Over at the Encyclopedia of Science Fiction, the need to revise the entry for the blockbuster flop Virus led me to also write a new entry on its producer, the flamboyant, ever-entertaining Haruki Kadokawa. That’s him in the picture, dressed as a samurai on a Tokyo overpass, photographed by Annie Leibowitz, with a book title that’s the same in Japanese as Mein Kampf. Because if you’re that rich, you would, wouldn’t you?
Science fiction is not as easy to find in China as one might think. I never saw a massive “SCI-FI” section in Chinese bookshops, although there were often entire bays dedicated to internet novels and how-to-draw manga books; SF is more often than not still lumped in with children’s fiction. It’s a long story.
I pestered numerous newsstand vendors in four or five Chinese cities for the latest issue of Kehuan Shijie (“SF World”, pictured), but only struck gold outside the gates of the Beijing University of Astronautics and Aeronautics, where the passing traffic might be reasonably expected to be interested in all that Buck Rogers stuff. Otherwise, science fiction in China, with a readership in the tens of thousands, is still something of a minority interest in the People’s Republic.
Which makes it all the more ironic that I should get back to my office and find in my in-tray two publications that massively increase the footprint of Chinese science fiction abroad. A double-issue of Renditions, published by the Chinese University of Hong Kong, is packed with translations of Chinese SF, including stories by Liu Cixin, Han Song, La La, Zhao Haihong, Chi Hui and Xia Jia. There’s also some intriguing proto-sf such as a piece from 1912 by Xu Zhuodai, as well as an incredible exercise in academic recursion: a translation into English of Lu Xun’s translation into Chinese of a Japanese translation of a story by Anna Louise Strong, showing to what degree Chinese whispers might be reasonably said to have set in.
Fei Dao, another author in Renditions, also shows up in the latest issue of Science Fiction Studies under his real name of Jia Liyuan, with a different hat on as a doctoral candidate in Chinese literature. The new SFS is a China special issue, and includes articles about utopias in Chinese fiction, Chinese SF movies, alien contact and the role played by translation in the spread of the medium, as well as non-fiction essays by Liu Cixin, Han Song and Wu Yan. In my role as a contributing editor to the Encyclopedia of Science Fiction, I was asked to be a peer reviewer on several of the papers in this issue, and I was very impressed with the level of achievement. It’s certainly very salutary, albeit rather odd, to see the amount of work on Chinese SF in English increasingly so exponentially, almost overnight.
In October, after many months of work, the “China” entry in the Encyclopedia of Science Fiction was updated for the third edition. This reflects the fact that almost all the cross-references within the entry are now live, pointing readers in turn at my newly written entries about authors such as Chi Shuchang, Gu Junzheng, Wang Jinkang and Ye Yonglie. It all amounts to a book-length work inside the Encyclopedia, dedicated to an entire culture of often-overlooked authors, not only in the People’s Republic, but also on Taiwan, in Hong Kong and elsewhere in the Chinese diaspora.
It’s been fascinating reading through a century of Chinese stories and biographies, and I’ve uncovered some really interesting creators and works. Moving on now to the “Japan” entries, which I also have to knock into shape. You can see how far I’ve come, and how far there is to go, by looking at the Seiun Awards entry.
I’m off to the London Book Fair tomorrow to appear on a panel about Chinese science fiction, alongside Ah Lai, the former editor of Kehuan Shijie magazine, and novelist Liu Cixin, whose name I last dropped on the first Manga UK podcast, when enthusing about the likelihood of ever seeing a good science fiction cartoon from the People’s Republic. John Clute moderates, probably with big words.
Her eyes were green. Her hair was silver, and she freckled. The rest was subject to change without notice.
To a jaded cynic, the work of Anne McCaffrey (1926-2011) was little more than a science fictional repackaging of well-worn tropes from the world of fiction for adolescent girls. She had an entire stable of protagonists modelled on Cinderella or Lisa the Lonely Ballerina, and a whole paddock of tales about ponies and horses, which she rewrote as dragons. I was a ten-year-old boy in 1981; I didn’t know that. If I had, I might have turned away with a sneer and bought something about space marines.
