Ken Liu

I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.

As a species, we tend to live in environments where our own artifacts dominate. The way we shape our environment and are in turn shaped by it is a key theme in my fiction - indeed, it's a key part of a great deal of science fiction.

In creating the silkpunk aesthetic, I was influenced by the ideas of W. Brian Arthur, who articulates a vision of technology as a language.

There are so many different narrative traditions across the world, and each of those traditions has evolved dramatically over time. Once I understood that, I felt truly free; I could write and invent the way I wanted to because there never has been only one way to tell a good story.

The truth is not delicate and it does not suffer from denial—the truth only dies when true stories are untold.

Labels like 'Chinese Science Fiction' or 'Western Science Fiction' summarize a vast field of work, all of which are diverse and driven by individual authors, with individual concerns.

I think that what's unique about sci-fi - at least from the view of a lot of Chinese writers - is that sci-fi is least-rooted in the particular culture that they're writing from.

I think the narrative of people being caught between two cultures as immigrants is very harmful. It's exclusionary. It essentially tries to argue that some Americans are more real than others.

I wanted to make my stories, which are inspired by Asian stories, into something fresh, decontextualized - to give them new life as a new kind of fantasy that isn't so cloying and exotic and strange.

The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.

Real history is far more complex and interesting than the simplistic summaries presented in Wikipedia articles. Knowing this allows you to question received wisdom, to challenge 'facts' 'everybody' knows to be true, and to imagine worlds and characters worthy of our rich historical heritage and our complex selves.

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.

My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.

There's inherent cultural imbalance whenever you're translating from Chinese to English. Educated Chinese readers are expected not only to know about all the Chinese references - history, language, culture, all this stuff - but to be well-versed in Western references as well.

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.

It's true that misunderstanding and lack of understanding are often themes in my fiction, but I am grateful for the moments when true understanding is achieved, especially between writer and reader. It's miraculous.

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.

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?