short-story-writers-from-china

"Why has our space of debate become so narrow?...The new coronavirus infection is totally under control in China. What is it (China) scared of, despite that?"

"If authors have any responsibilities in the face of disaster, the greatest of them is to bear witness...I’ve always cared about how the weak survive great upheavals. The individuals who are left out — they’ve always been my chief concern."

"Quantitative change eventually gives way to qualitative change."

"That humans will biologically alter themselves is inevitable, which makes life sciences the most terrifying of the sciences."

"It’s an interesting thing, really: The rigorous, science-based predictions of scientists and futurologists and the spirited “flights of fancy” of sci-fi writers are just about equally (in)accurate!"

"The products of modern science have already surpassed the wonders of magic."

"The cosmos had not chosen humanity after all. In the old timeline, humans had created the apex civilization on earth, but that had been a one-time and accidental chance. In our human conceit, we’d taken the accidental for the inevitable."

"A professor of philosophy once said that lesson one for freshman in his field should consist of a long, hard look late at night at the stars. I think this would be an even more apt first lesson for aspiring writers of sci-fi."

"It is science fiction’s mission to broaden and deepen people’s minds. If someone on the way home from work at night pauses to look thoughtfully up at the stars for a while because of a sci-fi story they’ve read, then that work is a great success. Unfortunately, our current sci-fi is also benumbed to a considerable extent, and I see two possible reasons. The first is conceptual. There’s an idea that sci-fi, like mainstream literature, is about relationships between people. This idea reduces the universe to nothing but a prop, a set piece, a supporting role. It cannot be denied that this idea has given rise to many excellent works, but sci-fi is at its strongest and most charming when it depicts the relationship between people and the universe. In sci-fi, the universe itself should be a protagonist, as much as any of its characters."

"Numbness to the universe is pervasive in society."

"Mind you, what we are discussing isn’t religion, per se, but religious feeling. This isn’t the feeling someone has toward God—it’s atheistic, and not in the complicated way of Spinoza or whomever. The religious feeling of science fiction is a deep sense of awe at the great mysteries of the universe."

"We tend to imagine that readers of fantasy recognize that what they’re reading is make-believe, which is certainly true today, but wasn’t necessarily so in ancient times. People of ages past regarded fantasies and myths as nothing less than fact. Back then, the real world and the world of magic were mixed together as an inseparable whole, and a large part of the appeal of magical fantasy was its perceived realism. Now, its sense of realism is gone for good, which is why modernity can produce only fairy tales, never myths."

"Fantasy has been around since antiquity, and there’s been so much of it. The years have taken their toll and depleted some of its imaginative power. The rapid progress of science, on the other hand, constantly infuses fresh blood into the science-fictional imagination. The worlds described in today’s sci-fi are entirely different from those of a few decades ago, whereas today’s fantasy worlds aren’t so different from those of the Middle Ages."

"The truth is that sci-fi and fantasy have many more similarities than differences. They have the same goal: both strive to create ethereal, free worlds of the imagination from which readers can derive the shocks and delights of beauty. (Personally, I’ve never thought it’s sci-fi’s job to represent reality or human nature.) The only difference between the two is the source of their imaginings."

"The world of fantasy and myth isn’t really that large. The universe, as depicted in Eastern and Western mythology alike, is hardly ever larger than two astronomical units in radius. The notion of a light-year could never have made it into a myth because such a scale is beyond the capacity of the mythological imagination. The most magnificent deities of the world of magic are dwarfed by the stars of the world of sci-fi, and its most terrible demons pale in comparison to the sci-fi world’s black holes."

"Of all the unexpected things that might interrupt Chinese science fiction’s development, social unrest has to be the most worrying. I once told readers at a conference that science fiction is the product of leisurely and carefree minds. No one agreed, but I was telling the truth. Only when our lives are stable and quiet can we allow the universe’s catastrophes to fascinate and awe us. If we already live in an environment full of danger, then science fiction won’t interest us. In fact, two of the last three bursts of creative progress that Chinese science fiction underwent were cut short by social unrest, which is lethal to the genre."

