Three Body” trilogy as an example. It has been translated into more than 20 languages including English, French, German, Spanish, Italian, Japanese, Korean, Thai, Turkish, etc., thereby accumulating readers from diverse regions. Nevertheless, this translation hasn’t reached the Middle East and North Africa region, as none of the novels has been translated into Arabic yet. However, this does not mean that there are no readers of Chinese science fiction novels in the Arab world. First of all, due to the widespread bilingualism/multilingualism in the Arab world, Arab readers can read Chinese science fiction through English translation, French translation, or any other translation according to their language proficiency. Meanwhile, Arabic media’s report on Chinese science fiction can be found amongst our references. In August 2016, the site of al-Ṣīn bi-l-ʿarabī (China in Arabic) reprinted from Xinhua News in Arabic the news that Hao Jingfang had won the Hugo Award. The electronic daily newspaper Elaph (Īlāf ) published in 2019 an annual science fiction review in which was mentioned Broken Stars, an anthology of Chinese science fiction short stories selected and translated by Ken Liu, which also included three review articles on Chinese science fiction. Furthermore, the Arab International Tourism site published an article pinpointing that Chinese science fiction is going through a golden period. It introduced briefly Liu Cixin’s “Three Body” Trilogy and Hao Jingfang’s Folding Beijing. Then it attempts to explore contemporary Chinese society in order to illustrate China’s dual attitude towards foreign countries (especially western countries and capitals) reflected by the characters in the novel when they encounter extraterrestrial creatures.  

Moreover, the Arabic version of Xinhua News also promotes the circulation of Chinese science fiction in the Arab world by covering not only awards-winning news but also popularity gained by this genre in other countries. For example, it reported in 2019 the success achieved by Chinese science fiction in Japan. In addition to news, it also published in Arabic a dialogue with Liu Cixin that allows Arab readers to deepen their understanding of Chinese science fiction and to not only understand the novels themselves but also to understand the author’s implicit intentions.

Chinese science fiction film in the Arab world

Besides novels and short stories, films can be seen as another important way for the Arab world to know Chinese science fiction. The Wandering Earth adapted from Liu Cixin’s novel of the same name was screened in theaters around the world in 2019 and is now streaming on Netflix (availability on every Arab-speaking country Netflix is to be verified). Undoubtedly, this allowed the film to accumulate a certain number of audiences worldwide including Arab subscribers. Meanwhile, the phenomenal success made by the film attracted the attention of some Arab journalists who are based in China. On February 20th, 2019, al-Yawm al-Sābiʿ covered the film with an article entitled “ʿindamā taḫdim al-sīnamā l-siyāsa.” (When cinema serves politics), which argues that the film is different from the mainstream Western science fiction that usually advocates fleeing the earth in order to survive, while The Wandering Earth argues for saving the earth because it reflects Chinese patriotism and a unique Chinese sense of romance. Furthermore, the article also points out that the film embodies China’s political ideals of protecting the one earth as well as the relationships with Russia and the United States. Middle East Online also reported on the film emphasizing the rapid development of Chinese science fiction films and its outstanding North American box office. Hānī Muḥammad believes that the film is compatible with Hollywood sci-fi blockbusters and speaks highly of the shooting of the film and its post-production technology. In addition, the author also points out that the film embodies cooperation between China and Russia. 

Chinese science fiction and Arab science fiction 

Facing the success achieved by Chinese science fiction, the Arab-speaking journalists begins to review and reflect on their own science-fiction creation. For example, Middle East Online published in 2018 an article entitled “Al-ṣīn wa-l-ḫayāl al-ʿilmī wa-ʾayna l-ʿarab?” (“China and science fiction, where are the Arabs?) that pinpoints the status quo of the marginalization of Arab science fiction at the beginning, and interrogates when shall the Arab countries pay enough attention to sci-fi creation that can affect the development of science and technology and the difference that Chinese government’s promotion has made in this process. Then the author takes China as an example to argue that the importance attached to science fiction by the Chinese government is of long vision decision and uses the “Three Body” trilogy as an example of success. In one word, the author hopes that Arab sci-fi can see Chinese sci-fi as a model and find its own path rapidly, so as to catch up with the increasing development of science and technology around the world. 

Generally speaking, Chinese science fiction has had a certain influence in the Arab world, either with the help of novels translated into a third language or through pop culture movies adapted from the novels. At the same time, some Arab people make a positive evaluation of China’s science fiction and affirm the achievements of China’s science fiction on an international scale. Some of them believe that the Arab world should learn from China, encourage the creation of science fiction and provide authors with policy guidance and support. However, we must acknowledge the fact that no Chinese science fiction novels have been translated into Arabic. We look forward to the imminent publication of “Three Body” trilogy, of Folding Beijing and other novels’ Arabic version, and hope sincerely that Chinese science fiction will find its Arab readership and become a new cultural bond for the Sino-Arab relations.


WORKS CITED

ʿAbd allāh Maǧīd. “Fāntāziyā wa-ḫayāl ʿilmī : riwāyāt tuṣdar fī 2019.” (“Fantasy and science fiction: novels published in 2019”) elaph 6 June 2019, https://elaph.com/Web/Culture/2019/01/1233360.html. Accessed 17 January 2021.

ʿĀdil Ṣabrī. “Kātiba ḫayāl ṣīniyya tafūz bi-ǧāʾizat hūgū”(Chinese science fiction writer wins Hugo Award) al-Ṣīn bi-l-ʿarabī  22 August 2016, http://www.chinabelaraby.com/. Accessed 17 January 2021.

Arabic world tourism group (Admin). “Al-ḫayāl al-ʿilmī l-ṣīnī huwa taǧribat al-ʿaṣr al-ḏahabī al-ǧadīd” (“Chinese science fiction, the new golden age experience”) Arabic world tourism group date unknown, https://ara.worldtourismgroup.com/chinese-science-fiction-is-experiencing-new-golden-age-44532. Accessed 17 January 2021. 

Hānī Muḥammad. “ʿindamā taḫdim al-sīnamā l-siyāsa.” (“When cinema serves politics”) al-Yawm al-Sābiʿ 20 February 2019, https://www.youm7.com/story/2019/2/20/عندما-تخدم-السينما-السياسة-فيلم-الأرض-المشردة-خيال-علمى-بنكهة/4145920. Accessed 17 January 2021.

Middle East Online (Admin). “Al-ḫayāl al-ʿilmī l-ṣīnī yunāfis fī sibāq al-faḍāʾ.” (“Chinese science fiction competes in the space race”) Middle East Online 21 February 2019, https://middle-east-online.com/الخيال-العلمي-الصيني-ينافس-في-سباق-الفضاء. Accessed 17 January 2021.

Middle East Online (Admin). “Al-ṣīn wa-l-ḫayāl al-ʿilmī wa-ʾayna l-ʿarab ?.” (“China and science fiction, where are the Arabs?”) Middle East Online 05 January 2018, https://middle-east-online.com/الصين-والخيال-العلمي-وأين-العرب؟. Accessed 17 June 2020.

Xinhua (Admin). “Al-ḫayāl al-ʿilmī l-ṣīnī yabhar al-qurāʿ wa-l-nuqād fī l-yabān”(“Chinese science fiction dazzles readers and critics in Japan”) arabic.people.cn 30 July 2019, http://arabic.news.cn/2019-07/30/c_138269398.htm. Accessed 17 January 2021.

Xinhua (Admin). “Muqābala : al-kātib al-ṣīnī Liyū Tsī Šīn : al-ḫayāl al-ʿilmī yaǧʿal al-nās akṯar infitāḥan.” (“Interview: Chinese writer Liu Cixin: science fiction makes people more open”) arabic.people.cn 11 March 2019, http://arabic.people.com.cn/n3/2019/0311/c31657-9554783.html. Accessed 17 January 2021.


Linyao Ma, formed at Shanghai International Studies University for B.A. and M.A. of Arabic language and literature and Sorbonne University for M.A. of Arabic studies, is currently a doctoral student under the supervision of Frédéric Lagrange at the Sorbonne University focusing on contemporary Arabic literature and preparing a thesis on the Arabic dystopic fiction during the Post-Arab Spring period.  

Chinese Science Fiction in Contemporary Russia


SFRA Review, vol. 51, no. 2

Symposium: Chinese SF and the World


Chinese Science Fiction in Contemporary Russia

Jinyi Chu

In 1998, Russian literary scholar Evgenii Viktorovich Kharitonov wrote, “though the popularity of science fiction is growing exponentially in China, China’s own science fiction is still not a solid phenomenon. The time of a serious conversation on Chinese science fiction has not arrived yet” (Kharitonov). The rising global fame of Chinese science fiction today certainly has rendered Kharitonov’s statement outdated. Kharitonov, who surveyed the history of Chinese literature with fantastic elements from the Zhou dynasty to 1970s, must be glad to witness the recent development of Chinese science fiction. How do Russian readers, critics, and scholars today interpret Chinese science fiction? What are the available editions on the Russian market? 

While I do not attempt to enumerate all Russian translations, reviews, and studies of Chinese science fiction, in what follows, I highlight three aspects of burgeoning Russian interest in contemporary Chinese science fiction. First, the existing English translation plays an intermediary role in the Russian reception of Chinese science fiction. To my knowledge, the majority of Russian publications of Chinese science fiction is translated from English. Second, Russian readers tend to focus on the social critique in Chinese science fiction in which they find an alternative to the Western counterpart. Third, while there is still a paucity of Russian scholarship on contemporary Chinese science fiction, the recent publication of the Russian translations of the works of major Chinese science fiction writers suggest that the situation will be improved in the foreseeable future. 

In 2015, the Estonian journalist, writer, poet, and cartoonist Nikolai Karaev took over what Kharitonov left behind. Karaev published a short history of Chinese science fiction on the Moscow-based journal Mir fantastiki (The World of Fantastic Literature). Karaev’s article is entitled “Fantast v Kitae bol’she, chem Fantast. Istoriia nauchnoi fantastiki Podnebosnoi” (Fantastic Writer in China is more than a Fantastic Writer: A History of Science Fiction in the Celestial Empire). The title implies that Chinese writers offer an alternative vision of the role of science fiction in a society. Karaev laments that Russians barely know anything about Chinese science fiction, apart from Lao She’s Cat Country, the Russian translation of which was published in 1969 by Molodaia Gvardiia (Young Guards) in the series of Biblioteka sovremennoi fantastiki (Library of Contemporary Fantastic literature) (Karaev 7). In this well-written and comprehensive account, Karaev introduces Russian readers to celebrated Chinese science fiction writers, e.g., Zheng Wenguang, Ye Yonglie, Wang Jinkang, Liu Cixin, Han Song, Chen Qiufan, and other names rarely known by the Russian public. He seeks to place that contemporary Chinese science fiction in the Chinese literary tradition, e.g., the works of Pu Songling, Lu Xun, Lao She, with which Russian readers are more familiar. 

This 2015 issue of Mir fantastiki also features Nikolai Karaev’s extensive interview with Liu Cixin. Though the content of this interview may resemble what Liu Cixin has expressed elsewhere, it still presents an image of Chinese science fiction in the eyes of Russophone readership. Karaev’s main interest lies in how Liu Cixin sees himself and his Chinese peers in the global genealogy of science fiction. The eleven questions that Karaev asks Liu Cixin are all about “How Chinese is Chinese sci-fi?” and “How sci-fi is Chinese sci-fi?” It seems that Karaev seeks for a statement on the Chineseness of Chinese science fiction in Liu Cixin’s answer. However. Liu Cixin stresses that contemporary Chinese science fiction is more influenced by the Western science fiction than Chinese national tradition. Karaev becomes a little disappointed, thus he follows up by asking “but what about your story ‘The Cloud of Poetry’ in which feature Tang-dynasty poet Li Bai and other mythological figures?” Liu Cixin simply answers that “The Cloud of Poetry” was an exception. 

Karaev’s advocation of translating more Chinese science fiction soon became reality. It was in this issue of Mir fantastiki that Il’ia Sukhanov’s Russian translation of Liu Cixin’s “Shanyang shangdi”《赡养上帝》(“Taking Care of God”) was published (Liu Cixin). The editors of Mir fantastiki also introduced Russian readers to the Chinese journal Kehuan shijie 科幻世界 (The World of Science Fiction), which they called the Chinese Mir fantastiki. From this perspective, readers who are more familiar with contemporary Chinese science fiction can also see Mir fantastiki as the Russian Kehuan shijie

The survey, interview, and translation published on Mir fantastiki in 2015 are only preludes to a new wave of Russian translations of Chinese science fiction. In recent years, the Russian publisher “Fanzon” has been actively promoting and publishing Chinese science fiction. Fanzon was established in 2016. The editor-in-chief of Fanzon Natal’ia Gorinova sees the mission of the publisher as “reestablish the status of science fiction as grand and serious literature (Bol’shaia literatura),” rather than as merely genre fiction (Fantlab). Fanzon’s ardent promotion of contemporary Chinese science fiction is motivated by its aspiration to revitalize the Russian interest in global science fiction. The description of Fanzon’s series Sci-fi Universe indicates, “this is a series that includes contemporary science fiction and space opera. In the framework of this series, we publish the cult texts (kul’tovye texty) in the West that previously have not yet appeared in Russian before, and those loud debuts which won the recognition of critics and readers. We recommend you to read Stanley Robinson, Liu Cixin, Nile Stevenson, and etc.” (Fanzon). 

Since 2017, Fanzon has published eight volumes of Russian translations of Chinese science fiction in the series Sci-fi Universe. All of these volumes are available in the formats of hard copy, digital version, and audiobooks. In December 2017, Fanzon released the Russian translation of the first two instalments of Liu Cixin’s trilogy Diqiu wangshi 《地球往事》 (Remembrance of Earth’s Past): Olga Glushkova’s translation of Santi 《三体 》(The Three Body Problem) under the title Zadacha trekh tel and Dmitrii Nakamura’s translation of Heian senlin《黑暗森林》 (The Dark Forest) under the Russian title Temnyi les. Glushkova and Nakamura collaborated on the translation of the third volume Sishen yongsheng《死神永生》(Death’s End) which was released in February 2018 under the title Vechnaia zhizni smerti (The Eternal Life of Death). The popularity of these separate editions led to the publication of the single-volume edition of Liu Cixin’s trilogy under the title Vospominaniia o proshlom Zemli. Trilogiia (Rembrance of Earth’s Past: A Trilogy) in early 2019. This edition also includes two separate forewords by the Russian translators Glushkova and Nakamura, and the Russian translations of the two different afterwords by author Liu Cixin and English translator Ken Liu. The Russian translation of the anthology of Liu Cixin’s shorter works Qiuzhuang shendian《球状闪电》(Ball Lightning) under the Russian title Sharovaia molniia was also published in 2019. 

The popularity of Liu Cixin’s works led to more Russian publications of other splendid contemporary Chinese science fiction. In November 2019, Fanzon published the Russian translation of Chen Qiufan’s Huangchao 《荒潮》(Waste Tide) under the title of Musornyi priboi. Following this trend, in 2020, Fanzon published the Russian translation of Baoshu’s Santi X: Guanxiang zhi zhou 《三体X:观想之宙》(The Redemption of Time) under the title Vozrozhdenie vremeni (The Rebirth of Time). In July 2020, the popular American anthology of Chinese science fiction Broken Stars edited and translated by Ken Liu will be published by Fanzon under the title Slomannye zvezdy (Broken Stars). These eight books introduce Russian readers to the science fiction of Chinese authors Liu Cixin, Chen Qiufan, Baoshu, Xia Jia, Tang Fei, Han Song, Cheng Jingbo, Hao Jingfang, Fei Dao, Zhang Ran, Wu Shuang, Ma Boyong, Gu Shi, Wang Kanyu, as well as a scholarly essay by Song Mingwei. The Russian translation Xia Jia’s short story “Baigui yexing jie” 《百鬼夜行街》(“A Hundred Ghosts Parade Tonight”) under the title “Ulitsa prizrakov” (“The Street of Specters,” translated by Il’ia Sukhanov) was included in the anthology Stranstvie trekh tsarei (The Journey of Three Kings) edited by Vladimir Arenev published in Kharkiv, Ukraine (Arenov). Not long after this publication, Ukrainian scholars L. S. Pikhtovnikova and A. I. Motrokhov chose Xia Jia’s story as a case study for the “composition and style” of contemporary Chinese prose (Pikhtovnikova and Motrokhov 24-28).

Top Left: Russian cover of Chen Qiufan’s Waste Tide; Top Right: Russian cover of Liu Cixin’s
Three Body Problem; Bottom: Anthology edited and translated by Ken Liu, Broken Stars

To my knowledge, the majority of the Russian editions of contemporary science fiction is translated from English. However, this does not indicate that Russian translators do not care about accuracy. Russian translators also consult with Russian Sinologists in the process of translation. Ol’ga Glushkova wrote in the translator’s foreword to the Russian edition of The Three Body Problem, “When I first finished reading the English translation of the novel The Three Body Problem by Chinese writer Liu Cixin in 2014, especially after he won the Hugo prize in 2015, I came up with the idea of translating it for the Russian readers. I do not know Chinese, so I translated it from English” (Glushkova). Using Ken Liu’s “remarkable” translation, Glushkova worked with Sinologist Al’bert Krisskoi, on the final draft of the Russian translation of The Three Body Problem. In the translator’s foreword to The Dark Forest, Dmitrii Nakamura also remarked that working with Sinologists, he and Glushkova even reconstructed some excerpts omitted in the English translation (Nakamura).

