Fall Book Releases (and European Travels)

I have a busy fall coming up:

“Folding Beijing” wins a Hugo

Folding Beijing,” written by Hao Jingfang and translated by me, has won a Hugo! Big congrats to Jingfang and the other winners. (And a special congrats to Uncanny magazine, which published the story and won a Hugo as well!)

I knew I wanted to translate “Folding Beijing” as soon as I read it. To understand something about Hao Jingfang’s thinking behind the story, be sure to read this essay she wrote.

The Wall of Storms: October 4 (and a Goodreads giveaway)

The Wall of Storms, the first sequel to The Grace of Kings, is coming from Saga Press on October 4, 2016.

I’m so excited that this book, over which I’ve labored for more than a year, is finally going out to readers. It’s bigger, better, and funner in every way than TGOK.

Saga is holding a Goodreads giveaway of ARCs of the book (limited to US addresses). Please enter and help spread the word! (And if you win, please leave an honest review wherever you like).

The Wall of Storms cover

Death’s End: September 20 (and ARC giveaway)

My English translation of the final volume of Liu Cixin’s hard SF “Three-Body” trilogy, Death’s End, is coming from Tor Books on September 20, 2016.

This is my favorite volume of the trilogy (and also the favorite of my editor, Liz Gorinsky, and fellow translator John Chu). Liu Cixin said that this book is closer to his ideal style than the other books in the trilogy, and I agree.

If you enjoyed the other books in the series, you’ll really love this one.

Paper Menagerie cover

Invisible Planets: November 1

My collection of translations of contemporary Chinese SF is coming from Tor Books on November 1, 2016.

This vibrant collection of short stories runs the gamut from hard fantasy to ethereal science fiction. Besides stories like the Hugo award-winning ‘Folding Beijing,’ these are tales rich with lush language, inventive premises, and heart-breaking story-telling.

— Mary Robinette Kowal, Hugo-winning author of Ghost Talkers

Not only does this collection contain stories by China’s two Hugo winners (Liu Cixin and Hao Jingfang), but it also features a brand new story by Xia Jia, as well as works from Chen Qiufan, Tang Fei, Cheng Jingbo, and Ma Boyong.

I’ll have more news about this title as we get closer to the release date.

Invisible Planets cover

Upcoming Appearances

I’ll be doing a lot of traveling in September and October as I jet around Europe and the US to attend literary festivals and other events. (The linked page will have more details about appearances when I get them.) If you’re in the UK, France, Spain, or near the Dallas/Fort Worth area, the next few months will give us a chance to meet and chat!

  • Visit to the UK, 9/3-9/6, London, the UK.
  • Festival America, 9/8-9/11, Vincennes, France.
  • Niebla Festival, 9/30-10/2, Salamanca, Spain.
  • Fort Worth Library, 10/21, Fort Worth, TX.

“The Hidden Girl” Optioned by Studio 8

So, I have some good news:

The story that Studio 8 just optioned, “The Hidden Girl,” isn’t even available to read yet; it’ll be out in 2017 as part of the Gardner Dozois-edited The Book of Swords, according to Liu’s website. But it sounds totally great, according to this description on Deadline:

The story is about a team of assassins who are able to navigate between dimensions. It’s got stylish touches reminiscent of Interstellar and Crouching Tiger, Hidden Dragon.

The Deadline headline suggests the end result will be a “time-travel action film,” which would be pretty rad under any circumstances. With Liu’s creativity guiding said time-travel action, however, we’re even more excited for this film to be made.

Big thanks to Studio 8’s Rishi Rajani and Chris Goldberg for taking on this project, and I’m super excited to be working with them to bring this project to fruition. Also a big thanks to my agents, Angela Cheng Caplan at the Cheng Caplan Company and Russell Galen at the Scovil Galen Ghosh Literary Agency, for making this deal happen.

My Favorite Award Trophy

This may be my favorite award trophy ever.

plush trophy for Twitter Awards

I was selected as the winner in the 6th annual Japanese Twitter Literature Awards in the foreign works category (for my Japanese collection, 紙の動物園, Hayakawa, edited by 古沢嘉通 (Yoshimichi Furusawa)). Thank you to the readers who enjoyed my stories and voted for me, and a great thanks goes out to Armadillo Hidaka, who created this awesome creature.

The Paper Menagerie and Other Stories is Out!

My debut collection, The Paper Menagerie and Other Stories, is out today! You can also get the audio version, narrated by Corey Brill and Joy Osmanski.

I’m very grateful to everyone who helped me along my journey.

I can’t name all the writers and readers who have supported me and critiqued my work over the years. But know that you’re in my heart. There’s a little bit of all of you in these pages. We’re defined by the marks we leave in other people’s stories.

At Saga Press, my publisher, many individuals collaborated to bring this book to life. Among them are Jeannie Ng, for catching all those errors in the manuscript; Michael McCartney, for the lovely cover design; Mingmei Yip, for accommodating unorthodox requests for calligraphy; Elena Stokes, Katy Hershberger, and Aubrey Churchward, for the thoughtful publicity campaign.

I’m especially thankful to Joe Monti, my editor, who championed and shaped this book with his good judgment (and saved me from myself); Russ Galen, my agent, who saw the possibilities in these stories; and most of all, to Lisa, Esther, and Miranda, for the millions of ways in which they make the story of my life complete and meaningful.