Instead, I discovered that Pern was a place where elegant, terrible, wonderful creatures sought out the purest of heart. Passions and yearnings could wake worlds, knowledge was passed on through songs… imperfectly, poetically… warning that something called Thread would fall from the sky. Old songs, forgotten songs, whispering of apocalypse, ignored, belittled, dismissed. Until the day the songs came true.
The series, as it existed when I first came to it, comprised twin trilogies, one for adults, and one for younger readers, often offering different perspectives on the same scenes and events. And it all came to an end with this:
The dragons on the fire-heights rose to their haunches, bugling their jubilation on this happy day while fire-lizards executed dizzy patterns in the Thread-free sky!
What a sentence. As a teenage would-be author, I fixated on that last phrase. This day, the sky was free of Thread, the awful alien spores that brought ecological disaster. And already, the Dragonriders had found a way to neutralise Thread on contact with the ground. The Dragonriders had rendered themselves obsolete. Their whole world was about to fall apart, and nothing would be the same again. F’lar and Lessa, the reluctant first couple of Pern, walked out of the narrative with smiles on their faces, but they stood at a momentous moment in history, thick with melancholy and pregnant with loss.
Opening my battered, much-read, much-loved copy of the The White Dragon this morning, I turned once more to the sentence I thought I knew so well. Just try reading it out aloud. It is breathless and giddy, arguably missing a comma and ending in a grandstanding exclamation point. You would need to be an opera singer to belt that sentence out and get it in all its passionate, gabbled glory. Anne McCaffrey, who once was an opera singer, and often wrote as if translating music into prose, ended her masterpiece on a crescendo and a descant.
Sadly, perhaps, it wasn’t the end. I would read the first six Pern novels on an almost annual basis, but I had little time for the diminishing returns of the later bolt-ons. I liked Dragonsdawn, with its revelation that McCaffrey’s world was a sci-fi acronym: Parallel Earth Resources Negligible. I was intrigued by Moreta: Dragonlady of Pern, and not only for its glimpse of a legend only whispered in the main saga, but also for its engagement with something only obliquely referenced in earlier books – the fact that a number of the dragonriders were gay. But I had no time for the rest of it: the Celtic whimsy and the pointless dolphins, the previously unmentioned gipsies and the inevitable aging and changing of the characters I loved.
As I protested to my fannish friends, all largely aghast at my passion for a girl’s book, it’s all there in the last sentence of The White Dragon. They’re dancing in the Thread-free sky. Game over. Do we really want to see them building factories and laying roads? Must we watch them bickering, growing old, dying? The tale is told.
When All the Weyrs of Pern was published in 1991, I was living in Taiwan, and had no hope of finding a copy. In early 1992, I met an American girl in Japan who had the audio book. After resisting for weeks, I put the tape in my Walkman, and lay there in the dark, listening to the big finish. It was read by McCaffrey herself.
She stumbled over the voices of minor characters. She blundered around in a forest of adverbs. I seethed, throughout, at the clear proof of my Thread-free Sky thesis. Like all fans, I wanted more, more, more, even though I knew that more was not necessarily for the best. And then she got to a moment when a major character, a unifying figure in the saga as a whole, a mentor to many and father-figure to a few, died. McCaffrey was having trouble reading her own book, her breathing came in weird places, and I realised that she was trying not to cry. When death finally came, she stopped reading and wept.
I love Anne McCaffrey, for loving her own story so much that it moved her to tears. I will always be grateful to her because I went into the Boxall’s newsagent next to Prittlewell railway station, on my way home from school in 1981 and came out with a book about men riding on dragons, instead of the previously desired bar of chocolate. I love her because I adored Dragonflight so much that I dragged my stepmother into That Fancy London to buy the rest of the books at the hallowed Forbidden Planet – a store I had never been to before.
I learned from Pern that it was okay to take what you wanted from an author and leave the rest. I learned the joys of hunting for the next book in a series and staying up late to find out what happens to imaginary people you’ve come to care for. I learned to describe a particular colour as Harper Blue. That it was okay to grow up and move on, and look fondly on books you treasured as a child. When The Skies of Pern came out, I decided I was not going to read it. I had my Pern, and I kept it. I read the first six books again, because they had a real something, and that something ended with the Thread-free sky.