Unsurprisingly, Russian readers tended to use Western and Russian science fiction as a frame of reference in their interpretation of Chinese science fiction. Scholar E. Iu. Potapchuk compared Liu Cixin’s Three-Body Problem with Stalnislaw Lem’s “The Star Diaries.” (Potapchuk 72) Karaev found the parallel between Han Song’s Ditie 地铁 (Subway) and Russian writer Dmitrii Glukhovskii’s Metro 2033 a little far-fetched (Karaev 16).  However, when the two writers met each other in 2013 in Beijing, they told journalists of Chinese magazine Xinzhoukan 新周刊 (New Weekly) that many aspects of Chinese Ditie and the Russian Metro 2033 were comparable, especially, their political allegory. (Zhang) After reading Chen Qiufan’s Waste Tide in Russian translation, Russian writer Zhanna Poiarkova wrote, “Chinese science fiction has its own characteristics, the most important of which is that they are always social novels, not genre fiction as a simple person would understand it. Thus, it is very interesting to read how it addresses the economic problems of silicon island and the spread of digital narcotics… I don’t see the calls for rebellion which is quintessential in their western counterpart” (Fanzon). Reading Liu Cixin’s Three Body Problem, Sergei Sirotin found “the social” element strikes him the most. Sirotin wrote, “Liu Cixin’s fantastic plot, similar to all the good social science fiction e.g., the works of the Strugatsky brothers, follows the concerns in reality. The portrayal of aliens is not an idle imagination of the writer, but an attempt to sharpen the terrifying realities that reign on Earth.”  These accounts show that Russian readers seek to find an alternative possibility of science fiction in China.   

Contemporary Chinese science fiction still remains an understudied field in Russian Sinology, compared with the consistent scholarly interest in Chinese fantastic literature since the early twentieth century. In the 1910s, when the young Russian Sinologist Vasilii Alekseev was conducting research in China, he faced criticism from his Chinese xiansheng (teacher). They told this future Russian academician that one should focus on the Confucian canons rather than the low-brow texts, e.g., Pu Songling’s Strange Stories. However, Alekseev believed that fantastic literature was “the literature of the people,” and later published four volumes of Russian translations of Pu Songling which had become popular books since the Soviet era. Russian Sinologists of later generations, e.g., Pavel Ustin and Boris Riftin carried on studying classical Chinese fantastic literature. I believe that the publication of the aforementioned translations will certainly foster more academic projects on contemporary Chinese science fiction in Russia.


WORKS CITED

Arenev, Vladimir ed. Stranstvie trekh tsarei. Kharkiv: Klub semeinogo dosuga, 2016. 

Fantlab. https://fantlab.ru/publisher7276. Accessed 19 Jun 2020. 

Fanzon. https://fanzon-portal.ru/portal/about/ Accessed 13 Jun 2020.

Fanzon. “Prochitat’ stoilo:” Heresy Hub o romane “Musornyi priboi” Chenia Tsiufania, 9 June 2020. https://fanzon-portal.ru/press-center/news/knigi/prochitat-stoilo-heresy-hub-o-romane-musornyy-priboy-chenya-tsyufanya/ Accessed 13 Jun 2020. 

Glushkova, Olga. https://knizhnik.org/lju-czysin/zadacha-treh-tel/1 Accessed 13 Jun 2020. 

Karaev, Nikolai. “Fantast v Kitae bol’she, chem Fantast. Istoriia nauchnoi fantastiki Podnebosnoi,” Mir fantastiki, no.3, 2015, pp.6-19.

Kharitonov, Evgenii. “Za velikoi stenoi: (Fantastika v kit. lit),” Esli, no.1 (1998): pp. 247-260. http://www.fandom.ru/about_fan/haritonov_09.htm Accessed 19 Jun 2020.

Liu Tsysin’ “Zabota o Boge,” Mir fantastiki, no.3, 2015, pp.116-124.

Nakamura, Dmitrii. https://knizhnik.org/lju-czysin/temnyj-les/1/ Accessed 13 Jun 2020.

Potapchuk, E. Iu. “Dialog fantastov Kitaia i zapadnoi Evropy v sovremennoi literature,” Tendentsii razvitiia nauki i obrazovaniia vol. 50, 2019, pp. 70-73.

Pikhtovnikova, L. S. and A. I. Motrokhov, “Kompozitsiia i Stil’ fantasticheskogo rasskaza Sia Tsia 《百鬼夜行街》(«Ulitsa prizrakov»), Visnik Kharkivs’kogo natsional’nogo universitetu imeni V. N. Karazina 89, 2019, pp. 24-28. 

Sirotin, Sergei. “Kitaiskaia fantastika. Liu Tsysin’ Zadacha trekh sil,” Ural, no.3, 2018. http://noblit.ru/node/3578. Accessed 19 Jun 2020.
Zhang, Dingge, https://www.cdstm.cn/theme/khsj/khzx/khcb/201710/t20171012_614661.html. Accessed 19 Jun 2020.


Jinyi Chu is assistant professor of Slavic languages and literatures at Yale University. He received his PhD from Stanford University. He is completing his first book project, Russian Modernism’s China. He is a member of the advisory board for the World Science Fiction Book Series, Peter Lang. 

Sino-American SF: Trans-National Participatory Culture and Translation


SFRA Review, vol. 51, no. 2

Symposium: Chinese SF and the World


Sino-American SF: Trans-National
Participatory Culture and Translation

Nathaniel Isaacson

A certain set of clichés, especially in popular discourse, has emerged in discussions of Chinese sf–namely, the notion that China’s ascendance to global prominence in the realms of science, technology, economy and politics explains the rise of Chinese sf. To put it more simply, China has mastered science and technology, and these are the necessary conditions for the genre to flourish. This is doubtlessly true, and as the global COVID-19 pandemic progresses, this process seems to intensify the feeling that real life is stranger than fiction, and to trouble long-standing figurations of authoritarian states as irrational dystopias and western democracies as utopian bastions of freedom and reason. At its most strident, this discourse conflates national strength and literary creativity, using the vocabulary of weaponry to hail a flourishing genre. Henry Jenkins has suggested that the anxieties of media imperialism that anticipate the threat of cultural homogenization brought about by the ubiquity of American media, “[blur] the distinction between at least four forms of power: economic (the ability to produce and distribute cultural goods), cultural (the ability to produce and circulate forms and meanings), political (the ability to impose ideologies), and psychological (the ability to shape desire, fantasy, and identity)” (156). A similar blurring informs the discourse of Chinese sf as a sign of national might, eclipsing the significance of fan cultures. Behind the rise of Chinese-language sf, other critics have pointed to the complementary roles of corporate entities and the political organs of the PRC. While this too is indisputably an important aspect of the present visibility of Chinese sf, I would like to encourage consideration of how shifts in American culture and global fandom have also played a role, often at a very personal level and with rather unforeseen consequences. 

As a trans-national genre in a world of instantaneous global communication, translation and global fan cultures have made important contributions to the global popularity of Chinese sf. I argue that contemporary Chinese sf and sf studies have been profoundly shaped by trans-national circulations of knowledge in the digital era. Second, I argue that the position of Chinese sf in the American cultural field differs from Chinese sf in the PRC, and that points of contention in American political and popular culture have helped shape the global reception of the genre. Henry Jenkins’ discussion of “pop cosmopolitanism” is useful in understanding how Chinese sf resonates in academia and popular culture in the United States and beyond. Jenkins argues that, “global convergence is giving rise to a new pop cosmopolitanism. Cosmopolitans embrace cultural difference, seeking to escape the gravitational pull of their local communities in order to enter a broader sphere of cultural experience. The first cosmopolitans thought beyond the borders of their village; the modern cosmopolitans think globally” (Jenkins 155-156). Examples of this phenomenon include cultural products like Japanese anime and manga, south Asian films and music, and Hong Kong action films. Chinese sf could well be included as a new wave in this phenomenon. This cosmopolitan media landscape is characterized by “the rapid flow of images across national borders in an age of media convergence, a flow that is facilitated by commercial strategies… and by grassroots tactics…those media flows are apt to be multidirectional, creating temporary portals or ‘contact zones’ between geographically dispersed cultures” (154). In the case of Chinese sf, personal networks of communication between authors and translators, and ease of publication online constitute one such set of “contact zones” and “grassroots tactics.” This essay offers a preliminary consideration of how academic knowledge, cultural production, and fandom are part of this trans-national cultural ecosystem. 

Alongside what is to me the “new” approach of examining sf fandoms and networks of translation, this paper would not have been possible without the generous participation of a number of translators and authors, including Ken Liu, Regina Kanyu Wang, Andy Dudak, and Emily Jin. Their observations were vital to my argument, and in many cases, because I have found their observations and opinions about Chinese sf to be more novel or quite different from my own, I have included their thoughts, occasionally quoting them at great length. Outside of a few instances where I found those I interviewed had interesting critiques of the genre to share, I limit definitions and discussion of sf as a genre or form to a few comments offered by those I interviewed for insight into how Chinese sf is perceived in the US. 

In an interview with author and translator Ken Liu, he suggested that grassroots efforts in promoting sf as a global genre have been more impactful than the corporate and national models alluded to above. Liu argues, 

I want to draw a distinction between the effort to promote Chinese SF in the PRC by (1) various governmental entities; (2) commercial interests; and (3) fandoms. I think (1) and (2) have largely not been all that impactful, for reasons that should be obvious to anyone involved in the arts. Three is something I’m genuinely interested in and happy to see. But only time will tell if this interest is sustainable and can generate more interesting works. (Ken Liu) 

The PRC has been hard at work engineering its own version of the Korean Wave-a pop-cultural engine for exporting soft power and a sense of global cool that complement its national standing in science, technology, military and economic might. Observing that states and corporations can only do so much in terms of promoting the arts, Ken Liu argues that the more inspiring (if potentially also unsuccessful) aspect of this occurs outside of commercial or official channels. Sf seems to have more cachet than ping-pong and pandas, but it is the fans who decide if they are interested, not corporations or bureaucracies.  

Jenkins argues that “grass roots intermediaries” profoundly influence the ways in which Asian cultural goods are transplanted and translated into Western markets (162). Jenkins names “the role of the South Asian diasporic community (the “desi”) in preparing the way for Bollywood films and Bhangra music, and the role of western fans (or the “otaku”) in insuring the translation and circulation of Japanese anime and manga” as examples of such intermediaries. In the case of both, Jenkins argues that informal networks of translation brought these cultural products to American audiences before they were seized upon as potential sources of profit by any corporate entity. Initially through diasporic fans, and later pop-cosmopolitan cultural outsiders served as conduits through which new cultural forms and linguistic competencies took hold in US consumer culture (Jenkins 162-166). A similar process has taken place with the rise of Korean popular culture in the form of serial television dramas and popular music. This could also be identified in the “kung-fu craze” with the popularity of Hong Kong martial arts cinema in the 1970s, and is well underway in the introduction of Chinese sf to American audiences. 

In the case of Chinese sf, one of the most important relationships, and clearest examples of a grass roots intermediary would be Chen Qiufan’s relationship with translator and author Ken Liu. I quote him at length here, because his reflections on how his original work came to be published in Chinese, and how he began to translate contemporary sf into English speak to the deeply personal nature of the global circulation of Chinese-language sf: 

Chen Qiufan reached out to me because I was gaining some international attention for my fiction, and he had read some of my stories on the web. He liked them and wondered if I might be interested in having them translated into Chinese and published in China in the world’s biggest sf magazine, Science Fiction World…. He put in so much effort just to help another writer reach a new audience. I was deeply moved. It was, I think, not just a demonstration of his selfless character, but also an act that encapsulated the warmth, generosity, and dedication of sf writers and fans across the world in helping one another to gain access to more literature of the fantastic.

When I found out that he was a writer, I asked to read some of his stories.

I was immediately struck by Chen’s unique voice and powerful imagery, and how he was making Modern Standard Written Chinese do things that I hadn’t thought was possible. This impression would later be further enhanced as I read his other stories that sought to stretch and redefine the potential of writing, including a story written in Classical Chinese and stories that showed the full polyphonic range of contemporary Chinese vernaculars. Moreover, he was making so many keen observations about futurism, about our uneasy relationship with technology, about our struggles as actors of conscience against impersonal authority… I felt like I had found a kindred soul, a writer who was passionate about the same things I was, but was doing so from a different perspective.

I wanted to help Chen find readers outside of China, and especially wanted to introduce his work to my fellow Anglophone readers. Such beauty must be shared! So I offered to help translate his story into English and find a market. Since I had no prior interest or experience with literary translation, I had to cram translation theory and apprentice myself to skilled experts to learn the craft until I learned enough to do his story justice. (Ken Liu)

Two of the most important voices in contemporary Chinese sf found a connection over the world wide web, and resonances in one another’s fiction. Other academics and fans-myself included- were working on translation at roughly the same time, but Ken Liu’s translation is acknowledged as some of the most capable, and he has been by far the most prolific and popular translator of the genre into English.  

In his request for financial backing from fans, editor Neil Clarke’s Kickstarter campaign for the Clarkesworld Chinese science fiction translation project stated, “Clarkesworld Magazine has always aspired to publish stories from a global pool. It’s our opinion that different perspectives make the genre stronger” (Neil Clarke, Kickstarter). Clarke notes on the Clarkesworld editor’s notes page, “In August 2011, we published our first translation, “The Fish of Lijiang” by Chen Qiufan, translated by Ken Liu. Over the next few years, we published a few more, thanks to Ken and John Chu. Unknown to us, those translations were generating some attention in China and one day, I woke to find an email from StoryCom in my inbox…with StoryCom and our Kickstarter supporters, we launched our translation project exactly five years ago this month. Since then we have featured nearly fifty works of Chinese science fiction” (Clarke, Editor’s Desk: A Bucket…). Once the deal with StoryCom was reached, the team of consultants was broadened to include Liu Cixin, SF World editor Yao Haijun, educator and author Wu Yan, and China Film Group scriptwriter Zhang Zhilu. 

Among these many translations, the most significant is doubtlessly Liu Cixin’s Three Body, which won the 2015 Hugo Award for Best Novel. Liu Cixin winning the Hugo Award represents a seismic shift in American sf fan culture at a moment of profound contention about access and inclusion in genre fiction and fandom. This was the first time a Hugo Award was given to an author from outside of the US, Canada, or Great Britain. The Hugo Awards, hosted by the World Science Fiction Society Convention, have selected the “best” in sf since 1953, but these awards have been by default Anglophone, American, white and male (Aidan Walsh, “Whose Rocket”). A statistical analysis by James Nicoll in 2015 found that Hugo Award finalists and winners are predominantly male, and American (Nicoll). 

In the tumultuous early decades of the United States’ 21st century, fan communities have become a site for political struggle resulting in, for example, “a strong connection between the men’s rights movement and fan communities” (Wilson 431). Originally conceived as a fan site, platforms like 4chan grew into internet subcultures, and influential in the spread of political movements like the alt-right and Anonymous. Fan consumption and criticism of popular culture is imbricated in the United States’ contemporary contestation of the legacies of social inequality. In the wake of Three Body being named Best Novel, African American author N. K. Jemisin won the award three years in a row, in 2016, ‘17, and ‘18. Jemisin, whose works deal directly with themes of cultural conflict and oppression, was notably the first African American woman to win the award (she is also the first author to win three years in a row). Her successes seem to represent the end of a backlash among aggrieved Hugo Award voting fans anticipating the loss of what they perceived as the exclusive provenance of a de-facto white male space that decried multiculturalism and politically critical writing beginning in 2013.  

I contend that the rise of Chinese sf outside of East Asia can be understood in part as the product of a serendipitous development (and minor victory) from within the confines of the ideological contradictions of the United States. Acknowledging that this argument is highly problematic, potentially conflating fiction written originally in Asian languages with English-language fiction by American authors of Asian descent, I would like to suggest that the success of Chinese sf and recent successes of minority-written genre fiction in the US are part of an overlapping cultural shift. This shift has taken place in the context of a fierce debate in fan culture regarding the value of diversity in representation and political messaging in popular culture. This is visible in the Sad Puppies-a contingent of Hugo voters emerging in 2013 and led initially by Larry Correia, an author who opposed the political content of what he saw as “heavy-handed message fic” (quoted in Wilson 441). The Sad Puppies were soon joined by the more strident Rabid Puppies who made no bones about their racism, misogyny, and homophobia. Another debate along similar cultural lines was Gamergate, a term of “used as a rallying point for a few different movements,” accusing game developer Zoe Quinn of trading sexual favors for positive reviews, and attacking blogger and gamer Anita Sarkeesian for her vlog “Feminist Frequency,” which criticized misogynistic representations of women in video games from a number of different perspectives (Wilson 439-440). It is in large part because of an American fan backlash against perceived favoritism for diversity and political correctness that Liu Cixin’s novel was even able to win the award. The entire slate of nominees the year prior was notable for its unprecedented diversity, 

In 2014, more women were nominated than men than ever before. Among the winners were Ann Leckie’s novel experimenting with an alien race that does not distinguish between males and females (Ancillary Justice), John Chu’s short story celebrating homosexuality (“The Water That Falls on You from Nowhere”) and Kameron Hurley’s essay on women in science fiction (“We Have Always Fought”). More than in any previous year, the 2014 Hugos honored people of color, LGBTQ people, and women. (Schneiderman) 

Distancing himself from the politics of the moment, and wanting to be judged purely on the merits of his novel, Kloos wrote, “the presence of Lines of Departure on the shortlist is almost certainly due to my inclusion on the “Rabid Puppies” slate. For that reason, I had no choice but to withdraw my acceptance of the nomination. I cannot in good conscience accept an award nomination that I feel I may not have earned solely with the quality of the nominated work” (Kloos). Wanting to avoid association with the affair entirely, author Marko Kloos withdrew his novel Lines of Departure from the best novel category, allowing Liu Cixin’s Three Body to replace it. Deirdre Saoirse Moen’s “puppy-free Hugo Award voter’s guide” helped those opposed to the puppy agenda overcome the attempted manipulations of the Sad Puppies voting bloc. At the same time, vote manipulation and voters electing to vote for no winner meant that “many of the Hugo Award categories for 2015 did not name a winner and the awards went unclaimed” (Wilson 441). This is not to detract from the quality of Liu Cixin’s work, but to contextualize the political climate in which it was assessed in the United States. 

The affirmation of the Hugo Award led to increased sales of Liu Cixin’s work in the PRC, such that his novel was one of the top sellers in hard copy and e-books for 2013-2018, a full decade beyond its original publication. The success of Liu Cixin and Hao Jingfang in the Anglophone market in turn led to increased interest in Chinese sf, part of a circulation of cultural capital by which China’s national literature operates in the context of national language, but is often concerned with its validation as world literature. Private investment has led to further efforts to promote Chinese sf in translation and to capitalize on the push for multiculturalism in publishing in the US. Regina Kanyu Wang states that, “foreign magazines/publishers are in need of stories, led by the ‘diversity’ needs of the US market, followed by other language markets” (Wang). Wang adds that later media coverage identifying Barack Obama and Mark Zuckerberg as fans also played a role in helping recirculate the image of Chinese sf as a member of the clique of global cool. 

