Ken Liu Quotes
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My fiction occupies, actually, the very heart of American culture: this eternal question and struggle of what it means to be an American.
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People who are ambitious - politicians who crave power - think that they're in control of it, but at some point, the movement that they started overtakes them, and they lose the ability to direct things anymore, and they become essentially riders on a wild stallion, and wherever the movement goes, wherever power takes them, they have to go along.
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In every revolution, there are winners and losers. Every dystopia is a utopia for somebody else. It just depends where you are. Are you in the class that benefits, or are you in the class that's not?
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Because my writing time has always been very limited, I try to be very choosy about which stories I work on. There are many ideas that would make interesting stories - too many - so it's important to be ruthless and say no to most of them.
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Like pretty much every short story writer, I submitted to every market under the sun and hoped for the best. The rejection letters I've collected over the years can probably make a book of their own.
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The way a story makes an argument is quite different from the way a persuasive essay does it. Emotional truth and the logic of metaphors dominate.
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It is not possible to completely eliminate mediation between you as an observer and the history you are trying to understand.
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I've been writing long enough to know that fiction, as a rhetorical mode, works very differently from expository writing. If an author has a specific critique about contemporary society in mind, fiction tends not to be the best means to deliver that critique.
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What is fascinating to me is the way I view everything in terms of parallels and connections. When I read about Achilles and Odysseus in Homer's 'Iliad,' I can see parallels in Chinese historical romances, in the way the first emperor of the Han dynasty and his chief rival are portrayed.
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I don't have a specific message for 'The Grace of Kings' and the sequels in mind other than wanting to challenge some of the source material I was working from as well as some of the assumptions of epic fantasy.
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The 'silk' in silkpunk refers not to a source of power, but to an entirely different, expressive technology language.
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I like the law. I like the part that's about reasoning, about persuasion, about telling stories, about trying to build structures that fall within rules.
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When I act as a translator, I am really doing a performance for my fellow Anglophone readers in the West.
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It's kind of cool that I know of all this great science fiction being written in China, and most of it is not really well-known in the West.
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The evolution of art is not only driven by artists, but by a conversation between the artists and the audience.
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'The Grace of Kings' was meant to read like a set of legends about characters who were bigger than life.
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The Singaporean speculative tradition is different. Singapore doesn't conceive itself as the centre of the world or the one country that's going to save the world, so there's a different tone that comes out in the way speculative fiction is done. That's refreshing to read.
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We have never had a society that was truly just. Some groups have always benefited at the expense of others.
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I certainly have been writing stories that are hard science fiction, that are very reminiscent of 'Golden Age tales' from the '40s and '50s. I've also written stories that are very high fantasy that are the direct opposite of that style.
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There is no way for me to replicate for you what a sentence reads like for a Chinese reader.
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What tends to happen when people talk about Chinese sci-fi in the West is that there's a lot of projection. We prefer to think of China as a dystopian world that is challenging American hegemony, so we would like to think that Chinese sci-fi is all either militaristic or dystopian. But that's just not the reality of it.
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Researching real history has taught me to be bolder and more imaginative in building fantasy worlds and writing fantasy characters, to seek out the margins of history and the forgotten tales that illuminate the whole, complex truth of our flawed yet wondrous nature as a species.
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The 'Grace of Kings' isn't a narrative about a return to some golden age, to a lost status quo ante. It portrays a dynamic world in transition, where the redistribution of power is messy, morally ambivalent, and only lurches toward more justice.
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Most of us do not, in fact, read another language, and so when we read a translation, we have no way of knowing what has been changed or added.