I am a conventional science fiction author. But that said, once your work is published, it no longer belongs to you. It belongs to the readers and they will derive all sorts of interpretations.
In the century-long history of Chinese science fiction, apocalyptic themes were mostly absent. This was especially true in the period before the 1990s, when Chinese science fiction, isolated from the influence of the West, developed on its own.
Interpretation
What this quote means
This quote highlights the unique development of Chinese science fiction, particularly its lack of apocalyptic themes prior to the 1990s.
Liu Cixin points out that for much of its history, Chinese science fiction did not focus on apocalyptic themes, especially before the 1990s when the genre evolved independently of Western influences. This reflects a broader cultural narrative and suggests that national contexts significantly shape literary outputs, demonstrating how different societies can perceive and construct futures distinctively.
Themes
In practice
Example use cases
During a discussion on the evolution of science fiction, one might quote Liu Cixin to emphasize the cultural uniqueness of different literary traditions.
More from Liu Cixin
All quotes →Perhaps in ten thousand years, the starry sky that humankind gazes upon will remain empty and silent. But perhaps tomorrow we'll wake up and find an alien spaceship the size of the Moon parked in orbit.
The main difficulty is finding an idea that really excites me. We live in an age when miracles are no longer miracles, and science and the future are losing their sense of mystery. For science fiction, or at least the type of science fiction I write, this development is almost fatal, but I'm still giving it all I've got.
I'm absolutely positive about human survival. We will continue to develop our civilisation and expand not just on Earth, but also across the solar system, the galaxy, even the entire universe.
Similar quotes
Her reputation for reading a great deal hung about her like the cloudy envelope of a goddess in an epic.
It's extraordinary how many people read a book that's new and weird and befriend it.
He constructed a vast labyrinthine of periods, made impassable by the piling-up of clauses upon clauses-clauses in which oversight and bad grammar seemed manifestations of disdain.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
It was a great place to write a novel about book burning, in the library basement.
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.