The Chinese publishing industry is definitely happy to see Chinese sf being translated into other languages. In one aspect, if it’s a state-owned publisher, it’s a way to do cultural exportation, which is usually occupied by non-fiction books. In another aspect, if the book is translated into other languages and even win some awards, it will bring more attention to the book and the author domestically, like the saying: “出口转内销 chukou zhuan neixiao” – exportation turns into domestic sales. (Wang)

Paradoxically, Chinese literature and cinema have long sought the affirmation of the international market but these same works may be accused of pandering to foreign audiences. Ken Liu states that this, “to me is emblematic of the problematic ways in which aspects of contemporary China’s self-narrative is enmeshed in and codependent on external validation” (Ken Liu). It would seem that even as American diplomatic, military and economic influence wane, American consecration of popular culture continues for the moment.   

Chinese sf in translation is a very different entity occupying a very different cultural field than its original ecosystem. Translations made for Anglophone audiences occasionally alter the stories to reflect contemporary American sensibilities regarding gender and political correctness, and some of these edits have made their way back into the Chinese-market versions of the books. In my communications with translators, many questioned the coherence of Chinese sf as a genre, and noting that beyond sharing a common source language, they represent a highly diverse category of fiction. Ken Liu interrogated the value of the label Chinese sf, pointing out differences between authors, arguing that their works “have different political, social, and aesthetic stances and engage with Power and Privilege from different vantage points. I don’t see any value in trying to lump them in together and make claims about them collectively” (Ken Liu). Andy Dudak likewise noted, “the Chinese view of their own sci-fi must be way more nuanced and complex than the American view seeking common defining Chinese sci-fi characteristics” (Dudak). 

Although I personally have chosen to avoid a lengthy genre definition in this essay, I find Ken Liu’s thoughts on the question of Chinese sf and its popularity among American audiences refreshing and challenging: 

I’m not convinced that “Chinese sf” is a coherent category (analytical, marketing, or otherwise), and neither am I convinced that there’s a coherent, sustained interest among Anglophone readers for the category. I tend to resist all generalizations and categories, and this ideological commitment drives my analysis.

I don’t think “Chinese SF” is as useful a description of a marketable category of literature the way a genre label is (though as I’ve often said, I don’t even think genre labels are helpful and use them only reluctantly and under protest). “Chinese sf” basically seems to mean speculative fiction written in China by Chinese writers. But just as no one can coherently claim that all speculative fiction written in the US by American writers all adhere to some model, no one can claim such a thing for “Chinese sf” either.

Rather, I’ve always approached Chinese sf as a diverse collection of individual works by individual authors, with no interest in pushing some collective label or uniform analytic framework on them. (Ken Liu)

Liu goes on to enumerate a number of authors he has translated, noting that despite their vastly different literary styles and thematic content, many have moved him to tears. Which is to say, regardless of the specific nature of the genre, he translates what resonates with him.  

Nevertheless, Chinese sf has resonated with American fans. This is perhaps because sf is an inherently global genre, born in an era of intense economic and technological globalization; one that speaks even more strongly to a set of struggles shared globally in the present moment. Regina Kanyu Wang, author and Market Director and StoryCom-a startup that helps sell Chinese sf to foreign publishers-posits that this global appeal is based in globalized interests and concerns, pointing to “artificial intelligence, psychological diseases, climate change, electronic wastes, alien invasion” as themes that resonate beyond national borders (Wang). Like literature more broadly, good sf will presumably transcend the ideological confines of the nation state, speaking to a universal human condition. 

French translator, editor and professor of Chinese studies Gwennael Gaffric has explained how Liu Cixin’s Three Body series “has now been translated [either in whole or in part] into some fifteen languages. The vast majority of them-with the exception of the Korean translation-were done after the English release of the first volume” and that the novel being awarded the Hugo Award had “undoubtedly contributed to a massive editorial impulse […] In addition, the English-language version of the novel (or novels) continues to serve as a reference for literary agencies that hold the translation rights of Liu’s trilogy, whether in terms of the content of the translated version or the paratextual architecture […] The Italian translation was thus made from the English version. [It is]notable that in several translated versions, (French, German, Spanish, Italian, Portuguese and Turkish), the name of the extraterrestrial planet located on Alpha Centauri and which is at the core of the trilogy has been translated as “Trisolaris,” as in the English version.” Gaffric goes on to note other instance of paratextual standardization included reusing the English-language cover design, and transcribing Liu Cixin’s name surname last, contravening editorial policy for translated work in German, Italian, and Spanish that preserves author’s names like Yan Lianke as they appear in Chinese (Gaffric 118-119). 

This activity takes place in the context of a vibrant atmosphere of translation and scholarship that I am ill-equipped to address in any comprehensive form. To my knowledge, this includes PhD students, scholars, and research groups funded by national programs in the UK, France, Belgium, and Switzerland. This also includes numerous conferences, fan magazines, podcasts and blogs in Germany, Italy, the UK, and the Czech Republic. Finally, this also includes concerted efforts in translation by publishers in many of the above countries. As the field of Chinese sf studies grows in global prominence, further consideration of the role of fan communities will play a vital role in understanding its global significance.


WORKS CITED

Booth, Paul. A Companion to Media Fandom and Fan Studies. Hoboken NJ: Wiley Blackwell, 2018.

Clarke, Neil. “Clarkesworld” Chinese Science Fiction Translation Project.” Kickstarter.com Updated 29 Jan 2019. Accessed 16 Jun 2020. 

—–. “Editor’s Desk: A Bucket of Things.” Clarkesworld, Issue 160, Jan. 2020. Accessed 15 Apr. 2021. 

Dudak, Andy. “Interview – Chinese SF Translation.” Received by Nathaniel Isaacson. 11 May 2020. Email Interview.

Jenkins, Henry. “Interactive Audiences? The “Collective Intelligence” of Media Fans.” Fans, Bloggers and Gamers: Exploring Participatory Culture. New York and London: NYU Press, 2006. 134-151. 

Kloos, Marko. “A statement on my hugo nomination.” Markokloos.com. 15 March 2015. https://www.markokloos.com/?p=1387 accessed 15 Apr. 2021.

Liu, Ken. “Interview Questions.” Received by Nathaniel Isaacson, 28 Apr. 2020. Email Interview. 

Nicoll, James Davis. “Gender and the Hugo Awards, by the Numbers.” Tor.com. 9.10.2019. https://www.tor.com/2019/09/10/gender-and-the-hugo-awards-by-the-numbers/ accessed 15 Apr. 2021.

Schneiderman, Miles. “Sad Puppies, Rabid Chauvinists: Will Raging White Guys Succeed in Hijacking Sci-Fi’s Biggest Awards?” OpenDemocracy, 21 Aug. 2015.

Stanfill, Mel. “The Unbearable Whiteness of Fandom and Fan Studies,” in Booth, 305-317.

Walsh, Aidan. “The Rocket Crew.” Aidanrwalsh.com, 17 Apr. 2015. https://aidanrwalsh.com/2015/04/17/the-rocket-crew/ Accessed 15 Apr. 2021.

—–. “Whose Rocket?” Aidanrwalsh.com, 16 Apr. 2015.  https://aidanrwalsh.com/2015/04/16/whose-rocket/ Accessed 15 Apr. 2021. 

Wang, Regina Kanyu. “Your paper on Chinese SF studies.” Received by Nathaniel Isaacson, 31 May 2020. Email Interview. 

Wilson, Katie. “Red Pillers, Sad Puppies, and Gamergaters: The State of Male Privilege in Internet Fan Communities,” in Booth, 431-445.


Nathaniel Isaacson is an Associate Professor of Modern Chinese Literature in the Department of Foreign Languages and Literature at North Carolina State University. His research interests include Chinese science fiction, Chinese cinema, cultural studies, and literary translation. Nathaniel has published articles in the Oxford Handbook of Modern Chinese Literatures, and journals including Osiris and Science Fiction Studies, as well as translations of non-fiction, poetry and fiction in the translation journals Renditions, Pathlight and Chinese Literature Today. His book, Celestial Empire: the Emergence of Chinese Science Fiction, examines the emergence of science fiction in late Qing China and the relationship between science fiction and Orientalism. 

The Wind of the Future Blows from China


SFRA Review, vol. 51, no. 2

Symposium: Chinese SF and the World


The Wind of the Future Blows from China

Francesco Verso

For years science fiction seemed to have lived in a suspension state, even a slow death, an agony of ideas caused by the fact that it has come mostly from a single market, a single language, a single lifestyle and thus a limited point of view to represent the immense diversity of the future. Then, all of sudden, 5 years ago, Liu Cixin’s Hugo Award (the first ever Non-English speaking author to win in more than 70 editions) changed the situation. Still, nobody knew about Chinese sf and at conventions in the West people were commemorating the death of sf and complaining about the rising of fantasy (except for commercial sales claims and big-industry blurbs which don’t necessarily mean quality of books).

I’ve come across Chinese SF thanks to Ken Liu’s translations in English on the magazine Clarkesworld, and then to Chiara Cigarini and Professor Wu Yan, who have introduced me to this “new futuristic world.”

Indeed, it was a true revelation, mostly because I was scouting non-English stories for my small press Future Fiction and because I wanted to prove that science fiction doesn’t belong to any culture but it emerges as a social necessity and a tool to imagine possible scenarios to tackle human problems through imagination and creativity even before technology and politics in all the countries of the world. 

Reading Chinese sf gave me a feeling of freshness and cautious optimism–even among the shadows and pitfalls of the incredible transformation and acceleration the country has experienced during the last 30 years–but in general a unique “sense of wonder” permeated many of the stories I’ve read: from climate-change, intergenerational scenarios in Liu Cixin’s “Yuanyuan’s Bubbles” to android caregivers employed to support an aging population in “Tong Tong’s Summer” by Xia Jia to the blessing app Buddhagram developed by a stressed marketing geek in Chen Qiufan’s “Coming of Light” or the use of a sign language to express what is missing from the Web in Zhang Ran’s “Ether.” All these ideas are coming straight from a rapidly-changing society that is living them on its own skin, sucking the essence of the future from a privileged point of view. To paraphrase Han Song, “you simply need to open a window in China to see a preview of the future.”[1]

These stories were too good and innovative–blending cutting-edge innovations developed by Chinese tech-companies with old traditions, philosophies, spiritualism and a popular folklore that dates back to more than 3000 years ago–not to appreciate them.

No other country can benefit from such a rich past and an innovative present like China. 

No other country–from fandom to scholars, from conventions to academic meetings–is investing so much energy and passion in science fiction like China. 

No other country has the level of support–including public sector grants and private institutions funding–like China.   

That’s an incredible leverage to use for boosting the storytelling of a huge, highly populated  country that has come to realize the power it holds in its hands and imagination to shape the future awaiting the whole world. 

Science fiction writers are well aware of this; that’s their virtue and vice, like fortune tellers they are sometimes praised for their intuitions and wild guesses while most often, like Cassandras, they are ignored or criticized. The old generation of Chinese sf writers were shyly trying to imitate Western canons, ashamed to represent their reality and to offer their own identity to the judgment of the outside world, while the new generation–namely “balinghuo” – speaks English, has travelled or studied abroad, reads books in original language and is proud to sit among the so-called developed countries. 

Nowadays Chinese sf writers can speak for themselves and don’t need to look at the West to produce excellent ideas and contents. 

I even think they could lead the way to show what’s behind the corner for humanity in the stories of the latest generation of writers, called “linlinhuo,” born in the new millennium: geo-engineering projects, socio-technological mass experiments, biotechnological breakthroughs, the raising of AIs and algorithms biases, Big Data-driven virtual relationships, a self-sustainable industry running on solar energy and renewable resources, a 5G low-latency and environmentally friendly metropolis of 20 million people… In China these concepts are science fiction and mainstream at the same time, and are being used to build future case scenarios and matrixes for projecting long-term policies into the future of mankind.

I’ve visited China 6 times in 3 years and I’ve published in Italy three anthologies of Chinese sf(in Chinese and Italian language), Nebula (星云), Sinosfera (汉字文化圈) and Artificina (赛博格中国) and collections of stories by Han Song, Xia Jia, Chen Qiufan, Regina Kanyu Wang and soon Mu Ming. 

China has welcomed me with interest and generosity. I have been invited to many sf cons, I have been appointed as Honorable Dean of the Chongqing Fishing Castle Workshop of Science Fiction, I’ve signed contracts–as writer and editor–for Guangzhou Blue Ocean Press for an anthology of international sf called “What’s the future like?” and Bofeng Culture to publish two of my novels, Nexhuman and Bloodbusters, and a series of books about sf in translation. 

I believe we need to include as many futures as possible to embrace more realistic visions of the direction where the world might go. 

I believe we need to diversify voices, backgrounds and cultures to be sure that we will not leave something relevant behind. 

I believe the evolution of the genre passes from its ability to mingle with the “other,” wherever it comes from, however it looks like, because sf is fiction of transformation and it’s about overcoming barriers and limitations, often posed by language, politics and economy. 

The future is like the wind, it blows in all directions. Now it’s blowing from China and we should welcome it and enjoy it.      


Notes

[1] Science Fiction Studies, v. 40, March 2013, p. 18.


Francesco Verso is a multiple-award Italian Science Fiction writer and editor. He has published: e-Doll, Livido, Bloodbusters and I camminatori (made of The Pulldogs and No/Mad/Land). Livido and Bloodbusters – translated into English by Sally McCorry – have been published in the USA, UK and soon in China. He also works as editor and publisher of Future Fiction, a multicultural project, publishing the best SF in translation with authors like James P. Kelly, Ian McDonald, Han Song, Ken Liu, Liu Cixin, Pat Cadigan, Vandana Singh, Chen Qiufan and many others. He may be found at www.futurefiction.org.

1761



1761

Tang Fei
Translated by Xueting Christine Ni



A

61

He was fleeing; he slid the SIM out of his phone, snapped it and ground the pieces under his foot before throwing the handset into the westward torrent of the river. Using a mirror in the supermarket bathroom, he cut open the epidermis of his neck and dug out the social security chip. Then into the back of his thigh to find the extrasensory jammer and the low-frequency capillary sanitizers which lay along the arteries. He wrenched them all out, and hurled them all in a bundle through the window and into a passing rubbish truck. Relying on natural instincts, he dived into the maze-like world of the Metro, and found his refuge on a long stretch of disused walkway. 

All of this, I saw. 

I watched him remove everything that could be used to track his location from about his person and throw them away, forming beautiful trajectories against the dusky scarlet clouds of the northern sky.

Like the others, he naively believed that by removing these tracking devices, they would never have to worry about being traced, that they would truly be invisible in this metropolis. Provided there is no incident, I would let them live on in this kind of illusion. 

If several years pass without them harming man or beast, I would remove their names from the watch list. Their illusion would no longer be an illusion. They could lead the ordinary lives they thought they already had.

No one would know they were Neumodded. Like damaged products that have been refurbished in accordance with strict quality control, they would be discretely replaced on the shelf. And I, unbeknownst to the products, am that quality controller.

I watched him dash into a disused suburban subway. It isn’t much safer in DiXia than above. He was very alert, picking his place on an unoccupied platform on the periphery of the station, sleeping in a hidden recess where the tracks join the platform, setting up a fake bed two to three metres away from his actual sleeping place, even setting up simple booby traps: the kind that can be found in encyclopedias, using found tools like rat traps and beer cans. Virtually every moment, this man is taking the highest of precautions. The occasional shadow that strays into his territory, some by accident, others for opportune gain, would invariably trigger his defenses or be frightened away by the flash grenades he’d formulated. Those who choose to live in DiXia, usually don’t want trouble; or I should say, they’d already had a big enough dose to last them a lifetime.

The camouflaged infrared sensor constantly streams images. This is how I watched him making his nest in the darkness. I’ve even begun to admire him. 

He is only a basic Neumodded, having undergone just a small, routine operation. His files state very clearly: slight lowering in sensitivity of the NE/5-HT receptors in the cerebrum.  Among the several hundred monitor screens in the surveillance car, about 60 to 70% of subjects tracked have had that operation. 

Yet he is like no other. 

A born fugitive, he is agile, decisive, cunning and crafty. 

Nearly all Neumodded want to hide the fact they have been modified. But not all of them can confine themselves to a life in DiXia.

It was remarkable, removing every single implant from his body. Even though the Neumodded know that implants would render their location traceable, exposing their movements, very few go through with that. When I saw him come out of the supermarket, his trousers stained with blood, I froze in shock. It is said that before wars were all nuclear, old soldiers would open their wounds up, extract bullets from within, and stitch up the holes, all without the aid of anesthetics. I had never believed those tough guy legends were true, until that instant.

Was it really necessary to go to this length? I have monitored countless Neumodded, yet only this one has chosen the life of a fugitive. It’s as if he’s not only running from his past, running from his Neumodded status, but in doing so, running from humanity and civilization. I’ve started to become attached to him, and perhaps more than a little fascinated. I have to admit, I spend more time on him than on the other subjects, even if it wasn’t that obvious at first. 

Theoretically, I am responsible for several hundred Neumodded. Every monitor in the surveillance car constantly broadcasts their every action: the main computer is programmed to immediately alert the nearest controller or hospital, if there is a problem. In order to prevent the Neumodded from using interference devices or hacking the machine (and someone before had succeeded in doing so), the company employs human controllers to monitor the screens. Controllers select a random subject every hour to follow in forensic detail. 

Things getting out of control were sometimes inevitable, hence the “belts and braces” approach.  It gets tedious. The ways that people run and hide are more or less the same. But I like this job, leaping from one subject’s life to another’s, but watching from the outside, objectively. Until I saw him. 

By the time I became aware of this attachment, it was too late. Every day, I spend over half my time, totally focused on watching him on his screen.  I tried to change my position, but no matter where I am, out of the several hundred screens, my attention would be involuntarily be drawn to his. Even if I intentionally move it away, it would drift back to him before long. 