Ron Moore saw it. In Pern he saw a metaphor for a nation under siege, a hopeless, doomed conflict against an implacable enemy, a mid-holocaust tale of humanity on the brink of extinction. When his Pern TV series was announced sometime around the turn of the century, I was a twenty-something editor at Titan, a company bidding for the rights to do the tie-in magazine. David Bailey had already decided that he was going to be the editor. I immediately volunteered to be his deputy. We began addressing each other as D’vid and J’nathan, using McCaffrey’s honorific median apostrophes, much derided among serious SF fans, and to the great irritation of our colleagues. But the TV series never happened. In conflict with his bosses, Moore walked off it with the sets already built, proclaiming that he would do it right or not at all. Instead, he made Battlestar Galactica.
James Cameron may have seen it, too. Even if he didn’t, I did. Now a professional author of ten years’ standing myself, I sat through Avatar with a giant, stupid grin on my face, not seeing the film that he had made, but the film that was to come. This is it, I thought as men on flying lizards fought in the air. We can finally do it. We can do Pern.
You can keep your sparkly vampires and your boy wizards. One day, Pern is going to wipe the floor with them. But today there is an eerie, hair-raising, barely audible, high keening note, that signifies the passing of one of our kind.
Although cover, front page and spine are all in disagreement about this book’s exact title, it contains stories of SF and fantasy from Japan, many lifted from a 2006 best-of survey. The oldest story here is Naoko Awa’s fairytale “A Gift From the Sea” (1977), while the most recent are a bunch from 2007. Clustered among them are superlative works such as Yasumi Kobayashi’s super-hard SF “The Man Who Watched the Sea” (2002) and Issui Ogawa’s “Old Vohl’s Planet” (2003), a first-contact tale told by the last survivor of a race of creatures from a gas-giant planet. There is a wide range of tone and quality in both stories and translations – one tale inadvisably attempts to make Japanese-speaking space-farers speak like 1930s English sea dogs, while another is a superior translation of a sub-standard sentimental romance. But in bringing thirteen Japanese authors to the attention of a wider English-speaking audience, this is one of the most important contributions to Japanese prose SF abroad in the last twenty years.
Jonathan Clements is a contributing editor to the new edition of the Encylopedia of Science Fiction, with special responsibilty for Chinese and Japanese material. This review first appeared in the SFX Ultimate Guide to Anime, 2011.
Private-eye Dr Easter and his shapeshifting companion Oeufcoque rescue teen hooker Balot from a fiery death, before putting her to work in a campaign to bring down a sinister crime boss. Mardock Scramble is that rarest of opportunities – a chance to read the source material of an anime before most foreign viewers get the opportunity to see the spin-off in a cinema (the anime will be released here in a few months). In a refreshing change from piecemeal publications, US-based Haikasoru have combined an entire trilogy in one monster volume. This not only delivers superb value for money on the page-count, but also avoids the likely loss of readers that would have been likely to have otherwise bailed out during an overlong casino interlude.
Habitual anime viewers will sense strong echoes of Ghost in the Shell in Ubukata’s resurrected cyborg protagonist, and also resonances of the sly misogyny to be found in the anime scripts of Chiaki Konaka. Like Konaka, Ubukata wants to have his cake and eat it, presenting women in peril, distress and abusive situations for the titillation of a male readership, while simultaneously inviting disapproval of their plight.
Ubukata also does himself no favours by resorting to the tiresome Japanese habit of naming characters with punning associations in English. Ever since Osamu Tezuka, this practice has rendered uncountable stories seem laughably inept in translation – the author might cackle over the foreshadowings and egg-related references in his subtexts, but they are all too obvious to English readers, and can distract from an otherwise serious narrative, as if Frodo’s name were Dave Ring2mordor and Boromir were called Placeholder Deadsoon. Translator Edwin Hawkes does the best he can with such material, resulting in an illuminating window on what is both good and bad about modern Japanese science fiction.
Jonathan Clements is the author of Schoolgirl Milky Crisis: Adventures in the Anime and Manga Trade. This review first appeared in the SFX Ultimate Guide to Anime, 2011.