#ken liu

[aseaofquotes]

Ken Liu, The Paper Menagerie and Other Stories

[charliejaneanders]

The new episode of Our Opinions Are Correct is about amazing libraries in science fiction and fantasy. We also talk about real-life libraries, which are under threat from would-be censors. Plus we talk to author Ken Liu about his new translation of the Dao De Jing!

[power-chords]

I read a fantastic short story yesterday by Ken Liu called "Good Hunting," about folklore, machines, colonialism, misogyny, and finding camaraderie in survival. Enjoy.

[physicalhazards]

“Vicious” “Viscous”, My Speculative Fiction MidTerm based on Ken Liu’s “Good Hunting”

rahh I’m so proud of this piece! i did an analysis explaining this piece as well for the class that I didn’t include but yea! im super proud of how it turned out and all the work i put into it. It’s a commentary on bodily autonomy. Included the sketches and up-close shots under the cut.

[leahsfiction]

I really like this one of Ken Liu's essays on translation too:

While listeners can often compare many different performances of the same musical composition, most modern works of fiction are translated into English only once. While anyone can read the text of a play and readily see the additions, both verbal and nonverbal, made by an actress, only those who can and have read the original novel or short story can fully appreciate the choices and changes made by the translator. Since translation appears opaque to most of us, we are hesitant to attribute much to the translator. But I think there’s a deeper cause for the unease we feel toward translators: since we do not fundamentally believe what they do adds value to a work of art, we do not trust them. [...] The translator is thus seen as a necessary evil—merely a passive lens necessary to decode the hieroglyphics of people who are not so fortunate as to write and speak our language. The best that a translator can do is to be unnoticeable, and anything short of perfection would be deemed a “distortion.” Thus, the most value that a translator can add to a work is precisely zero (and many times, readers work from the assumption that translators subtract rather than add).

[haveyoureadthisfantasybook]

vote yes if you have finished the entire book.

vote no if you have not finished the entire book.

(faq · submit a book)

[mykingdomforapen]

I love this art of Cheng Xiaoshi so, so dearly because it's adorable and I love stuffies and I love CXS but also because it reminds me of this short story: "Goodnight, Melancholy" by Xia Jia (English translation by Ken Liu)

cw: deals very intimately with deep depression, including references to suicide, but is ultimately a story that is about beginning to heal. Also, it's a story about robots, souls, and learning to be kind to yourself as you would a child.

[haveyoureadthisscifibook]

vote yes if you have finished the entire book.

vote no if you have not finished the entire book.

(faq · submit a book)

[quotent-potables]

The best translations into English do not, in fact, read as if they were originally written in English. The English words are arranged in such a way that the reader sees a glimpse of another culture's patterns of thinking, hears an echo of another language's rhythms and cadences, and feels a tremor of another people's gestures and movements.

— Ken Liu, translator's postscript to The Three-Body Problem, by Liu Cixin

[portabella201]

I have no one to talk to about Cogo Yelu from the Dandelion Dynasty and it’s physically hurting me. He’s perfect

[reverie-quotes]

There are many ways to say I love you in this cold, dark, silent universe, as many as the twinkling stars.

— Ken Liu, The Paper Menagerie and Other Stories

[mrsfaulkner]

620 pages, almost as many characters to keep track of and an intricate geopolitical plot. Obvious parallels to GOT - and I really liked this!

Politics made fun 👌

[riceballannie]

Cried my eyes out while reading Ken Liu's #thepapermenagerie for my university's book cover project. I combined traditional inking, graphite pencils and digital colouring :3

[coquelicoq]

it's interesting, a few people on my post yesterday about the dandelion dynasty told me they were taking it as a rec for the series, but i didn't actually recommend the series in that post. it's making me think about whether i would rec it to people, a question i hadn't fully considered yet (as it is a very different question from "do i like this book?"). so this is me figuring out the answer to that question. i'll keep it spoiler-free (though i make no promises on brevity).

i just finished book 3 (of 4) and each installment has left me more invested than i was before, but the series started out very slow, and i didn't really get into it until halfway through book 2. i wouldn't be surprised if a lot of people bounce off the first book; i didn't, but only because 1) i almost never give up on a book that i've started (it's a character flaw of mine 😕) and 2) my trust in ken liu is ridiculously high because the other stuff i've read by him is so beloved to me. so my reaction to feeling kind of meh about book 1 was "okay, let's see where he's going with this" rather than "i guess this just isn't my cup of tea."

i should say that the problem might just be my own ignorance/lack of familiarity with the form. i don't read a lot of epic fantasy - in fact, lord of the rings is the one series that i have given up on reading a couple of times because it just left me totally indifferent. so if you like epics, you are starting out way ahead of me and can maybe just ignore the rest of this post lol, but i think i had to adjust to what the form is asking of me and what it's best suited to accomplish before i could get fully on board.