Oh yes, his number is 17. 

I don’t know his name. 

It’s difficult to work out how he learned all these survival tricks and strategies: setting up snares, using old batteries and junk he found in rubbish to make those flash grenades. He wasn’t born with these skills and had no net tutorials to rely on. His files say that he doesn’t have that background. Through careful observation, and putting these observations into practice, he seems to have acquired the skills that would ensure his survival. There is a kind of process there, but something remains hidden. 

In the beginning, he was dreadful. He woke up from the operation into utter confusion, exhibiting extreme reactions to stimuli, staring malevolently at a passerby. He looked at people with a horror that words could not describe. I have never seen such a gaze from another living thing. A gaze that seemed to pierce through the world of the living, all the way to hell. It was as if he were confronted with tens of thousands of megabytes of information from humanity’s history, his whole face twisted under the weight of all this data. Whenever I replay those clips, I focus the camera to his face, zoom in and zoom in, until those eyes fill the entire screen. Those beautiful brown irises, the molecule-scatter ray penetrating the stroma, shining onto the black pigment and into the pupils. Those mysterious, pitch black pupils. In what distant deeps or soaring skies were those retinas burned so deeply? 

That data is unavailable.

Even if the image is so zoomed in that the pigment inside every cell of the iris is visible, the visuals cannot tell. 

What exactly does he see? Or think he sees?

I want to know. 

The pedestrian he glowered at was startled. I was just about to stun the subject, my finger curling round the trigger—this was the first time I’d had to take extreme safety measures against a Neumodded—but he suddenly leapt up and darted away, half stumbling, half crawling. His escape was pathetic to watch, collapsing into every possible thing he passed. About fifty or sixty metres into his run, he began to recover. I wrote my analysis on the form, my conclusion concurred with that of the mainframe: the Neumodded’s condition was stable. Continue observation. 

Not long after that, he found his hideout in the abandoned metro station, and sank into the world of DiXia, the hole where hoodlums go to disappear. He has adapted very well, for a newcomer. He has no physical prowess, by any account, nor does he have weapons or money, yet he manages to stay out of anyone’s control by his sheer wits. 

Once, deep in the night, he stalked the city’s top eating places, in search for some high-calorie food, rather than the usual left-over junk in discarded paper bags. He came across a leather coat at the entrance of a car park. The coat was huge, not his size, but would make a warm blanket for the winter. Just as he pulled the coat on, a tramp, towering two heads taller appeared behind him. “That’s my leather coat,” he said to 17.

“Oh, and you just happened to lose it?”

“I left it outside the bar, took it off before a fight. The little bastard took a lot of punches.” The big fellow pressed towards him slowly. 

“Outside the bar”? 17 eyed him quickly before stating emphatically, “This coat’s not yours.”

He shifted his gaze to everything he could possibly focus on, avoiding looking directly at the tramp. 

“Kid, you lookin’ for a fight?” His companion was losing patience. 

17 raised his gaze slowly to meet the tramp’s. Instantly his eyes became vacant, his body trembled in pain, but he bore it, or should I say, he seemed to welcome it, as if something had entered his body. He face looked lost: the empty look that one only assumes when one puts all their focus, spirit and energy into one single thing. During the last few playbacks, I grasped the bewilderment and dejection that crossed his face. On the whole, it feels as if this person has shifted away from any dimension where he was physically present. 

The tramp clearly didn’t notice this change, nor did he sense the strange scent of danger emanating from 17. If I were him, I would have. 

To the tramp, 17 was just another luckless vagrant, who looked skinny, weak and way under his weight class. So he made the first move. He took a swipe at 17’s collar. 17 couldn’t dodge it, and he was pulled in close. The tramp was about to rip the coat off his back, but all of a sudden, his arms went limp and fell to his sides.

The tramp started to howl, dropping 17, and collapsing into a heap, both hands shielding his left knee. 

“Bastard, hand that over.” He attempted to snatch something from 17. This time he wasn’t after the jacket, but the humming photon interceptor in 17’s hand.  

17 stepped back to get out of his range.

“How did you know about my knee?” 

Had the vagrant not mentioned it, it would have taken extensive digging for me to find out that he had a bionic actuator. This kind of prosthetic is usually highly stable and wouldn’t normally glitch, unless there was interference on the exact wavelength from a nearby device. Which was precisely what 17 was holding. 

The giant had asked the question I wanted an answer to. How did 17 know his attacker had an actuator in his knee, and happened to have an interceptor set at the same frequency as the actuator? The tramp couldn’t figure it out, but his puzzlement didn’t stop the pain. His huge bulk completely folded up, he begged 17 to switch off the interceptor.

“It only works within 500 metres: look, I’ll test it myself.” 17 glanced at the device in his hand, his expression complex. There a mixture of pride, and concern. I would guess it was his first time using it. “Don’t come any closer.” 

17 backed away at a near run, and once out of range, turned to face his attacker. With the device now deactivated, he carefully approached the tramp who now sat slumped on the ground. His hulking mass was no longer threatening, but 17 still avoided looking at him, a slightly guilty expression passing his face.

He held out his hand to the tramp and mumbled something which the vagrant didn’t seem to hear. 17 was obliged to repeat it, his averted gaze filled with a few more degrees of shyness. “Give me his number.” He yelled. 

The tramp was stupefied. He probably had no idea he’d be counter-robbed. “What number? Whose number?”

17 held up the photon interceptor. “Every DiXia doctor gives their patients a contact number. The one who did your knee would have done the same. Like their patients, unlicensed doctors live a vagrant’s life to avoid constant danger. The contact number lets you put in a request for the doctor’s location at any time. The doctor can consent or decline, according to their circumstances at the time. Apart from this, the number has charging functions, when you top up to a certain amount of money there will be discounts and offers on medical fees. It keeps doctors’ and patients’ fates tied very closely together.”

“He didn’t give me a number, really, he didn’t give me any contact details. I’m telling the truth.”

The big man said that his doctor isn’t on the move, keeping his practice at the same place. He seemed as though he was going to keep the location a secret, but his eyes flicked to the interceptor in 17’s hand, hesitated for a moment, and he made a choice between further suffering and betraying his doctor. 

“You know why I’m asking.” The hint of a smile emerged on 17’s slim face. 

“Yeah.” The big tramp nodded and gave him the address of the underground hospital. 

The next day, 17 found that underground surgery, or at least the address the tramp had given him. It was more of a puzzle than an address: according to the tramp’s spoken instructions, the location was on a overhead walkway on a fly-over in the Port District. There was nothing on the walkway. This area is mainly deserted during the day. 17 stood in the blazing sun, staring at the rust-mottled railings in a daze, feeling a little exposed. He hasn’t been in sunlight for a long time. 

A soft graphene ladder rose up from the base of the walkway, climbing up until it hung on the railing to the right of 17. This was a kind of invitation. 17 stepped over the railings and grabbed hold of the rungs. The ladder slowly retracted, taking 17 into the structure suspended underneath the walkway. Incredible. 

An underground surgery hidden in plain sight, slung below an overhead walkway in a part of town where you never looked up.

The automatic doors close behind 17, almost clipping my sensor. 

“How did you find us?’ An old man emerged from the shadowy depths of the room. 

No, not actually an old man. It’s hard to tell someone’s age from their outward appearance, especially when their face has been operated on. Everything from the elusiveness in his gaze to his crooked gait spelled out “old, an age that connoted “harmless”. 17 lowered his head and gazed at his shoes. 

“A tramp told me.” 

The old man eyed him and detected the trace of embarrassment on his face. 

“How can I help you?” he asked.

“I want a spectrometer scan.” 17 took out a tidy pile of money from his pocket. 

The old man took it. “Of what?” 

“My brain.” 

The main computer was already on red alert. The red light on the top of the surveillance car was flashing urgently, flooding the entire interior of with a glaring red, making it resemble a murder scene. My blood pressure soared, my arteries about to explode. For some time after I’d unplugged the alarm, it still reverberated in my head, but even that was better than having to go through the damned post-report checking procedures. 

Until then, no Neumodded has ever requested a brain scan. What did he want to know? What was the problem? Every day, I check his behaviour against strict criteria; all calculations show that his statistics fall within the boundaries of normal. The operation was a definite success. Several days of trailing him proved that he was recovering well. 

What happened? I wanted to know what it was that he wanted to know. They say to never let the opponent get the upper hand, but 17 wasn’t my opponent. At least until now. 

Does he want to undergo reverse operations, and cancel the effect of the previous one? According to the Neumodded Monitoring Code, the monitor must take extreme measures against the subject in this situation. 

So what on earth are you trying to do, 17? 

I stared at a screen that was really no larger than my hand, not missing a single detail. carefully manipulating the position of the sensor’s camera, adjusting it to the exact angle I wanted. I was staring so hard my eyes nearly bled. 

The old man said as he switched off the scanner. “The results are out.”

In that instant, I almost felt my heart, synchronized with 17s, leaping out of our mouths. 

“Nothing abnormal. Only this, you see,” The old man pointed at the shadow over the occipital lobe on the cerebral hologram, and said “the number of neurons here is unusually high: your brain needs a much higher oxygen intake than normal people, so you’ve been feeling exhausted, and have difficulty breathing.  Just don’t do any extreme sports. Like fucking.” The old man smirked. He obviously liked this part of his job. “Only joking.” 

“I’m into animals, anyway.” 17 replied to the floor, before squeezing out a wry smile. “Only joking.”

The old man chuckled, suddenly he rushed towards 17, pressed down on his shoulders. 17 was quick to retaliate. They struggled for a while, their faces almost touching. “What happened to your eyes? Can’t you look at people?” The old man extracted a hand, grabbed 17’s chin and forcibly pointed it towards his own face. 

17 twisted his head left, but it was twisted back by the doctor’s hand. He closed his eyes, shrieked and begged the old man to let go. 

“You can take it for a little while. Don’t you want to know the answer to that question?”

As soon as he heard this, 17 calmed down. He seemed to use all his might to lift those eyelids that seemed so heavy, a drop of sweat trickled down his face. He opened his eyes, and slowly and turned his gaze towards the old man.

Then came another scream, it was hard to tell whether it was caused by pain, horror, or both. 

They looked at each other, faces almost touching. Two men so intimately losing themselves in each other’s gaze. Fixed in the posture of two barons from an opera classic, but with none of the humour or romance. 

17 was trying his hardest to move his body backwards, as if he wanted to merge into the wall behind him, to escape this invisible monster. He was obviously in a lot of pain. Veins pulsed explosively on his forehead, he gritted his teeth, but eventually, he shut his eyes, and the doctor moved away. When 17 opened his eyes again, I zoomed in. The entire screen filled up again with that pair of milk chocolate brown irises. Those wondrous capillary lines. I had never examined a person’s eyes so closely.  It felt mysterious that I could see his eyes so intimately, but could not see a thing that they saw. 

“What did you see?” I hovered close to the screen, the tip of my nose almost touching it. 

“It’s alright. Everything’s fine.” The old man’s voice came out of the speaker. 

I leant back, zoomed the camera out to a normal distance. In the upside-down room, the old man had already returned to his previous position. He spoke nonchalantly, as if nothing had happened before. 

“Tomatoes and Parma cheese.”

“What?” 17 was bemused. 

“Eat more of these things, and spaghetti bolognaise. Nothing to worry about. Your body needs more glutamic amino acids and calcium ions. To put it simply, they’re good for your brain.” 

“Got it…” 17 hesitated. 

“I saw the microsurgery wound. It’s very visible under the microscope. Don’t worry, I can confirm it was a routine modification.” The old man was soothing the concerns 17 hadn’t voiced. A profound understanding of human nature is also the professional remit of an underground doctor. 

“So, I’m totally fine?”

“You can’t be any more normal.” The old man shrugged. 

Explosion. Shrapnel. Both figures were thrown across the floor. Documents, receipts, small items and pieces of wallpaper were hurled through the hole torn by the charge, falling under the walkway. 

A masked figure emerged from the smoke and dust. Hanging upside down, the image resembled a mirage. Facing the surgery, he lifted both arms, curled his body into a ball and somersaulted at high speed towards the walkway. All performed in one smooth balletic act, which you couldn’t help but admire. The graceful agility and imaginativeness of this exit. By the time we reacted, it was too late. The masked figure had been carrying a gun. And he had fired a single shot into the room. 

It all happened too quickly. 

17 stared at the blood that flowed over the back of his hand in a stupor. The old man had collapsed into his arms. The bullet seemed to have hit his heart. The killer was an excellent shot. 

With blood gushing out like that, it looked as though the doctor was beyond saving. The old man grabbed hold of 17 with an energy that seemed to come from a final urge to survive; there was a mumbling which could hardly escape his throat. 17 started up: he knew he had to put distance between himself and the incident. Just as he freed himself from the old man, there was a flurry of footsteps. From a door he hadn’t seen before, a pack of burly male nurses rushed in, and immediately surrounded the old man.  

“I didn’t do it. I was a patient.” 17 steps to the side. 

They ignored him, carrying the old man into the next room, and beginning emergency rescue procedures. I could tell they were experienced. Fortunately, the old man’s heart was crooked, and the bullet only found a main artery. Any hospital would stock Cell Regeneration Serum, which would rapidly repair the damage. I looked back at the nurses, only to find their faces ashen, and their bodies slumped in despair. 

“You’ve got CeReg, right?” 17 threw a glance at the freezer. 

“It’s no good.” 

“Why not?” 

“We don’t know his blood type. So we don’t know which type of serum to use.”

“But his Social Security Chip! He’s still got one.”

“All the old man’s records, his name, age, blood type. All fake,” one of them informed him hesitantly. 

“He got a hacker to ghost him,” another of them added. 

Yes, any sensible underground doctor would find a way to change or delete their personal details. The mere thought of this info being stored by the state archives would be like sitting on a bed of needles. It wasn’t just DiXia’s doctors, but many who have forsaken the light have also forsaken their identity under the sun. For them, even death is better than being caught. Your true identity must, under no circumstances, be discovered.

“Can’t you do a cross-matching to find out?” 

“There’s no time.” The male nurse burst into tears. 

I watched him. Forgetting day and night. At first, it was for work, then it was out of curiosity, and now–I don’t know. Watching through the tinted windshield of the surveillance car, or from of the monitoring screen, a day at a time. Despite this, I still don’t understand, how things had got to this stage. 

They gambled with life. 

They won.

The old man was saved.

This is only one version of the story. One among the many different narratives that have spread across DiXia. 17 didn’t use weapons, nor did his body “glow with a halo that subdued all before him”. He was just as stunned as everyone else, just as helpless. The only difference is that he seemed to know something, yet couldn’t be sure. He acted as if he was compelled to blurt out the old man’s blood type, compelled to act like he knew. And in turn, everyone else had been compelled to believe him and act on it. 

“B, RH minus P,” 17 yelled at those nurses. I replay the moment again and again. The way he shouted it out. I rewind it and fast it forward, infatuated with his expression. In that instant, his face revealed some kind of pain, but also a mysterious resolve. 

What did this expression mean for the masses? Did he show the air of calm and self-possession they hoped for?

That isn’t important. What is important is that the blood type he shouted was correct. 

The story of 17 soon spread. DiXia thirsts for blood and legend. Many flocked to find him. They wait at the places where he might appear, intercept him, politely or rudely. The first two were just curious, they wanted to see him with their own eyes, or soak up a bit of good luck. And then someone couldn’t help but ask questions, probing ones, and 17 would choose which ones to answer. He knew those questions were important, and that at least they didn’t come out of malice or boredom. He told those people where to find food, long-lost belongings, explained to them that actions from enemies that hurt them many years ago were merely due to misunderstanding, and were worth forgiving, he dissipated conflict, and helped them shape their lives. 

He knows things, that no one except the perpetrators know, or things that even they were unaware, but no one knows how. 

No, he is not a psychic. 

He explains this to those people. No, he’s not a prophet. But it’s no use. 

Within 48 hours, 17’s existence became known to the entire DiXia. They relentlessly watch at junctions he might pass, brazenly relaying him messages by hook or crook via unsuspecting acquaintances. The more extreme ones go into 17’s territory, carrying weapons. 

I saw with my own eyes some hardened villain who came looking for him, whose eyes brimmed with tears the moment he saw him. Some follow him silently, protecting him from the shadows. Women give him clean clothes; children bring him stolen fruit. 

He explained to them again and again, it was purely coincidence. If they have a good memory, they would know that he too has made mistakes. He has a 35% probability of getting it wrong. But apart from him, no one remembers the failures. 

I don’t know how all this happened, how things have careened down this path. The disconcerting thing is, deep down, I don’t feel these people are being foolish. 

When you come face to face with another frail human being just like you, and you throw him a question that has tormented you half a lifetime, when his downcast gaze slowly rises meet yours, and you look into those beautiful brown eyes, eyes that surround you alone, like the warm sun, the kind of wholesome sunlight that can only found in the Finance District; and then you feel his agony, and his resolve to withstand it, to hide those thistles and thorns below that pale skin. His eyes penetrate you, and you realize that he is alone in a darkness that drowns even himself, like the chaos before the Big Bang, time and space cease to exist, along with everything we know, there is only him. The only thing left is that gaze, the way it penetrates everything, detached and yet at the same time, full of yearning. Then you realize… you finally realize, that he is suffering for you, suffering for your petty distress. 

When you are facing all of this, would you not, in a heart beat, like the people of DiXia, fall in love with him? 

I would. 

The tenth day after the shooting at the surgery. 

News came that the old man is recovering quite well, and that he wanted to see 17. So, 17 came. 

The surgery has been restored to the way it was. The old man, in bed at his own home, looks quite well. Maybe it was an illusion, but when the sensor connected to the room, I thought I saw the old man darting a quick glance at it.

17 directs his gaze to the “empty” corner of the room and waves his hand in front of the old man’s eyes. “Doctor, are you all right now?” Having asked that, he smiles at himself. 

“Has anyone been bothering you?” The old man’s demeanor seems graver still than the first time. 

“Your friends came round asking me what the assassin looked like.”

“Yes, they told me, you fobbed them off.”

“I said it was a masked figure. It’s the truth.” 17 defended himself. 