"In technological terms, space voyages and environmental protections seem different in character, with the former being intense, high speed, and adventurous, with connotations of state-of-the-art technology, while the latter is a gentle green public-service activity, one which, though involving technology, doesn’t give the impression of being as difficult as the former. But that is only an impression. The true situation is: If we want to achieve the present targets for environmental protection, the technology needed is more difficult to develop than that for large-scale interplanetary travel."

"In the remote future, when people remember the history of the mid-twentieth century to the present, all of the great events that seemed so momentous in this period will be milled away, leaving little trace, and only two things that we have overlooked will be seen as more and more important: first, humanity took its first step outside the cradle, and second, humanity then took a step backward. The importance of these two events cannot be overestimated."

"Nostalgia ages people, but science fiction is a literature of youth. Its spirit is the youthful yearning for new worlds, and new ways of living. Mainstream literature is like Chinese baijiu, tasting better as it ages; science fiction, on the other hand, is like tap beer—you’ve got to drink it quick. Read today, even the sci-fi classics seem feeble, not revelatory. The nature of science fiction is to shine brightest in the present, then to be quickly forgotten. But science fiction shouldn’t be afraid of obsolescence. As a literature of innovation, it uses a constant stream of inventions and shocks to hold back obsolescence, like an everlasting fire. Just as ash falls, the flame springs back to life, emitting dazzling light. To accomplish this, it must hold on to its usefulness."

"The glories and obstacles of the past are just a speck compared to the vastness of the future."

"Contemporary China is a complex society in transition. The kinds of technological and social changes that took societies in the west centuries to move through have sometimes been experienced by a mere two generations in China. The anxiety of careening out of balance, of being torn by parts moving too fast and too slow, is felt everywhere."

"As to the future of humanity, I’m essentially an optimist. I believe that with the advancement of technology, mankind has a hopeful future. But this optimistic view is based on reason: on one hand, whether the future will be bright or be dark depends largely on the choices we make today."

"The world described by modern physics has already moved far beyond our common sense and intuition, even beyond our imagination, and this is, of course, the richest resource for science fiction. I’ve tried to turn the magical world as demonstrated by modern physics into vivid stories. Most of my stories were based on and imagined along the lines of physics and cosmology."

"As a child, I witnessed a great deal of violence and persecution as well as social unrest during The Cultural Revolution...This experience has made me understand the complexity of human nature and society—I’ve realized that the future of human civilization is also full of danger and uncertainty. Such understanding is manifested in my science fiction novels…"

"Exploring the secrets of the universe is the basic instinct of all intelligent life."

"First we look at the hills in the painting, Then we look at the painting in the hills."

"How foolish men are, to see nothing but beauty in what is clearly evil! [...] Heaven's Way has its inexorable justice, but some mortals remain foolish and never see the light!"

"My talents are not those of Kan Pao, elegant explorer of the records of the Gods; I am rather animated by the spirit of Su Tung-P'o, who loved to hear men speak of the supernatural. I get people to commit what they tell me to writing, and subsequently I dress it up in the form of a story; thus in the lapse of time my friends from all quarters have supplied me with quantities of material, which, from my habit of collecting, has grown into a vast pile."

"One striking difference between many of Pu Song-ling's literary ghost stories and their Western counterparts is the frequent undercurrent of whimsy and humor, found precisely in the conjunction of the ordinary and the supernatural, the domestic and demonic."

"I used to assume history and memory would always triumph over temporary aberrations and return to their rightful place. It now appears the opposite is true."

"In March 2012 I met Torbjorn Loden, the Swedish professor of Chinese language and culture, in Hong Kong. He told me that while briefly teaching at Hong Kong's City University he asked the 40 students from China in his class what they knew about the June 4 Incident, the pro-democracy movement that ended in bloodshed in 1989, and if they were familiar with the names Liu Binyan and Fang Lizhi, two prominent democracy advocates of that era. All the students from China looked around at one another, mute and puzzled. That reminded me of something another teacher told me. She had asked her students from China if they had heard about the death by starvation of 30 to 40 million people during the so-called "three years of natural disasters" in the early 1960s. Her students responded with stunned silence, as if she, a teacher in Hong Kong, was brazenly fabricating history to attack their mother country."

"Reality is much more absurd and complex than any fiction."

"China's censorship is not as rigorous as everyone thinks. The self-censorship of the authors is much worse."