the main thing i struggled with is the writing, like the actual sentence-level mechanics of voice and style. this surprised me, because i usually find his writing very beautiful, or, when not beautiful, i can get a sense of the effect he means to achieve by employing a certain style. but in this series, the writing came across as kind of awkward and one-note to me at first, and i couldn't see a reason for it to be that way.* the dialogue especially - different characters don't really have different ways of speaking, they all feel pretty much the same. this was one of the main things i had to adjust to, but i do get it now. i don't just mean that i got used to the style and it doesn't bother me anymore, though that is true; i mean that i now understand the effect he means to achieve by employing this style, which gives it purpose and inextricably ties it to the story he's telling (this becomes especially clear in book 3, as it's directly related to a major theme of that book). if the style were different, he would be telling a different story; that's the sign of a successful execution, i think.

i said in the tags on yesterday's post that one reason the series doesn't have much of a fandom on here might be that the characters aren't natural blorbos. of course every character is probably the blorbo of somebody somewhere, but i don't know that these characters were designed to be blorbos, if that makes sense. not that they're plot devices either! every single one of them is conflicted and complicated and compelling, and most of them are followed over a period of many years, so we see them develop as people over time. but there is no protagonist, for example. you could also say that every character is a protagonist. the "list of major characters" at the beginning of book 3 is six pages long, and there are stories to be told about each of these characters, and none of them are told in isolation. but in a way, the characters themselves are not the point, or if they are, it's in aggregate - it's in the ways they're all complex, the ways they all have motivations that make sense to them (and that make sense to us, once we get to know them). and it's about power and the roles that the characters play in their society, rather than the roles the characters play in the story. or maybe those are the same thing! because ultimately, the main character of this story is the society. and the plot is the history of this society, rather than the journey or life of a single person or handful of people.**

(sidenote, there will be a period during book 1 when you will think to yourself, "wow, all the women characters are super one-dimensional and the narrative doesn't seem to respect them." this is on purpose. just keep going.)

the plotting is intricate while also feeling very organic. he's got dozens of plates in the air at once, he's maintaining them over a long period (these books are MASSIVE), and he's somehow making it seem like a real history, not like an author pulling strings. i haven't finished it yet, but my guess is that he's going to pull off a very satisfying conclusion that's at the same time very open-ended. definitely looking forward to it.

and the worldbuilding. oh, the worldbuilding. this is some of the most detailed, complex, realistic*** worldbuilding i've ever encountered, and he covers SO much ground. you want linguistic worldbuilding? you got it. philosophy? it's here. psychology of empire? coming right up. the nitty-gritty of everyday governance? buddy, pull up a chair. mechanical engineering? how much time you got?? (it better be enough time to read 3504 physical pages, because that's how long this series is.) and he's drawing on chinese history and cultural narratives rather than slapping lipstick on a tolkien clone (see his comments here, but stop reading at "In this continuation of the series" if you want to avoid spoilers). he WILL go on for a hundred pages about a single invention, but it's SO interesting that he is allowed. this is a story about how technology (including language, and schools of thought, and agriculture, and...) shapes, and is a product of, its time and place and people, so again, this is all to purpose. but it's also just. really cool.

the last thing i'll say, and this is mainly for other ken liu fans, is that one of the things i most love about his short stories is how they tap into emotions i didn't even know i had, as though they're reaching inside of me and drawing to the surface ways of experiencing consciousness and love and mortal life that i had no idea were in there. this series is not causing emotional revelation for me in the way his other stories do, which isn't a bad thing - i don't mean to say the series is not engaging or that it inspires no emotions! i just mean, iykyk. if you've read the paper menagerie and are expecting that experience, you will have a better time here if you leave those expectations at the door. i am invested in this book because it's engaging my intellect, curiosity, sense of wanting to find out what else the characters will learn and what's going to happen next...less because it's turning my heart inside out inside my chest. and like thank goodness, because i don't think i could survive four entire 900-page books' worth of that! but anyway. word to the wise.

tl;dr: yes, i recommend it, especially if you like epic fantasy. if you're a fan of ken liu's other work, this is quite different, so just know that going in!

*this opinion is of course subjective and not universally shared. for instance, see this review of book 3 (full of spoilers, so don't actually read it lol) which says "There's Liu's voice to hold onto, though — beautifully deployed here and fully in command of the language of his imaginary universe." so ymmv. maybe it's an epic fantasy thing.

**this is making me realize that the story is commenting on this very thing through a tension between bureaucracy (founded on interchangeability) and monarchy (informed by a specific personality). dude. that's so meta!

***though sometimes i'm like, "really? you scaled up that invention to use untested on the battlefield in the span of like two weeks? sure, jan." so sometimes he falls down a little on translation of ideas into logistics, but it makes for such a great story that i'll allow it.

[thelastofthebookworms]

When the other polls will be out, they'll be in my 'fantasy polls' tag.