“You’d better stick to that line. My problem, I fix it myself. You fix your own problems. Everybody’s got problems, but they fix it themselves.” The old man stops and flicks a glance over to the sensor from the corner of his eye. “This time is an exception, though. You saved my life once, so I’ll give you one piece of advice. You must remember it. This is advice that can save your life.” 

“What is it?”

“Never ever tell anyone the truth. When you came here the first time, you didn’t tell the truth; of course, neither did I. Even if you told the truth, I wouldn’t have. But now, things are different.” The old man looks at the wound on his chest, flicks the switch by his bed, changing it to walk mode. Reacting to the commands from the old man’s brain, it carries him into the depths of the surgery. “Come in. Let’s talk.” 

Another set of doors 17 hadn’t noticed slide open quietly. The bed carries the old man in and disappears. 

17’s facial expression shows more fear than puzzlement. He is afraid of what the old man will tell him, even before he knows what it might be. But still he follows him into the room. 

The sensor transmits the image of him entering the room. His back. Shadows crawling up his pale neck, about to swallow him up. 

This is when I lose him.

As it flies into the room, the sensor loses power, falls to the floor, and is crushed to powder by the closing titanium alloy doors. 

Restless noise explodes across the screen, then leave it in darkness. 

Out of habit, I change my line of sight over the wall of monitor screens. 

The pathetic thing is, no matter where I direct my vision, across the several hundred glowing screens, that small black one pierces my eyes like a needle. 

I should have realized this would happen much sooner, All high-end hospitals have anti-bugging systems. This doctor must have been someone in the medical circles, to attract a professional sniper, and to keep his calm even after being shot. If an old man like this solemnly tells you something, this thing must be very important. Important enough to be discussed in total secrecy.

I stare at the little back screen in a daze, biting my lips viciously. This is the first time I’ve lost contact with 17. Even though currently there are only two streets between us. Through the glass of the surveillance car, I can see the overpass where the underground surgery hangs. But I can’t see him, can’t hear him, don’t know what he’s doing, nor can I go and seek him out. What is he seeing, what is he saying, what is he doing? I don’t know. A minute ago, his every expression was imprinting on my memory. 

The emptiness, this immense, unfulfilling, insatiable emptiness. My palms fill with cold sweat. 

17’s screen flicker and flicker again with his image, along with snippets of conversation between him and the old man. I leap up, rummage for my pills, which I take in a dry gulp, and wait for them to take effect, suppressing the overactive neurons in my head, even though it’s a full hour before my next scheduled medication time.

Waiting.

Waiting for me to regain the ability to function as a whole. 

Waiting to become normal again. 

The pills slowly do their job. The optical and audio illusions fade and things become more bearable. 

I begin to think, find a way to solve the problem. The bug has to work in conjunction with the subject’s DNA, but there’s no sample of 17 to hand. To wait for a droid delivery from the company, would be at least 15 minutes. If the conversation lasts that long…

Someone is knocking on the car. It takes me a while to notice and react. I open the window. 

The tea-coloured glass glides soundlessly and elegantly into the body of the car, like an inverted theatre curtain.

From the curtain emerges the downcast eyes and face of 17, so close that I can almost feel his breath. My left eye begins to twitch uncontrollably. 

He says, “I know you.”

I make a nonplussed gesture with my hand. “What does that mean?”

“I know everything about you.” A distinct smile floats onto his lowered head. 

I smile too. “Oh? And what do you know?”

17 bends down, putting his lips to my ears and whispers something very slow and deliberately.

I tremble all over. It is a long time before I can open my mouth to say, “What do you want?”

“I want you to let me in, so I can explain properly.”

I open the car door. I have no choice. 

I can only let one of the several hundred subjects I have been covertly monitoring, in, and sit next to me. 

I have no other choice. 

Not just because I love him, also because of the secret he whispered in my ear.

“61, I know you’re a split-brain”.

B

17

Yes, I became a fugitive, destined for a life of vagrancy, misery, never to know another day’s peace. I threw away my mobile, tore out my implants, and now hide out on a disused subway line, becoming just another of the nameless wandering ghosts of DiXia.

And it started with a joke.

On my twenty-second birthday, I got a position at Club 27. Although it was called a “club”, it was a public welfare organization, whose aim was to help the manically depressed find happiness again, through the benevolence of human care. They were opposed to the use of “unethical” technologies such as ECT, antidepressants and DNA editing.

At the time, I didn’t really appreciate the founder’s goals. For one reason or another, I just really needed to feel like part of a group, and if there was money to be made, then all the better. My job was very simple, to keep the patients company. I was to chat with them and talk about “fun things” with them. Before I formally started my work, there was a training period, to teach us how to chat. Every day, I had to tell our coach a joke.

My coach wasn’t bad at all. Apparently she’d been a patient there, who re-discovered her place in life through the help of the organization.

She was really inspirational. Every time I saw her, it was like watching a Mao-era propaganda movie. I almost used that as a topic for chatting with the patients.

That morning, I came up with a new joke. But the coach didn’t seem to like it.

“So this is the joke you are going to tell me today?” The coach’s plump face hovered directly above my head, the fat flesh on her usually sunny face hung so low that I felt it could have flowed off the bones and dripped onto me at any moment.

Maybe the coach thought I was making insinuations at her. But it wasn’t until that night that I knew how much I would pay for that joke. A group of people broke into my room in the middle of the night. I was on the sofa. Before I could react, my nose was filled with a mixture of the smells. Formaldehyde. Vanilla ice cream. The distinct smell that comes with artificially grown cow hide. It lasts for ages, and somewhere in the middle of it, I lost consciousness.

Before I woke up, I had a very long dream. It was black, furry, warm and moist. You’d say, oh please, use some other adjectives, but how else can I describe it. Except for a word that conveys an absolute nothingness beyond empty, oblivion, void, or, to use a verb: falling.

But none of them is quite right. My dream was black and furry and warm and wet. I have never had such a dream, so can’t give a name to it. My dream didn’t take me anywhere, or show me anything. Nothing happened. It was just there, and then I woke up.

Ha! I was on the street. I had some cuts and bruises. I must have been worked over pretty well whilst I was out. The coach must really have had enough of me, to have said goodbye like this. I was a little upset. Because I couldn’t amuse her with my joke, even though the tests showed she had recovered from her depression.

It was dawn, not many people on the streets. The lamp posts were still glowing. Not long after, the shops began to open, and in rapid succession tourists came to occupy the arcades. The whole world comes to see this. The last remnant of the Floating City, with its old-fashioned, crammed architecture that had been deemed unsafe, and a public transport system with zero convenience ratings. Apart for the nanoprint machine on the street corner, it was like being completely transported back to the twentieth century. It was a good season. The snow had just melted, the fog had yet to arrive, and the continuous wall of graffiti was clearly visible in the post-winter sunlight. Yes, graffiti, neon lights, and of course body mod parlors and Tattoo festivals. This city absorbs all sounds, all words, all impulses that are hard to put a name to, like a giant radioactive beast. And then regurgitates it, reconstructing it as an unimaginable whole, the causes and effects of which become indistinguishable. There isn’t another city like this in the entire world. There was another Tattoo Festival soon. When that day arrives, the whole street would be so packed as to be totally impenetrable.

The faces, filled with yearning, pressed tightly against the body of strangers, visible hot breaths occasionally streaming out of the crowd, looking up at the dancing mirages in the air, imploring to be basked in them, like a kind of blessing.

A bunch of happy little idiots.

I drew back my thoughts, and carefully stretched out my body, hearing the clicking in every joint, and surveyed my surroundings. I hadn’t seen the sky and streets at this hour for a long time. Soaked in the quiet mercurial light, they looked solid.

I hadn’t felt like this in ages. I had almost forgotten what quiet felt like.

A nanoprint repairman walked hurriedly past me. Blue uniform, hat of the same material, black round-toed shoes, medium build. I didn’t really see him. When he walked out of my line of sight, I felt something weird. Like the unsettling premonition people often get when they are about to lose something. I replayed the scene of the workman walking past me in my head and felt as if something was added to it.

“Hello, young man.” A middle-aged jogger waved at me from across the street. His enthusiasm infected me. I waved back with both my arms but couldn’t utter a word.

It was as if someone had grabbed my head and repeated rammed it against a wall, or giant waves were hitting me one after another. An unknown giant object had crashed into my eyeballs and hit my brain. I couldn’t breathe. I waved my arms in futility. The old man turned his head and returned a full and warm smile—when someone told me about this later, I laughed until I cried.

 That’s when they first appeared, though it’s probably more accurate to say that I fell into a sea of them, coming out of nowhere, giant “screens” seem to emerge from the sky, layer upon layer, surging and leaping, the smallest one was half the height of a person, the content contained all sorts of pictures and texts, before I could see all the information on one field, the next one leapt out to cover all the others that came before. I felt trapped, drowning in this tidal wave of uninvited electronic data.

(It was like accidentally clicking on a malicious link, and countless webpages leaping out.)

I closed my eyes, squeezing the muscles so tightly that they were almost cramping. I was scared that those crazy webpages would force open my eyelids and slam into my eyes.

My head was about to explode. I doubled over to hold it, my whole body collapsing on the ground.

I was relieved to see the screens quickly disappear, and the pain they brought gradually fading, too.

What happened to me?

Were these screens, these Infofields just my imagination or were they real?

Maybe the world we exist in had always been made up of virtual scenes simulated by the brain? Had the people at the club moved my consciousness into a simulated life? These were the only ways I could understand how those Infofields could leap out of the sky like real objects.

How could I be sure that the current me was the real me, and not a virtual image made up of code? If this was virtual, then the level of virtual simulation was very high and very close to reality. From the racing of my heart, to my body temperature to the feel of my injuries, including the terror I was feeling that was like falling into a cave of ice. It was impossible to differentiate from reality.

I did what any normal person would do under these circumstances. I went nuts and vandalized the public facilities. I found the nanoprint machine. With most of humanity’s material needs now dependent on these tiny robots I couldn’t think of anything realer. No matter how high tech they are though, breaking them was still easy.  There’s at least a hundred ways I could think of, and I used the most crude. I opened the case and tore out the circuits.

I stood on the same spot and waited. If this was virtual, then some yellow security light would leap out on the video screen, to remind me how close my antisocial personality ratings are to exceeding the limit, how close I am to being placed on the list of dangerous individuals, also providing the location of the nearest police officers coming to arrest me, as well as the best routes for escape.

None of this happened.

No flashing lights. No alarm.

There were still policemen though, but by the time they got there, I was long gone. What the security camera recorded would have been a blurred figure with its back towards the camera, its face covered. Of course I covered my face. I may be crazy, but I’m not stupid.

In the city archives, my records would still be clean.

Without a doubt, I was in reality.

Only here, does evil go unpunished.

So, I didn’t really have to go to DiXia. For damaging a nanotech machine, the punishment would probably have just been a little time in community service. But something didn’t feel quite right. It was instinct that drove me underground. I think you would understand, -considering those violently surging, relentless windows of data.

In my mind, there was something very wrong.

Yes, it’s true that there is probably only an indistinct chaos in the depth of the human brain, deep down everyone is cross-wired, everyone is mad. But what happened in my mind, was far beyond madness. I would rather that something had been done to me, than be truly mad. The mad are so lonely.

The most frightening thing in this world, is being mad in a different way to everyone else.

In the darkness of the metro, the Infofields don’t appear. I wanted to work something out from this clue. I failed.

But the darkness has its own way of telling you things.

About five or six days in, I’d gone through all the food I could find. Don’t ask me what I found: you don’t want to know. I had to go above ground to try my luck. Two o’clock in the morning, I bypassed an automatic street lamp, and found a Chinese restaurant that looked quite good. I shooed away a couple of stray cats, opened the bin, what a treat. It may have looked like shit, but the freshly cooked vegetables, fish and meat dishes thrown away together still smelled mouth-watering. That scent alone left me feeling energized from head to toe, I’d hit the jackpot.

“Kid, do you know whose territory this is?”

I turned around, and guess what I saw.

To a casual observer, I was standing under the streetlamp facing another lost soul, just like me, but those Infofields rushed at me like a tsunami, almost overflowing my vision. I could see nothing except them. Yes, this time was painful too, but you get used to pain.

“Didn’t you hear me, little bastard?” So he was an older man. Of course, I heard him. If it wasn’t for the Infofields, he probably wouldn’t have been my match. I reluctantly let go of the food and backed away.

I was meticulous in not let him notice that I couldn’t see.

Footsteps drew near. A foul stink rushed towards me. Without thinking, I ran down several streets without stopping: it wasn’t until I saw the traffic lights at a junction that I realized I could actually see again.

That night, I got nothing. I returned to my hideout trying to suppress the hunger in my stomach and lay down exhausted. When my spine touched the ice-cold floor, it quivered, I suddenly had an idea. Because I ran away in a panic, I had not realized that when I turned my head to run, the Infofields disappeared. Remembering how they appeared and disappeared over the last few times, I found a basic pattern: they appear whenever I run into people. To be more precise, when I am looking at someone. When my line of vision moves away from them, the fields disappear. The delay is less than a second.

I also remembered, that although I could only capture a very small amount of information in them, the content seemed to be completely related to the person I was looking at. In other words, at the same time as I am looking at a person, I also “see” all the information related to them. They are all displayed to me in the format of these windows, which open and overlap each other continually. They not only cover up the older fields, but also my normal vision, and to a large extent disrupt the my ability to deal with what’s in front of me. Such an enormous amount of information was far beyond the receptive capacity of the retina, the visual part of my brain and all neurons connecting them. This is why the surge of windows cause me agony. 

If someone else told me this, I’d think they were mad.

The best way to test my hypothesis was to look at someone. One at a time, to consciously control the appearance of the Infofields, and then to observe.

There was no better ground for experimentation than DiXia.

My earliest test subjects were my fellow vagrants who accidentally ran into me. I concealed myself in dark corners and waited patiently for them to appear. I only needed a little light. They would hesitantly approach the light, and in the dull rays, show their faces. The names they had abandoned, their lovers, happy memories, shameful ones, debts accumulated together with things they themselves had forgotten, appeared before me in rapid succession, chaotically sweeping past my brain at high velocity. Most of it was gone, before I had a chance to take it in, but I seemed to vaguely feel it, like smoke from the tips of a flame. I couldn’t read it, but I could feel it.

After several observations, I proved my hypothesis. I can browse other people, skim-read them. Whether I wanted or not. Most of the time, I didn’t want to.

How can I explain it? It’s sort of like, one day you discover that the strangers you went to a music festival with, whose names you don’t even know, have suddenly spilled into your bedroom and made you their soul mate.

Yes, that verb, spilled.

But it wasn’t all bad. I got some new skills out of the blue. When the need arises, things I have never done before naturally come to me, as though I’d done them many times before. Of course, the body and muscles need to learn these processes by practice before the brain could command them to do them accurately.

For example, where to find nutritious food that doesn’t go off, how to avoid getting caught by the city patrol, how to build a comfortable nest with rubbish you find, how to set traps, and make basic defensive weapons. By scanning the homeless, I inadvertently took in a lot of their survival skills.

Of course, there was information that wasn’t so useful. Like how to identify the gender of dolphins.  Why bicycles can stand upright. The effect of genetically modified crops on the soil. The league of a hundred genre fiction writers of the last century.

This all sounds exiting, but what does it entail?

When I see someone, not only are their biometric readings, personality makeup, all their memories and dreams completely exposed to me, all the knowledge they have ever learned, everything they knows, can be accessed by me.

If I could get over this damned headache and master how to manipulate these Infofields, then everyone in the world would become my moving pawn.

Why am I not excited?

Firstly, I’ll never be able to handle this agony, never be able to figure out how to control these leaping fields, I don’t know how to focus and gather the information. Besides, even if I could? So what?

I am not interested in saving humanity or even myself. If I could lead a tramp’s life adequately with these skills, I’d be satisfied.

I like this rotten darkness.

The world is a mess. Curled up in the cold and wet of this cave-like DiXia, darkness is the only thing that surrounds me, I even feel its warmth. The only warmth I need.

The warmer it is, the heavier it gets, the heavier it gets, the sweeter it feels. It’s hard to break away from it.

Why should I open my eyes?

The story would end here. If it wasn’t for 61.

I know he’s watching me. I’ve known all along.

He doesn’t know I know, nor does he know I’ve been watching him all along too—with his eyes.

The night outside the Chinese restaurant when I got so scared I nearly pissed my pants, I didn’t go home empty handed. That night, I ran into 61.

I was running frantically along the backstreets of a bar, until I ran out of steam. I was leaning against a lamppost to catch my breath, when I saw a car in a dark alley, just out of the corner of my eye. The window was half open and I saw him sitting in the driver’s seat, head titled back, taking a nap. His lips were slightly open. He was clearly very young, but had the look of middle age.

The screens began to spring up, and I fled.

This was how we first met, brief and sudden, because one of us slacked for a moment.

He shouldn’t have let me see him. That way, I wouldn’t get suspicious if I saw the same car again. Next time I saw him ducking into the car with a sandwich. This time, I scanned him. I only had a moment, but luck was on my side, I grasped some key information.

His name is 61, he is 27 years old, and he works for Club27 as a security controller.

He was sent to monitor me, among others, using infrared molecular sensors. Oh, and he really likes this job.

I didn’t understand why the club wanted to track me, but the answer wasn’t hard to find. The answer was in the security controller’s memory. As long as I had enough time to read it, I could find the answer. If I was lucky, I could uncover the ins and outs of the whole business.

Enough time, enough opportunities, and enough stamina to withstand the agony in my head.

There is nothing easier than tracking your tracker. As long as you pretend not to know anything and continue to let him track you. You don’t have to do anything. He’ll follow you.

Very soon, I became familiar with the routines of the security controller. He spends most of his time in the surveillance car behind one-way windshields. The car is parked on a street not far from me. Every day, about five o’clock in the afternoon, he would go to the bar, order a hamburger with chips, and two bottles of beer, and then unwind there for half an hour.