"Yet, just as in any kindergarten, there are always a few naughty children who don't like to be told what to do. There are always some people who refuse to be administered amnesia. They are always trying to speak in their own words, always spreading their creative wings to fly beyond the boundaries of official memory. Following their conscience, they are willing to fly anywhere, into the past, the present or the future, in order to produce works that can pass our memories onto younger generations."

"Anything negative about the country or the regime will be rapidly erased from the collective memory. This memory deletion is being carried out by censoring newspapers, magazines, television news, the Internet and anything that preserves memories."

"What we are pursuing is beauty, nothing but beauty. It's not true beauty if we didn't create it. Creating beauty with beauty is not true beauty either; real beauty is achieved by transforming the ugly into the beautiful."

"The fundamental principle of literature is to create something out of nothing and to make up stories. My creation has not been altogether fashioned out of nothing, and is not entirely made up."

"Liquor infatuates me until I am in capable of following rules and regulations. Liquor's character is wild and unrestrained; its temperament is to talk without thinking."

"The relationship between man and liquor embodies virtually all contradictions involved in the process of human existence and development."

"For a writer, talent is everything. Lots of people make a career out of writing, producing many works and knowing exactly what it takes to become a great writer. But they never break into the big time, because they lack one thing: talent, or a sufficient amount of it."

"Ding Gou’er was born in 1941 and married in 1965. It was garden variety marriage, with husband and wife getting along well enough, and producing one child, a darling little boy. He had a mistress who was sometimes adorable and sometimes downright spooky. Sometimes she was like the sun, at other times he moon. Sometimes she was a seductive feline, at other times a mad dog. The idea of divorcing his wife appealed to him, but not enough to actually go through with it. Staying with his mistress was tempting, but not enough to actually do it. Anytime he took sick, he fantasized the onset of cancer, yet was terrified by the thought of the disease; he loved life dearly, and was tired to death of it. He had trouble being decisive. He often stuck the muzzle of his pistol against his temple, then brought it back down; another frequent site of this game was his chest, specifically the area over his heart. One thing and one thing only pleased him without exception or diminution: investigating and solving criminal cases."

"A tidal wave of trucks and carts moved slowly, inexorably toward the now open gate, bumping and clanging into each other as they squeezed through. The investigator jumped out of the way, and as he stood there observing the passage of this hideous insect, with its countless twisting, shifting sections, he experienced a strange and powerful rage. The birth of that rage was followed by spasms down and around his anus, where irritated blood vessels began to leap painfully, and he knew he was in for a hemorrhoid attack. This time the investigation would go forward, hemorrhoids or no, just like the old days. That thought took the edge off his rage, lessened it considerably, in fact. There's no avoiding the inevitable. Not mass confusion, not hemorrhoids. Only the sacred key to a riddle is eternal. But what was it this time?"

"“Am I drunk?" he asked Crewcut. "You're not drunk, Boss," Crewcut replied. "How could a superior individual like you be drunk? People around here who get drunk are the dregs of society, illiterates, uncouth people. Highbrow folks, those of the 'spring snow,' cannot get drunk. You're a highbrow, therefore you cannot be drunk.”"

"A writer should always bravely face life, risking death and mutilation in order to dethrone an emperor."

"Over decades that seem but a moment in time, lines of scarlet figures shuttled among the sorghum stalks to weave a vast human tapestry. They killed, they looted, and they defended their country in a valiant, stirring ballet that makes us unfilial descendants who now occupy the land pale by comparison."

"Finally, she mused that human existence is as brief as the life of autumn grass, so what was there to fear from taking chances with your life?"

"I sometimes think that there is a link between the decline in humanity and the increase in prosperity and comfort. Property and comfort are what people seek, but the costs to character are often terrifying."

"Are women really wonderful things? Maybe they are. Yes, women are wonderful things, but when all is said and done, they aren't really “things"."

"Where there's life, death is inevitable. Dying's easy; it's living that's hard. The harder it gets, the stronger the will to live. And the greater the fear of death, the greater the struggle to keep on living."

"Unique descriptions of scene play a significant role in the success of fiction, and any first-rate novelists knows enough to keep changing the scenes in which his characters carry out action, since that no only conceals the novelist's shortcomings, but also heightens the reader's enthuisiasm in the reading process"