And now, some links (updated throughout the week):

I’ve been doing a few interviews in connection with the book:

People have been saying nice things about the collection, so I’m gathering some links below. (I don’t look for reviews, so these are just the links people have sent me):

  • Library Journal: “These remarkable stories highlight Liu’s themes of family, love, and politics and gathered in one collection pack an even bigger punch. Those who revere shorter speculative works will definitely want this book.”
  • Publishers Weekly: “Gracefully written and often profoundly moving, these stories are high-water marks of contemporary speculative fiction.”
  • Jamie Ford, NTY bestselling author of Hotel on the Corner of Bitter and Sweet: “I know this is going to sound hyperbolic, but when I’m reading Ken Liu’s stories, I feel like I’m reading a once-in-a-generation talent. I’m in awe.”
  • Andrew Liptak writing for The B&N Sci-Fi & Fantasy Blog: “[A] brilliant, substantial, yet somehow still all-too-short collection of stories and novellas… It’s bursting with stories yearning to be told to everyone, and it’s a volume that absolutely everyone should read.”
  • Achala Upendran: “Savour it, sink into Liu’s words, and allow yourself to be carried away by a master storyteller.”
  • Jessica writing for MuggleNet: “Liu’s talent in evoking atmosphere and culture make these tales more than stories – they’re journeys. If you’re looking to dream of another world, or reflect on our own, do yourself a favor and pick up a copy.”
  • Devi Bhaduri writing for The Chicago Review of Books: “A rare combination of lavish prose, characters in fascinating, unique situations, and heart-wrenching moments.”
  • Brit Mandelo writing for Tor.com: “There’s a vibrancy and color to the characters that’s hard to ignore.”
  • Ian White writing for Starburst Magazine: “It is a genuine work of art, a complete joy to read, and very very highly recommended.”
  • Jana Nyman writing for Fantasy Literature: “…while emotionally devastating at times, is a collection that I will be re-reading for years to come, a book that I’ll lend to trusted friends and will recommend to complete strangers.”
  • Justus Joseph writing for Shelf Awareness: “Emotionally unpredictable, Liu’s stories take off in unexpected directions and arrive at destinations both startling and satisfying.”
  • Nisi Shawl writing for The Seattle Times: “Long after the book has been read, these telling details continue to lend their subtle heft to stories that pierce to the core of what’s right.”
  • Amal El-Mohtar writing for NPR: “I have never been so moved by a collection of short fiction. I was at times afraid to read more.”

And I wrote few essays to talk about subjects that might be interesting to readers (and tangentially connected to the book):

I’m An Artist (Sort Of)!

It’s not often that a writer gets to do something with contemporary visual art. But I had the good luck of being invited to participate as part of an exhibition by the amazing Singaporean artist Heman Chong for the Rockbund Art Museum in Shanghai.

Chong’s exhibition, called “Ifs, And, or Buts,” “investigates spaces between text and images, producing new ways of relating the two through 7 new works commissioned specifically by Rockbund Art Museum.”

The show has 7 new works, ranging from video installation to light show to monumental sculpture to performance art. It’s a thought-provoking and multi-layered collection of pieces in conversation with each other and with contemporary culture.

The piece that Chong asked me to prepare is called “Legal Bookshop,” for which I was responsible for curating the books that would be sold in a temporary bookshop to help readers navigate the Chinese legal system. I was asked to interpret the concept of “law” in a non-literal manner.

Rockbund Art Museum

So, I thought about laws (both man-made and natural), code (moral, ethical, and even machine-based), rules (including the trivial, such as games, and the non-trivial, such as government regulations), customs, principles, and so on. I made liberal use of puns and free association. The resulting selection is only tangentially related to “the legal system” of China, as that term is commonly understood, and yet, I think, may provide more helpful guidance than books literally about laws in China.

I also wrote a new story just for the exhibition (it’s in the catalog) which explores the ideas and metaphors behind “books” and “law.”

The exhibition will be running from Jan 23, 2016 through May 3, 2016. If you’re in Shanghai and get a chance to check it out, I’d love to hear your thoughts.

My Arisia Schedule

I’ll be attending Arisia this Friday (January 15). Here’s my schedule:

  • “A Special Hour with Ken Liu” / Alcott Fri 4:00 PM (1:15): “Special hour” puts a lot of pressure on me, doesn’t it? Actually, I do have something pretty special planned. I’ll be reading from the following items (all of them unpublished):

    • The new story in The Paper Menagerie and Other Stories;
    • My translation of Liu Cixin’s Death’s End, the conclusion of his Three-Body trilogy, to be published by Tor this August;
    • My translation of Chen Qiufan (a.k.a. Stanley Chan)’s debut, The Waste Tide, which has just been acquired by David Hartwell for Tor;
    • And, of course, The Wall of Storms, Book II of the Dandelion Dynasty series. (This is how you can get another sneak peek).
    • I’ll also be running a drawing for an ARC of The Paper Menagerie and Other Stories at the reading.
  • “Thrown with Great Force:Classics We Won’t Finish” / Marina 2 Fri 5:30 PM (1:15) (with Kate Nepveu, Debra Doyle, Mark Amidon, Catt Kingsgrave-Ernstein, Vikki Ciaffone): This is a panel for all of you who didn’t finish LotR; everyone who needed to self medicate through Infinite Jest, exiled Frankenstein to the frozen wastes, or wanted to flush the Foundation. What did you fail to finish, which ones do you feel guilty about not finishing, and which ones do not make you feel any twinge of guilt at all?

  • “Genre Fiction in Translation” / Faneuil Fri 7:00 PM (1:15) (with Crystal Huff, Sarah Weintraub, Morgan Crooks, John Chu): Cixin Liu’s The Three-Body Problem, translated by Ken Liu, won the Hugo for Best Novel. Clarkesworld’s recent foray into translating Chinese SF has brought some well deserved attention to the vibrant body of stories in that country. Haikasoru has made a name for itself translating works from Japanese, and Tor.com has recently published SF stories translated from Spanish. What possibilities do we see in translation of other cultures’ SF? How might this change the landscape of the genre?