Four-fifty in the afternoon, I walk into that bar and find a seat. Even if he saw me, he would dismiss it as a coincidence. A few minutes later, he came in and found his regular seat. I looked at him. The only time of the day he wasn’t snooping on others, he was being spied on himself. He was totally unaware of this, eating his meal alone peacefully, emanating an air of calm. His uncoordinated hand movements were even endearing. In a second, the fields opened, refreshing at super speed. The information was no longer in waves, but giant, concrete slabs, dense, heavy, viciously crashing onto my retina, I could almost see the sparks they caused, and the bloody pulp that was my brain. I bit my lips, to stop myself from screaming, gripping the table, white-knuckled.

61’s Infofields were different from others’, the quantity being several times higher.

I was like a dog trying to chase a space shuttle, pathetically pawing at the rapidly zooming windows.

I couldn’t even see the fields themselves, let alone read their content. I could only feel their weight and speed. And catch a few little bits of information.

61’s childhood, his favourite colour, what happened in high school.

Why would I want to know these things?

Sweat trickled down my neck.  I felt dehydrated. I no longer had the energy to face the barrage of data. There was something very unusual about this guy. Too fast, too much. I couldn’t work it out.

I gave up.

As with so many other things, I gave up halfway.

Shifting my vision, all the Infofields now safely fell to the floor. I was panting and shaking all over.

There was a distinct difference between the information acquired by chance and the specific data I’m looking for.

If I was willing to spend the rest of my life on this person, then I might find what I’m looking for. This was a question of probability, and I didn’t want to gamble with my life. So, I gave up.

I can do “giving up” with my eyes closed.

I staggered out of the bar as if I’d drunk it dry.

Around this time, I also began to feel my body rapidly weakening, I couldn’t run for long, I couldn’t lift things. My sight was deteriorating, too. Sometimes I got so tired just foraging for food. Despite this, my appetite grew, and I found myself in a constant state of hunger. As the weather got warmer and warmer, my limbs still felt cold, till I had to put on every rag of clothing I’d scavenged just to stop from freezing.

Only the darkness was warm. But it wasn’t enough. For some unknown reason, I’d picked this kind of life, including the way it would end.

I lay on cardboard, the damp of the ground seeped through all the wastepaper and old clothes into my bones. And suddenly, I thought of 61.

To know that there was someone always watching you was a bizarre feeling.

If he wants, he could repeatedly watch your every move. Zoom into every subtle change in your expression. There was something very wrong with this guy called 61. His windows were opening much faster than the average rate. The strangest thing about his fields was that they actually felt different from other people’s, and almost all of them had an incompleteness. Some of them contained contradictory information. It’s like he’s thinking with two brains.

I couldn’t help but think there must be a connection between the content on these incomplete and dense slabs of data, the stark contrast between the contradicting ones, and the way he watched me.

I could feel tiny fragments of his memory: him looking at me on the screen. Me curled up on the cardboard, staring at something in the darkness in a stupor.

Yes, that’s me. Small and withered, with a pair of light brown eyes that could be extinguished at any time.

Back then, I was ready to welcome the embrace of death. My only enjoyment, was scanning 61, and retrieving his memories from my mind in the dark. Sometimes I felt shy, about the way he watched me, if only 61 would behave himself.

Robbing the leather coat was an accident. I read that the guy had an artificial knee, I switched on the interceptor that disrupted the actuator and successfully put the enemy down. I was very lucky to be able to pull the right trick out of my trivia-filled head at the right time. Heavens know why I didn’t give up then. Finding the underground hospital via that poor guy, I ran into a shooting, and was again lucky to be able to read the doctor’s blood type and save his life.

This was coincidence. To be able to get the right information out of this unquantifiable sea of data at the right time. It was almost impossible. But I did it twice. If I could do that, I didn’t want to pursue the reasons too deeply.

But things were getting complicated. One by one, people found me. They asked me questions. Questions about them. Hoping I would have an answer.

Who’s my mother?

Where did the cargo end up?

Did I really kill someone?

Did he betray us?

Where’s the money hidden?

Which one should I choose?

What’s the success rate of this operation?

Is the shadow I see on the fly-over south of the city every night a ghost?

What is the ultimate mystery of the universe?

I should have known that the DiXia would be the home of so many questions, every one like an undercurrent. When I met the first stranger who stopped me with a question, I couldn’t help laughing. I roared with laughter. I thought of 61 who was watching the monitor. He must be laughing with me. They expect someone who hasn’t even worked out what’s going on in their head to answer their questions.

I told them I don’t know. They said yes, yes you do know. You saved that old man. I told them I might be able get it right, they said yes, yes you will. You saved that old man. I told them I could only try, they said, thank you. Please try, help us like you helped that old man.

I couldn’t help but laugh, but didn’t know why my eyes felt sore and puffy, like a weeping that should have happened but never did. You just can’t turn those imploring faces away. They have been locked up by their troubles for too long. If I take one look, however brief, those sad windows hurt me. But you just can’t turn those earnest faces away, especially when they couldn’t even see their sadness themselves.

For most of these people, even if I get the answer right, I can’t help them. This is what I tell them. They say it doesn’t matter, we just want the answer.

They just want the answer. So I lift my eyes, and I read.

Every time it finishes, I feel like I’m falling from the sky. As I gained more experience, the process seemed to feel a little less dangerous each time. One day eventually, I would land safely. My recovery from reading extended from a half an hour at the beginning to half a day, I would be in a complete in a state of dehydration. The good news is, people look after me. I’m not sure when but they began to gather around me and care for me as one of their own. They followed me around all day. Some people are not even there for answers. They just want to be by my side. When they find a chance to look after me, they darted at it without hesitation, as if it’s an instinct.

The funny thing is, I haven’t even seen the faces of lot of them properly. Except for scanning, my eyes were becoming increasingly poor at the job of actual sight.

Something was wrong. I want to know if my answer is correct, but I know it’s no use asking them. Perhaps I can ask 61. He would be able to see more clearly than I can.

Once, in my dream, I went to seek him out, I open the door of the surveillance car, sit next to the driver’s seat, and then ask him questions, just like these people have asked me.

I ask, 61, what did you do to me?

Even if it was a dream. I could still feel 61’s eyes watching me from somewhere outside his body.

61 watches me sleep. 61 watches me wake up.

I read his memories, I see him watching me sleep, see him watching me wake up.

I open my eyes.

Someone was nudging my shoulder, urging me to hurry and wake up, he said, the old man wants to see me.

I open my eyes. This is not a dream…

The moment I entered the secret room, my skull felt numb. The doctor’s bed spun 180 degrees and rushed towards me. I imagined the old man looking at me.

“Interference,” he said to me.

I nodded.

“You’re going blind.” The old man announced my future in the same tone of voice.

I put my hands in my pockets. It’s very cold here. There are no chairs.

“You’ve got something to say?” he asks me.

“The first time I saw you, I thought you had just the right face to announce such misfortunes.”

“Did you already know you were going blind?”

“No. That’s why I came to see you. I wanted to know what happened to me. Do you want to tell me now?” I lean against the wall.

“Humph, others seek answers from you. But you come to me. You don’t even know about yourself.” The old man sneered.

“Listen, thank you for telling me I’ll be blind in a few days, but I’m starving now. I need to go and eat.” I was about to walk out of the house.

“A month ago, someone performed microsurgery on your brain, the effect of which was to stop the conducting of stimuli in your optical nerve. Who did you piss off? They were also worried you might cause trouble, so they didn’t cut the optical nerve, but edited a section of your DNA, which stops the synaptic function of the nerve membrane. The chemical transmission of an impulse from one neuron to another, is like one of them passing a ball to another, the next neuron must hold out its hand to catch it. The post-synaptic membrane is like this hand. What they did was to try and freeze the action of a neuron’s hand, so it can’t catch the ball. Doing it this way makes it more discreet: you won’t go blind immediately. You may not even know what made you lose your sight.”

“If I can’t catch it with my hand, I’ll do it with my feet”. It was a clumsy joke along the lines of his analogy. What did he expect me to do? Cry? Break down?

The old man doesn’t speak.

“Your silence gives me hope that you’ve got have some good news. Can you cure it?” I mock.

“There are people who can do it, if you’ve got enough money. The question is, do you want it?”

I couldn’t help looking at the old man. In an instant, electric sparks. I felt the opening of his windows.

“What do you call those things?” he asked me, narrowing his eyes.

“Infofields.”

“I’ve been in Club27. They offer operations for all sufferers of depression who had no hope of being cured by their little chats, or more conventional psycho-technological treatments. Maybe out of social responsibility, probably out of the pride in their 100% cure rate. I was one of them. They cured me and released me back into society. And then these “Infofields” appeared out of the blue. What you have experienced, I have: the terror, the pain. I nearly died. Because I’m an optimist, I wanted to get back into society, to offer help where it’s needed in the depths of DiXia, and you know how that works out. But on the third day, like a miracle, they disappeared. So I lived. When I met you, I felt a strange inkling. After the spectrometer scan, I knew you’d been through the same optical nerve transmission interception operation, but I didn’t know about the Infofields. No device can detect them. It was only when they told me what happened after I passed out that I knew.

“So the Infofields weren’t what the coach and her cronies intended?” I asked.

“The interception was them. The Infofields were not.” the old man said.

“I didn’t think it was them either, those people… lack imagination.” I nodded in agreement.

We both laughed.

I breathed in and plucked up the courage to ask. “So what exactly are they?”

“If I say to you that some things have happened in your consciousness but you are not conscious of them, you’d think I was bullshitting. It’s widely believed that under the conscious is the preconscious, and underneath that what Freud called the “Unconscious of eros and thanatos”. But a hundred years before him, there had already been a hypothesis on a different system of the unconscious. The appearance of Infofields, proved this theory. This system of the unconscious manifests itself in sight: when the light simulates your retina and triggers the chain of nervous impulses in your brain, your visual system would carry out complex calculations on the data it receives. Through a series of multi-staged processing of the image produced by the light on the retina, a three- dimensional perception of the outside world is emitted. In the multitude of unconscious coding and processing, you are aware only of the final result. You are born with an information-processing mechanism that turns the vibrations on your eardrum from sound to the instinctual knowledge that these are words someone is trying to say to you. All this happens beneath consciousness.”

“You mean, what we see, is actually much, much more than we are conscious of, but the conscious only feeds back a very small part of it?”

“This very small part is more than enough for human usage. It’s the result of evolutionary selection.”

“And the Infofields?”

“Oh, that’s the rest of it. It’s there, only we’ve never been conscious that we see them.”

“What exactly are they?”

“The information inherent within us as individuals, that accumulates with age and experiences.” The old man suddenly sighed in dejection. “I don’t know…don’t believe a word of what I just said.”

I almost collapsed. “What?!”

“The Infofields are only my theory. Although I’ve spent my whole life studying them, I was only able to see them for three days. Can you think about the ones you see?”

It’s like he said. Carefully avoiding looking at the content, I could tell that the format of the text and images are the same, all the information is related to the person they come from. At least the ones I’ve read.

Imagine a world like this, where everyone walks around carrying with them information that can be seen but not perceived. All this information congesting all the space around us. Yet even this dimensional space around me may not be the three-dimensional projection my sensory organs are telling me.

“Howcome I can see them?”

 “When you came the first time, I did a little experiment while you weren’t looking”. The old man’s voice sounded a little odd, but soon recovered. “It’s really nothing. I used pico-tech.”

“And?”

“To use our previous metaphor, your neurons have caught the ball using their feet. Your body can no longer produce the protein that transmits impulses in the receptor, but has opened up another rarer path of transmission, usually meant for support and supplementary functions, another kind of slow-functioning receptor. These receptors usually combine with Protein G, and operate via cAMP and phosphorylation of proteins. The reaction is slow, but it can magnify the microsignals between messenger receptors by a thousand.  When they suppressed the composition of transmission proteins in the neuron, they stimulated the low-speed receptors, elevating them from amateur extras to playing the lead. This is possibly why you can see the Infofields.”

“This is the story of a volleyball player who loses the function of his arms, and trains himself to master control of the ball with his feet, becoming a footballer. It’s a true story of unstoppable resolve triumphing over a physical handicap. My old coach at the club would have loved it,” I commented. “But I’m going to be blind very soon, aren’t I? How can a handicapped athlete kick the ball blind?”

“You may go blind, but you’ll still be able to see.”

Having heard the old man’s words, I thought he was mad, or perhaps I was. I let my body slide slowly down, to the ice-cold floor.

“Yes, sit tight. What I’m going to say next could take a while.” The old man approved. He really did take ages.

He began “Do you know of the Superconcious?”

“Experiments of the last century found that animals, including humans who lost their sight after suffering damage in the specific region of the visual cortex, were not necessarily completely unable to see. Although their sight was blank, they were still receiving stimulus in some manner. Impulses from the outside world were still being filtered by what remained of their capabilities of assessing their surroundings. For me, the interception of impulses actually opened up my awareness of the Infofields.”

“Blindness is not a problem. The important thing is to learn to how to see, or should I say, how to inforead. The Infofield is an enormous information stream with its own vast quantifying units, displaying itself in images and text. As demonstrated by my plight and failure, the brain still doesn’t know how to receive this much information, let alone sort through it selectively. This must be achieved through conscious practice, like going through physiotherapy after getting a prosthetic limb.” 

I tried to process this. After all, the old man had said these were just his conjectures and probings. He had only seen the Infofields for three days, but if I needed help, he would help me.

I said all right. The old man asked me to recount to him in detail all the encounters I’ve had with the Infofields, which I did. He was silent for a long time. But I wasn’t surprised. I was pretty much beyond surprise, after my experiences. I was very lucky to have saved this old man’s life, and very grateful that now, and in the future, he would be there to help me.

That day, we spent an age in the room, the old man taking great pains to ensure I had a firm grasp and a proper understanding of my new sense. We must have been in there for a long time; I was dizzy from lack of oxygen in the air. Although many puzzles were solved and the mysteries within them revealed, I did not feel relieved. I wasn’t sure if I was capable of utilizing or even comprehending this knowledge.

“It’s not just your sight that’s the problem. Your brain is using four times as much oxygen as the average person: this will greatly affect your other organs and their functionality. Your body will weaken more over time. This is why…” The old man paused prudently, in order to hold my full attention. I leaned in, my ear towards him, ready to receive his prescription. “…you must have someone by your side.”

C

17

Rays of sunlight fell like knives: white hot, ruthless and raw. I descended the rope ladder, trembling, waved at the male nurses at the entrance of the underground hospital, to signal that I’ve touched down in safety.  If they hadn’t sedated me, I probably wouldn’t have had the courage to leave the hospital.

I look down again, the anxious faces on craned necks have gone. I lie on my stomach on the walkway, unable to move, like a lost swimmer who had been struggling to reach the shore.

The old man said I must have someone by my side. I need someone to take care of me, someone to see the world on my behalf. I looked around me, the night was just creeping up the horizon. The wind was moist, mingled with the scents of the sea and the port. The abandoned industrial site, now dappled in the colour of rust, appears in my eyes, to be a picture of grace and serenity. No people, no deluge of data, no information streams. Objects in their own place. Every atom and molecule showing themselves in a manner my five pedestrian senses understand them. This is beauty.

However, I am going to lose them all really soon.

And then, I will completely lose all the sights I have known for all so long. Only the windows, the infostreams, or the void.

The old man said I need someone: I need to borrow his eyes, and then I’ll live. Even now, I know that there is a pair of eyes watching me, in their strange, relentless way.

The car is parked at the corner of the street. A hand came out of it with a lit cigarette; it remains there for an age. It seems the smoker is merely content for the cigarette to be lit. I head down the fly-over, take a turn to another street towards the car. This way, I am directly facing the car and can see the person inside.

From 61’s point of view, I am just taking a casual stroll, and happen to walk past. He probably never thought anyone would become aware of his monitoring. Slowly, I approach. From less than three metres away from the car, I look up at him.

Almost, immediately, an Infofield leaps out. Perhaps it’s been waiting for me all along. This time, I don’t let myself get drowned in the flood of information, nor do I struggle to dig for information that might relate to me. As the old man deduced, the data we can read is limited by the brain’s capacity to process information; most of it is omitted. But some Infofields would pause for longer, or appear at a higher frequency, to render themselves to be read more easily. This is highly likely to be linked to the desires and inclinations of the individual being scanned.

The information they long for you to know.

So, this is what you want to tell me. I lower my gaze.

As I predicted, 61 lets me in the car.

This is what people are like. You tell them their secret, something they have keep deep within their hearts, secrets that have tormented them for years, and they will trust you.

They want to trust you.

I told 61, he’s a split-brain, born without the Corpus Callosum, the fibre bundle that connects the left and right hemispheres. Technically, he doesn’t have a cerebrum, that whole mind we use daily. Just left and right hemispheres, doing their own thing. This explains his bizarre hand gestures and the way he looks at people. They let him live and trained him to do this job. Still, his hands can only master actions they have been trained and practiced in doing.

Both hemispheres working at the same time also means that he doesn’t have a conventional sense of morality. His attributes are a perfect match for this job. For 61, this was the only place that would give him a job. He hopes to earn enough money to get an osso-data processor implant. The advert says that this implant will connect two halves of an artificially grown brain to the corresponding halves of the patient’s own grey matter, providing a split-brain patient with two complete and functioning brains.

He has dreamt about this implant. His desire for it grows stronger every day. That’s why I could scan the Infofield with billboard clarity.

“How are you doing, 61?” I lowered my head and addressed the floor of the car. Very soon, I would no longer need to avoid people’s faces.

“I’m all right.”

“We don’t need to introduce ourselves. I know you’ve been tracking me, so you know what’s happened to me, probably better than I do.”

“The club performed some mind-reading operation on you.”

No, you are too naïve. 61. What they did to me isn’t what you think. “Do you know I’m going blind?”

He froze, I felt his breath stop too. For an instant, I suddenly came to the belief that this individual might be willing to take care of me. “The club played a nasty trick, maybe it was just on the coach’s orders. Do you want to take care of me?” The words fell out of my mouth.

The left hemisphere of his brain must be in chaos right now. But I feel too exhausted to beat around the bush or play mind games.

“I’m going blind very quickly: my body is becoming weaker and weaker. If I don’t have anyone, I’ll die on the streets. You just need to keep the oxygen flasks stocked up and give me injections of calcium ions and glutonic amino acids.” I paused for breath, also to slow down my speech. “You have two choices, abandon everything and come with me, or abandon me.”

He was trembling.

He must be frightened to death. What can I expect a total stranger to do? To love me more than this world?

Perhaps. I decided to try again.

“You know what I can do, right?”

This time, he spoke. “You can answer questions.”

My lips started to tremble. Did he really think I was psychic? “Listen, I over-exaggerated before. I’m really tired today. I went to the doctor’s. He told me a lot of things. It’s ok, maybe I’ll explain to you properly later—maybe I won’t. But the important thing is…” I reached for his shoulders, he voluntarily moved his body towards me. I took hold of him, very tightly. “The important thing is… I was being too dramatic before, you can still continue to do your job, monitor other people, but take me with you.”

61 became silent. He needed time to think. But I was already burnt out. Stretched to my limit. I let go, opened the window, and let the wind blow away the despair in the air. From this side, I could see the park across the river. In the misty fog, the lights looked particularly dim that day.

I realized that it was the Tattoo Festival. They are getting ready for it, misting the air with nutrified water, to help the ink spores grow.

“Oh, today’s the Tattoo Festival.” My own voice comes from somewhere far away.

A month ago, I wouldn’t have felt like this. Like an old man.

61 coughs. “Can you answer one question?” His body is now rocking back and forth anxiously.

“Please ask.”

“There was a time, when twenty or so homeless kids in the eastern suburbs asked you to have a word with a landlord, to let them keep their shanty town up. How did you persuade the guy? What did you say to him in the anti-bug chamber?”

“Oh, that guy was getting into much deeper trouble, and I offered him a more reliable suggestion.”

61’s gaze paused on the side of my face. “But actually you weren’t 100% sure?”

“I deduced, the key thing is that I have a lot of information, which allows me to work things out. Why else do you think he would believe a crazy old stranger who’s been living a subway? When the bodyguard held me back, I shouted something to him that he really wanted to know, something that has always been troubling him.”

“Which was?”

“When he was little, he loved the work of a novelist, who excelled everyone else in his eyes. But one day, he reads that this novelist wrote a short story with someone. He could never understand why the novelist deigned to collaborate with someone of lesser skill to produce an ordinary piece of work. The question clung to him and has always plagued him. He just didn’t understand.”

61 nods. He doesn’t ask about the writer’s motive in the collaborative short story. This made me admire him more. He understands the point of this story. The point is that if I had access to the secrets of the local gangster’s heart, I would have a good answer to the question. He believes me.

The engine starts, making an annoying noise. I lean back in the seat and close my eyes.

61 turns the wheel, and the car speeds down the motorway.

We slide into silence. The gigantic, tender silence that belongs to all exhausted dusks. At this moment, I feel both cold and warm: a place inside me, I’m not sure where, feels ticklish. I notice a slight lethargy. That mysterious sense of oppression, is flying away. I feel I can do anything. My fingertips feel numb, but my senses feel very acute. Sight, hearing, touch, they all feel as if they are exceeding their previous functionality. It’s as if I’m entering a new world.

The cannons sounded across the river. I open my eyes. Night has come.

Multicolored fireworks are blossoming in the sky. Countless excited silhouettes below. Men and women almost half naked, opening their bodies to scattered petals floating and swirling in midair, exposing even more of their flesh to meet the ink spores in the falling firework ash. When the spores encounter skin, they will immediately pierce the derma, and squads of nanobots will complete the tattooing process, trailing dyes behind them. As to the pattern, this is entire dependent on algorithms, completely up to the nanobots inside the spores. But it’s OK. The dye and the nanobots degrade in three days, leaving not even a trace of a trace. And those people who are madly screaming to be tattooed, will have completely purified bodies, new as freshly born babes: that is why people are obsessed with the Tattoo Festival.

Three more sky flowers bloom. These beautiful botanic night scenes only exist for an instant, but in that instant, they blossom with all the splendor of time. In the next moment, their pink petals fall like snow, carried by the sea breeze, the whole city trembles in ash. Pedestrians now occupy the whole city. Our car is marooned in the midst of these euphoric half-naked bodies and can only move forward with the pace at which they are chasing the spores. Another breeze sent a petal flowing through the car window, landing on my arm. I try to brush it away, but too late. The spore has entered my skin. Nearby, the sky erupts with another fire blossom, screams of joy coming from below. I look up at the night sky, it’s beautiful and serene like black velvet. I rub my eyes, and turn over my hand to observe. There is so much dye in that single spore, spreading across my whole arm in just a moment, my whole arm, my whole body, the whole night. It all becomes velvet black.

“When you look at other people. You can see what they can’t see. Can you tell me about what you see?”

“Later, if there’s time.”

“Have you ever scanned yourself?”

“You mean, in a mirror?” I asked. “Maybe tonight, I can try; after all, it’s not as if my eyes have anything better to do.”

I try to remember the last joke I told my coach. The one I got blinded for. The funny thing is, I paid such a big price, but the content of that joke? Seriously, I can’t remember a thing. But it doesn’t matter, I’m about to see a ready-made joke.

I fumble, find the rear-view mirror and flip it down. I point my face to the mirror in my imagination.

I will see myself. Every little drip and drop of the past, all my desires and longings, all that I love and hate, all the gnawing regrets, all the potential and possibilities, all my future realities and achievements.

I take a deep breath, lift my blind eyes, and face myself in the mirror. Here they come, gushing into my vision like water from a spring. Blacker than black, emptier than empty. Every Infofield the same. Nothing. Even light has been engulfed.

This is me. A darkness that can never be illuminated, transcended or redeemed. 


Tang Fei is a writer and commentator. Member of the Shanghai Writer’s Association and the SFWA, having published such works as include Paradise in the Clouds, The Person who Saw Cetus and The Anonymous Banquet. Since 2013, ten of her works have been translated and published around the world; her novella The Panda Keeper won Best Microfiction at 2019’s Smokelong Quarterly, Wu Ding’s Journey to the West won the Silver Prize for Most Popular Deduction Fiction at the Speculative Fiction in Translation Awards, and The Robe won Best Short Story at the Yinli (China Reader’s Choice) SF Awards. Apart from writing, she also dabbles in other art forms such as literary criticism, poetry, installation art and photography. Her commentary pieces have been published in The Economics Observer (China), Hong Kong and Shenzhen Literary Review.

Xueting Christine Ni was born in Guangzhou, during China’s “re-opening to the West”. Having lived in cities across China, she emigrated with her family to Britain at the age of 11, where she continued to be immersed in Chinese culture, alongside her British education, realising ultimately that this gave her a unique a cultural perspective, bridging her Eastern and Western experiences. After graduating in English Literature from the University of London, she began a career in the publishing industry, whilst also translating original works of Chinese fiction. She returned to China in 2008 to continue her research at Central University of Nationalities, Beijing. Since 2010, Xueting has written extensively on Chinese culture and China’s place in Western pop media, working with companies, theatres, institutions and festivals, to help improve understanding of China’s heritage, culture and innovation, and introduce its wonders to new audiences. Xueting has contributed to the BBC, Tordotcom Publishing, and the Guangdong Art Academy. Her new book, Sinopticon: A Celebration of Chinese Science Fiction, which she as translated and edited, will be published by Solaris Books in November. Xueting currently lives in the suburbs of London with her partner and their cats, all of whom are learning Chinese.

Review of The Paradox of Blackness in African American Vampire Fiction


SFRA Review, vol. 51, no. 2

Nonfiction Reviews


Review of The Paradox of Blackness in African American Vampire Fiction

Misha Grifka Wander

Jerry Rafiki Jenkins. The Paradox of Blackness in African American Vampire Fiction. The Ohio State UP, 2019. New Suns: Race, Gender, and Sexuality In The Speculative. Paperback. 234 pg. $29.95. ISBN 9780814214015.

Picture a vampire in your head. Whether your image is more Nosferatu or more Edward Cullen, more than likely one of its most notable traits is the stark whiteness of its skin. Although humans come in a great variety of colors, depictions of vampires rarely reflect that. In The Paradox of Blackness In African American Vampire Fiction, Jerry Rafiki Jenkins uses stories of Black vampires to investigate how the seldom paired traits of “vampire” and “black” expose American society’s assumptions about what it means to be Black.

Jenkins focuses on a specific work of African American vampire fiction in each of the five chapters, covering The Gilda Stories (Jewelle Gomez, 1991), My Soul To Keep (Tananarive Due, 1997), Dark Corner (Brandon Massey, 2004), Fledgling (Octavia Butler, 2005), and Image of Emeralds and Chocolate (K. Murry Johnson, 2012). Through the lens of the novel in question, each chapter also focuses on a particular aspect of Black life and experience, from masculinity to religion to sexuality.

In the introduction, Jenkins efficiently counters the idea that the vampire myth is a European one, sourcing vampire myths from across Africa and the Caribbean, and writing, “to treat the vampire as the sole property of whites is to ignore the history of this creature, a history which predates the word ‘vampire’ and the biological notion of race” (5). Rather, Jenkins writes, the vampire is a tool, used to express the fears and anxieties of its originating culture, especially those about death and immortality. This thesis is well-accepted in speculative fiction studies, but to my knowledge, has seldom been used to examine questions of Black racial construction. Jenkins poses the main question of the book as, “Is there more to being black than having a black body, and what might the answers to that question mean for African Americans in the 21st century?” (10).

In the following chapters, Jenkins uses the vampire novel to illustrate ways in which various parties have attempted to define Blackness in line with requirements other than the simple fact of having a Black body. The nature of vampirism allows the novels’ authors to use tools to assert their characters’ racial “authenticity” in ways that would not be possible for human characters, such as establishing their characters’ participation in American slavery, lives in historical Africa, and connections with famous abolitionists and civil rights activists. Simultaneously, the characters question the assumptions of other characters about what is necessary to be deemed Black, or Black enough. Gilda from The Gilda Stories frequently says, “a row of cotton is a row of cotton,” indicating that oppression is oppression no matter how you slice it, and this sentiment is echoed across Jenkins’ book. The oppression that women, queer people, and other marginalized groups experience does not make them less Black, but rather is part and parcel of the oppression Black people face in America.

Jenkins uses analysis of the novel and real-world events and theories in equal measure, alternating between characters’ narration and explanations of their own racial beliefs, and real political figures and movements such as Afrocentrist Molefi Kete Asanti and political scientist Francis Fukuyama. Jenkins uses the fictional vampires to counter real arguments, demonstrating for instance how the unquestionable Blackness of Marquis in Image of Emeralds and Chocolate or Dawit in My Soul To Keep are not at war with their homosexuality or atheism, and therefore neither homosexuality nor atheism can dilute one’s Blackness, as has been argued by various Afrocentrists, Black conservatives, and Church members (whom Jenkins cites).

Though each chapter focuses on a specific topic, the chapters as a whole build toward answering the question Jenkins poses in the introduction: is there more to being Black than having a Black body? Each chapter answers no in its own way, but the final chapter, on Octavia Butler’s Fledgling and transhumanism, goes a step further. Shori, the main character of Fledgling, is the first Black Ina, a race of nonhuman vampires who have no melanin in their skin. Shori is a hybrid of human and Ina, the first Ina to possess melanin and therefore the first to be able to withstand the sun’s rays. Jenkins argues that Butler, through the figure of Shori, is demonstrating that all humans have melanin, and therefore all humans belong on a spectrum of Blackness. There is no such thing as a non-Black human, just humans with more or less melanin. Jenkins ends the volume with the statement:

By linking humanity’s fate to the fate of black people, the new-black vampire novel offers us a future in which blackness no longer defines one part of the human species, as it does in the post-black vampire novel and most of the Western world, but the entire species […] The road to that future, as Butler suggests in Fledgling, begins with accepting the fact that nonblack people are not born notblack; rather, we make them not black (180).

This triumphantly transhumanist ending confirms the ambitious scope of Jenkins’ work—reconfiguring our understanding of Blackness to include all of humanity.

This brings me to my one critique of this otherwise brilliant book. “All humans are black” is a statement Jenkins supports elegantly throughout the book, but one that struggles in regular conversation. Jenkins does not address what that conclusion does for the cause of any real humans, Black or otherwise. One might argue that he never promises to, which is true, but when working with a politically laden topic, one might ask for a few signposts as to the political utility of such an argument.

That said, I highly recommend this book. Academic books are rarely called page-turners, but this one might qualify, for Jenkins’s skill at building his argument propels each chapter. Jenkins glosses the basics of both race theory and vampire theory, so those lacking expertise in either will not be lost, but doesn’t dwell on it enough to bore more experienced readers. I recommend this book for scholarly and general audiences interested in speculative fiction and race, vampires, and the battle over Black authenticity in America.


Misha Grifka Wander is a PhD student at the Ohio State University. Their research focuses on media, speculative fiction, gender, and ecocriticism. 

Review of Suburban Fantastic Cinema


SFRA Review, vol. 51, no. 2

Nonfiction Reviews


Review of Suburban Fantastic Cinema: Growing Up in the Late Twentieth Century

Rob Latham

Angus McFadzean. Suburban Fantastic Cinema: Growing Up in the Late Twentieth Century. Wallflower Press, 2019. Short Cuts: Introduction to Film Studies. Paperback. vii + 140 pg. $22.00. ISBN 9780231189958.

The seed for this slim book was a 2017 essay in the Journal of Science Fiction Film and Television that anatomized a cluster of movies from the 1980s and 1990s the author saw as forming a new genre he called the “suburban fantastic.” At 25 pages, the essay was one-fifth the length of the new volume, which is basically an expanded version, chopped into five chapters and with more developed readings. A sixth chapter extends the discussion to encompass films released in the twenty-first century.

McFadzean’s basic claims are cogent and illuminating. According to him, the suburban fantastic initially crystallized in the films of Steven Spielberg and other directors—e.g. Joe Dante, Robert Zemeckis—who worked for his production company, Amblin Entertainment, during the early-to-mid 1980s. In movies such as E.T.: The Extraterrestrial (1982), Gremlins (1984), and The Goonies (1985), a distinct pattern emerged: an adolescent boy with some kind of personal dilemma (conflict with parents, alienation from peers) is confronted with a supernatural intrusion (an alien being, demonic entities); these related crises develop in parallel over the course of the narrative, such that the resolution of one leads to the resolution of the other. At the end of the story, the supernatural element has been expunged and the protagonist has been effectively socialized into the suburban patriarchal order. Later in the decade and into the 1990s, other producers and directors developed and experimented with this basic model, in films such as Flight of the Navigator (1986), Short Circuit (1986), Terminator 2: Judgment Day (1991), Jumanji (1995), and numerous others. In the process, they hybridized the form with themes and narrative elements borrowed from science fiction, horror, romantic comedy, and other genres. At the same time, a significant subset of these films included parodies or pastiches of earlier fantastic traditions, especially 1950s SF movies, making the genre increasingly self-reflexive. Yet the core remained a fusion of personal melodrama and fantastic incident, usually set in contemporary suburbia or some narrative surrogate for it.

Laying out this model, structurally and historically, takes up the first two chapters, with chapters three through five pursuing specific thematic strands within this cinematic corpus. Chapter three focuses on the crisis of masculinity experienced by the youthful protagonist, who over the course of the narrative moves from outsider to representative of the patriarchal order, in effect being successfully socialized into an appropriate gender identity (as a Freudian critic would say, Oedipalized) through confrontation with the fantastic. Chapter four further addresses the self-reflexivity of the genre by analyzing a series of films in which the mass media is centrally, almost metafictionally present—e.g., Explorers (1985), The Monster Squad (1987), Matinee (1993). Chapter five considers the genre’s socioeconomic implications, claiming that the fantastic intrusion into suburbia functions as some sort of allegory of contemporary capitalism and its key social institutions: government, science, and the military. The final chapter, as noted above, looks at later Hollywood versions of this basic story structure, such as War of the Worlds (2005), Frankenweenie (2012), and the Stranger Things TV series (2016-).

While McFandzean’s core claims are largely convincing, and many of his readings of specific films are compelling, few readers will really need this longer version of the argument—the 2017 article is probably enough. A larger problem, at least for me, is the structuralist framework underpinning the argument (borrowed from film theorist Rick Altman), which tends to make the process of narrative construction sound much too mechanical. Essentially, the genre is reduced to a kind of toolkit of “semantic” and “syntactic” elements from which individual filmmakers borrow to assemble a new film text. While McFadzean is a bit more attentive to external history than are most structuralist critics—he shrewdly shows, for example, how developments like the new PG-13 rating impacted the genre—he still makes most film narratives sound like mix-and-match aggregations of pre-fabricated materials rather than complex and often contradictory aesthetic creations. This tendency is exacerbated by his rather mechanical, often jargon-clotted prose: “Even as the fantastic established itself as a semantic and syntactic bend, with the defining syntactic trait of a connection between the pre-teen protagonists and the element of the fantastic, it became subject to a series of experiments and extensions that altered its semantic and syntactic set” (39). If this were what the process of movie-making is actually like, no one would ever watch movies.            

This problem aside, I can recommend Suburban Fantastic Cinema to scholars and students of SF and horror film, and fantastic media more broadly—though, as noted, the article-length version will be more than adequate for most purposes.


Rob Latham is the author of Consuming Youth: Vampires, Cyborgs, and the Culture of Consumption (2002) and the editor of The Oxford Handbook of Science Fiction (2014) and Science Fiction Criticism: An Anthology of Essential Writings (2017). He is a senior editor for The Los Angeles Review of Books

Review of Undead Ends: Stories of Apocalypse


SFRA Review, vol. 51, no. 2

Nonfiction Reviews


Review of Undead Ends: Stories of Apocalypse

Daniel Helsing

Sarah Trimble. Undead Ends: Stories of Apocalypse. Rutgers University Press, 2019. Paperback. 210 pg. $29.95. ISBN 9780813593647.

As I am writing this review in June 2020, in the midst of the COVID-19 pandemic, social distancing, face masks, and travel restrictions have become the new normal. At times, the line between fiction and real life has seemed eerily blurry; if headlines and news clips from the past few months were edited into a minute-long video, it could easily be mistaken for the opening scenes of an apocalypse film. For this reason, and for the fact that we do not know when and how this pandemic is going to end, it is more important than ever to examine the apocalypse narratives that circulate in film and literature. Which narratives are we enacting in our responses to COVID-19? How do we imagine life after the crisis? And who are “we”?

In her book Undead Ends: Stories of Apocalypse, Sarah Trimble examines popular Anglo-American apocalypse films of the past two decades. Her arguments illuminate the entire genre, but she singles out six films for closer analysis: The Road (2009), I Am Legend (2007), 28 Days Later (2002), 28 Weeks Later (2007), Children of Men (2006), and Beasts of the Southern Wild (2012). Though highly relevant also before COVID-19—anthropogenic climate change, the rise of right-wing populism, and the persistence of neoliberal capitalism being three important reasons—Undead Ends has taken on another level of relevance in this unprecedented global pandemic.

Trimble argues that the prevalence of high-visibility apocalypse films should be read in the context of a particular kind of capitalism that has gained influence in recent decades. She invokes cultural critics and theorists, including David Harvey and Naomi Klein, who characterize this version of capitalism as “creative destruction” (Harvey, cited on page 2) and “disaster capitalism” (Klein, cited on page 2): when disaster strikes or is induced, as the case may be, policy makers and investors arrive at the scene to privatize resources and reconstruct society in ways that will benefit them. Apocalypse films neatly parallel this process of destruction and reconstruction: the old order collapses, and a group of survivors struggle to create a new order. And since, according to Trimble, stories are incredibly powerful—she borrows Sylvia Wynter’s term homo narrans to characterize humans as “a species of storytellers” (9)—it becomes crucially important to critically analyze the identities, behavior, and aspirations of the survivors in apocalypse films. Do they reproduce Western colonialism and neoliberal capitalism? Or do they let other voices in, offering alternative visions of culture and society? In Trimble’s words: “In Undead Ends, I argue that contemporary apocalypse films offer an occasion to intervene in neoliberal storytelling. At the heart of this claim is the conviction that stories make and remake the world” (3).

The historical roots of Trimble’s arguments extend further than the last few decades, however. She builds on Wynter, who traces the “invention of Man” to the Renaissance, when “the Christian tale of humanness gave way first to a vision of the human as rational (Man1) and then to a ‘biocentric’ vision of the human as a living organism imperiled by natural scarcity (Man2),” a vision that “took shape in relation to Others imagined as exploitable and/or killable” (3). Closer to our time, Trimble argues, Man2 can be identified with homo oeconomicus, or the “economic Man,” who “defines good humanness in terms of economic productivity and security” (3). Borrowing the title of Mary Shelley’s novel The Last Man (1826), Trimble then defines “the Last Man” as “the protagonist who exemplifies the norms of humanness established by Man’s story” (153, n8). For Trimble, “the Last Man” thus signifies both a survivor of the standard apocalypse narrative and an embodiment of the Western, neoliberal “economic Man.”

Except for 28 Days Later and 28 Weeks Later, which she discusses in the same chapter, Trimble devotes a chapter each to the films listed above. But rather than ordering the films chronologically, she creates a kind of narrative of her own through the order in which she discusses them. Very simply and roughly, the films increasingly problematize the story of the Last Man and, in different ways, let other voices in. In Trimble’s reading, The Road reinforces the current economic order. For example, the unnamed father explains to his unnamed son that they are “the good guys” and that they are “carrying the fire.” They are distinguished as such in the plot of the film too, both through the contrast with the unnamed mother—who has committed suicide—and through the contrast with a group of cannibals—a trope which evokes the old Western binary of “the savage” versus “the civilized” (29–30).

In subsequent chapters in Undead Ends, the Last Man is still present, but his hegemony becomes undermined and other perspectives and voices gain in strength. The last film, Beasts of the Southern Wild, sees a very different protagonist from The Road: not a white man trying to rekindle “civilization,” but a young, black girl, called Hushpuppy, living with an abusive father in precarious circumstances. However, Trimble does not simply praise Beasts for challenging the status quo; she quotes and discusses a number of critics who have argued that Beasts amounts to “a romanticization of racialized poverty” and reinforces “tired tropes of primitivism and black familial dysfunction” (119). But Trimble also sees an opportunity for challenging the hegemonic “we” in our renderings of history. For example, in a key scene early in the film, Hushpuppy “accidentally-intentionally sets her house on fire” (119). While hiding from both the flames and her father in a cardboard box, she draws pictures on the walls of the box and explains: “If daddy gonna kill me, I ain’t gonna be forgotten. I’m recording my story for the scientists in the future” (quoted on page 119).

Undead Ends is a valuable and timely addition to the literature on climate fiction and apocalypse narratives. Through her well-written and nuanced readings of Anglo-American apocalypse films, Trimble illuminates and problematizes the “we” of widespread apocalypse narratives by relating the films’ plots and perspectives both to 500 years of colonial history and to the “disaster capitalism” of recent decades. We will be better off if we read Undead Ends—with regard to everyday life as well as to COVID-19 and other potentially apocalyptic hazards down the road.


Daniel Helsing received his PhD in literature from Lund University in 2019, and he currently teaches at the Department of Interdisciplinary Studies in the Liberal Arts at California Polytechnic State University. His research centers on representations of science and the universe in texts of various kinds, including fiction, poetry, creative nonfiction, and science communication.

Review of Star Wars after Lucas


SFRA Review, vol. 51, no. 2

Nonfiction Reviews


Review of Star Wars after Lucas: A Critical Guide to the Future of the Galaxy

Benjamin J. Robertson

Dan Golding.  Star Wars after Lucas: A Critical Guide to the Future of the Galaxy.  University of Minnesota Press, 2019. Hardcover. 264 pg. $21.95. ISBN 9781517905422.

In Star Wars after Lucas, Dan Golding implicitly and explicitly grapples with challenging questions scholars of that galaxy far, far away must consider when they attempt to make definitive statements about the franchise. How does one deal with more than forty years of Star Wars? How does a single person, in a single text (even a book-length one) identify and address an adequate sample of films, television shows, novels, comics, toys, video games, theme park attractions, and so on? How does one make sense of the relationship and interplay among the various groupings of narrative texts that make up the universe: the original trilogy, the prequel trilogy, the Disney trilogy, the films labeled as Star Wars stories, the de-canonized texts that make up Star Wars Legends, the new non-filmic texts that have replaced the Legends as canon, and so on? How does one account for the myriad historical moments in which they were produced and the various models that shaped their production, distribution, and reception? Perhaps most importantly, how does one say something about Star Wars now, in the present, when the inevitable progress of the franchise machine will make whatever one says about it obsolete in the very near future, perhaps even before one’s claims find their way to readers?

Star Wars After Lucas comprises an introduction and nine chapters, the bulk of which, as Golding’s title suggests, focus on the Disney era of the franchise, especially Star Wars Episode VII: The Force Awakens (2015). The introduction lays out the foundations for Golding’s subsequent discussion of the complex nostalgia Star Wars produces in its fans, a nostalgia that has become perhaps the franchise’s main thematic concern and narrative guide since at least 2015. Chapter one examines the politics of the original trilogy, the malleability thereof, and the consequences of this malleability with regard to the ongoingness of franchise. Chapter two turns to the Disney era, specifically to fan reaction to the announcement of new Star Wars films after the prequels—whose legacy has been, at best, problematic for the franchise—and the prospect of revitalizing Star Wars in such complex circumstances. Chapter three offers a strong reading of The Force Awakens by way of Golding’s conceptualization of the legacy film, whose goal is “to extend the life of a film series and renew it for a new era” by: bringing back actors/characters from earlier films, introducing new actors/characters, repeating and revising narrative strands and thematic concerns from earlier films, documenting a handoff from one franchise generation to the next, and using this handoff to shift the narrative focus from the older generation to the younger one (71). Chapter four stays with The Force Awakens to investigate the film’s politics, which shift away from the original trilogy’s concerns with colonialism and war in the aftermath of Vietnam and towards questions of diversity and representation appropriate to a decade when Black Lives Matter, #MeToo, and similar identitarian movements focused on marginalized voices have taken center stage in political debates. Chapter five, perhaps the most interesting in the book along with chapter three, also focuses on The Force Awakens and how the film’s score, by John L. Williams, plays a clear and important role in Disney’s nostalgic enterprise. In chapter six, Golding compares the nostalgia deployed by The Force Awakens to that deployed by the second film of the Disney era (and the first film to not be part of the episodic structure of the entire film franchise to that point), Rogue One (2016). Chapter seven then compares how Rogue One and the animated Star Wars Rebels television program take on fascism in their respective ways. Chapter eight turns away from engagements with specific films in order to think about how actors and the characters they play (specifically Carrie Fisher/Leia and Harrison Ford/Han Solo), by way of their mortality in the real world and their narrative weight in the storyworld, affect franchise production and reception. Finally, in chapter nine, Golding turns to Star Wars Episode VIII: The Last Jedi (2017) and how it responds to The Force Awakens and Rogue One “by questioning some of the fundamental questions about Star Wars that these films took for granted” (205). Such questioning, undoubtedly, will remain at the heart of the franchise for the foreseeable future.

As this summary suggests, Golding accomplishes a great deal in Star Wars after Lucas even as he continually faces the specific challenges Star Wars presents to critics, as discussed above. In some cases, he answers a challenge by doing what so many scholars of the franchise have already done. For example, he defines his object mainly in terms of the films, and privileges discussions of them over Star Wars in other media—a sensible move given the volume of material in other media and given the fact that the films will likely always remain canonical, and therefore central, for the Star Wars universe.  While this choice might appear merely standard, it allows Golding the opportunity for a very clear and focused discussion of the consequences of Disney’s 2012 acquisition of Lucasfilm for the recent rebirth and success of the Star Wars franchise through The Force Awakens and subsequent films. As Golding makes clear, this success derives from a complex relation the new material establishes with the older material, a complexity that the idea of the legacy film clarifies and makes available to further scholarship. For Golding, as for many other fans and critics, while The Force Awakens and subsequent films clearly recall beloved moments from the original trilogy, they also distance themselves from the prequel trilogy.  However, Golding takes a further, and much needed, step by making clear that we must not only consider how the Disney-era films relate themselves to the past, positively or negatively. We must also account for how these films do something new within the franchise itself: “For all that has been made about these new films’ ability to deliver something quintessentially ‘Star Wars-y,’ their atonement for past sins, and their renewal of the franchise, there are discontinuities here, too. […] Disney’s strategy in reviving Star Wars can tell us much about not just how American, global media functions today but also the power of the contemporary audience’s thirst for revisiting the past, and culture that deals with questions of legacy and myth” (3-4). In other words, Star Wars will always refer to its own past, but such reference goes beyond the valorization of what we like and denigration of what we don’t. It requires that Disney balance the weight of franchise history with the need for new narrative and thematic possibilities which can leverage the galaxy for further profit.

Here, however, we find a challenge that no critic of Star Wars will likely ever completely overcome. Just as Anakin Skywalker could not bring any final balance to the Force, no critic can ever make a final claim about how the franchise works. Because the franchise always carries on, and because this particular franchise (more than most, I think) so clearly concerns itself with a constant revision of its own history, future films (and television shows such as The Mandalorian [2019]) will not only provide new grist for the critical mill in and of themselves, they will also constantly affect how we understand all that has come before. With this point in mind, we can understand how any scholarly investigation into Star Wars will not only offer potential insights into what the franchise means (or has meant to date) and how it works (or has worked to date), but such statements will also provide a snapshot of Star Wars and its reception prior to some new revelation that might moot such statements. It is, of course, far too early to tell how, for example, Star Wars Episode IX: The Rise of Skywalker (2019) might undermine Golding’s arguments. Nonetheless, the fact that Golding could not have known the title of this film—revealed in April 2019; Golding refers to the film as “Episode IX”—hints at the franchise’s potential for such undermining. Along similar lines, Golding says very little about Solo: A Star Wars Story (2018) or the claims that its relatively poor performance at the box office caused Disney to cancel or delay previously announced Star Wars projects, including trilogies by The Last Jedi director Rian Johnson and Game of Thrones showrunners David Benioff and D.B. Weiss (both of which Golding mentions in his introduction as evidence of the robust future Disney imagines for the franchise). Finally, although Golding spends a whole chapter on The Last Jedi, his reading of the film does not seem to have much impact on his discussions of earlier films, perhaps because he could not wait for it to be released and integrate his reading of it into the rest of the book given academic publishing timelines.

I do not mean to suggest that Golding’s inability to see the future is a problem for this book so much as that every scholar’s inability to do so presents a problem for critical engagement with twenty-first century cultural production generally and the most prominent form of such production specifically. Insofar as Golding’s book both succeeds as an investigation of Star Wars in the Disney era and performs the limitations such investigations necessarily entail, it provides a useful and necessary account of contemporary, popular entertainment. It shows us that, as critics, we must make claims about what we know even when part of what we know involves the fact that knowledge, and therefore claims, will always remain radically provisional under contemporary capitalism and the forms it produces.


Benjamin J. Robertson is an assistant professor of English at the University of Colorado, Boulder, author of None of This is Normal: The Fiction of Jeff VanderMeer (2018), and editor, with Gerry Canavan, of a new book series from the University of Minnesota Press: Mass Markets: Studies in Franchise Culture.

Review of The Dark Fantastic


SFRA Review, vol. 51, no. 2

Nonfiction Reviews


Review of The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games

Jonathan W. Thurston-Torres

Ebony Elizabeth Thomas. The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games. New York UP, 2019. Hardback, 240 pg. $28.00, ISBN 9781479800650.

Even as I am writing this review, I am wearing both a Slytherin tank top and a Slytherin scarf. I grew up in a generation in which J. K. Rowling’s famed Harry Potter book series was coming out; they were published during my middle and high school years. While I have seen the movies a few times, I have never gone back to read the original books. But, when I saw the title and subtitle for Ebony Elizabeth Thomas’s new book, I found myself thinking back to racial representation in the book series. I knew about the occasional person of color in the books, and I knew that representation was minimal. I remembered, too, the “scandal” in the media over the black Hermione in the stage production of Harry Potter and the Cursed Child (2016). But Thomas’s book pushes back against all of these preconceived notions of race in the Harry Potter books and other young adult literature, begging the question, “What about the space for young adult imagination?”

Thomas begins her book with the eponymous critical term for her work: “the dark fantastic.” She first defines it as “the role that racial difference plays in our fantastically storied imaginations” (7). In this introduction, she details how monstrous others in fantastic literature are “endarkened” and convey to “readers, hearers, and viewers of color” that they “are the villains […] the horde […] the enemies […]the monsters” (23). She gives numerous examples throughout the text to showcase the term more concretely, such as Rumpelstiltskin who becomes the “Dark One” in the TV series Once Upon a Time (2011-18), the Native American bestial werewolves of the Twilight series (2008-12), and the “majority of witches and warlocks” with “visible African ancestry” in the television show The Vampire Diaries (2009-17) (30-31). However, as the diversity of these examples shows, the “dark fantastic” is a murky term to define.

In his 2019 monograph The Paradox of Blackness in African American Vampire Fiction, Jerry Rafiki Jenkins summarizes and discusses race discourse around Bram Stoker’s Dracula (1897). In this description, he shows how while many scholars have argued that a dominant response to the novel is to empathize with the victims of the vampire, some race readers like Jewelle Gomez align more with Dracula himself as a form of “shared ‘suffering’” (24). What Jenkins creates here is an awareness that both darkness and othering are spectra in and of themselves, not to mention their intersections. Is Mina Harker capable of being a Dark Other for Thomas, or is only Dracula capable of that? As Thomas points out, being othered in literature often means being darkened, so, therefore, are all folkloric antagonist archetypes qualifiers for Dark Othering? All antiheroes?

When Thomas moves into case studies, she starts with representations of Rue in The Hunger Games (2008). This section begins with a solid analysis of construction of race and ethnicity in the series, showing how Rue was raced in the first book. While these representations are complex, Thomas excels at being able to focus the camera in at the line level and then zoom back out to show the larger picture: we see how specific phrases and sentences help to create a systematic construction of race, and that affects the ways that Rue “becomes” innocence in the novel. But, as Thomas shows, that innocence is “transferred” to Katniss by the end, and Rue “fades from the narrative” (57). The chapter wraps up with a survey analysis of social media responses to the black representation in the films, investigating what Thomas calls the “dark fantastic cycle,” a narrative cycle that tracks the role of the Dark Other in fantastic literature (60, 26). This cycle makes it so that cishet white men can read the work and not even notice these characters who just “happen to not be white.”

The next chapter reads closely representations of Gwen in BBC’s Merlin (2008-12). The chapter starts by showing how the mixed-race character of Gwen might disrupt the dark fantastic cycle, but, at each step of the analysis, while there is potential for disruption, Thomas shows how even this narrative follows the conventions, even if in more roundabout ways. The second half of the chapter is devoted to Thomas countering common trends in social media response to Gwen’s racialization. However, many of these analyses are really quoting various posts, putting them in conversation with each other, and then making a brief point that could have been explained more. In one section, Thomas traces the statement that “Gwen and Arthur [as a desired coupling] are heteronormative” (96). She sets up the context for this discourse, she shows some quotes, details how important an Arthur and Merlin shipping is for the LGBTQI community, gives more quotes, one of which says that race is important for characterizing Gwen, and then paraphrases that quote some more, and then moves on to the next assertion. The social media analysis throughout Thomas’s work signifies new ways to examine young adult literature and its reception, but I would have liked to see more critical analysis of it, rather than mostly summary.

In the final two chapters, Thomas examines blackness in The Vampire Diaries and the Harry Potter series. In each, she grounds the discussions in anecdotes of conversations with her family about race and racial representation, and these anecdotes showcase one of the strongest aspects of the book: this book is an essential text for anyone teaching young adult literature, especially in middle or high schools. Thomas models reading YA lit for race and encourages ways to teach not just reading but also analysis of social media reception of race in literature and film. Thomas’s work definitely needs to be in university libraries, educators’ hands, and scholars’ shelves. And for me at least, even as a proud Slytherin, I have new understandings of the Harry Potter series and the ways the dark fantastic cycle snakes its way into the narrative.


Jonathan W. Thurston-Torres is a PhD Candidate in English at Michigan State University, and their edited collection Animals & Race is scheduled to come out through MSU Press later this year. They specialize in early modern studies, animal-race theory, and HIV activism.