As my review would tell you, I was bowled over by Ken Liu’s debut novel, ‘The Grace of Kings’. After tying up Book 2 (which, he assures me, is full of ‘cool stuff’), Ken was kind enough to answer some questions about his writing, what he thinks of diversity in SFF and fantasy in general.
1) A clichéd question first! How did you fall in love with fantasy?
Ha, my answer might be a little different from many other American readers and writers.
I first fell in love with the wuxia fantasies of Jin Yong. I love the way he reworks history and adds what we think of as “modern” elements (intricate technology, interest-group politics, patriotism) into historical settings. As well, he uses fantastic touches like impossible superpowers, legendary creatures, and arcane knowledge to literalize what otherwise might only be metaphors.
The influence of Jin Yong can be felt and seen in The Grace of Kings as well as many other fantasy stories I’ve written.
2) Was the diversity of Dara (which I celebrated in the review) a conscious decision, or was it just something that came about naturally?
Both. I love celebrating the fact that we live in a diverse world. I think it’s natural to write fiction that makes everyone feel included.
At the same time, since one of the goals of The Grace of Kings was to change the way Western readers view “Chinese-ness” in fantasy, it was important to me to make the cast diverse to prevent the reader from falling into the trap of thinking “Oh, these are all Chinese people.”
3) I’ve often assumed that my favourite characters from fantasy books, when not described otherwise, looked like me, ie, non-Western and dark-skinned, and been surprised and a little disconcerted when fan art depictions turned out to be overwhelmingly white. Has this ‘whitewashing’ of fantasy ever bothered you?
One of the ways in which a visual medium like film differs from a written medium like fiction is how constrained the audience is in terms of imagining the characters. Because a work of fiction can’t slam you in the face with the physical features of the character on every page, fan art can be very revelatory of the larger cultural patterns we inhabit. If a character is known for being beautiful or handsome, how are they portrayed in fan art? If a character is known for being brutal or ugly, how are they portrayed in fan art?
I ask myself these questions often and try to catch myself from falling into the traps of the Western gaze.
4) As a Hugo award winner yourself, what’s your take on the controversy that raged this year?
I don’t have a single take. The controversy involves many conversations between many people, and not all of them agree on the premises upon which they argue, the interpretations of events, or even the meanings of words. Indeed, there may not be a single controversy, but many overlapping controversies with very different issues at stake that need to be parsed separately.
As a writer, my interest is primarily in writing works I like and connecting with readers who enjoy my work; as a reader, my interest is primarily in discovering works that delight and astound me. In neither role are the awards terribly important, though they are a great honor, of course.
5) In your bio, you’ve noted that you and your wife came up with the universe of ‘A Grace of Kings’ together. How much of her is in the final product?
Lisa suggested the idea of re-imagining the Chu-Han Contention as an epic fantasy to me,
and we worked together in coming up with some of the background for Dara. She’s a busy artist with her own career, however, and we decided early on that the book would basically be my project.
6) Did you have any favourite characters in your own book?
I like Luan Zya, the scholar-engineer, the most. The ideal of retiring at the height of your success is important to Chinese culture, and I’ve always aspired to that.
7) Given the increased calls for diversity in SFF, have you ever seen yourself as consciously representing a minority in the fantasy canon? Has such identification—by yourself or others—troubled you?
I’ve never consciously put myself forth as a “minority” in my work. I’m interested in telling stories that are meaningful to me and in challenging narratives that I dislike, but I don’t write with the idea that I’m there to “represent” anyone.
It’s possible—no, probable—that such identification has been imposed on me by others. I don’t have much control over that.
8) How does your day-job as a programmer influence your writing?
I work as a litigation consultant, so my day job involves a combination of law and software programming. I don’t know if writing for machines has particularly influenced my fiction much other than the fact that I enjoy writing about technology and tech culture. I suppose if one were to squint a bit, it’s possible to also say that programmers learn a love of elegance which can be very helpful in fiction writing.
9) In ‘Paper Menagerie’, the short story (which can be read here) you explore the theme of straddling two worlds, and how adherence to one often leads to the obliteration of the other. Does fantasy, in some ways, allow for an escape or a renegotiation of this seemingly impassable divide?
“The Paper Menagerie” can be read as an argument that the notion of “choosing” one world to the exclusion of others is destructive. Straddling multiple worlds and multiple identity categories is the default for most of the world’s population, and we need not escape to fantasy to embrace the fact that an individual is the intersection of multiple spheres of identity.
10) Finally, what’s next for Ken Liu the author?
My first collection, The Paper Menagerie and Other Stories, is coming from Saga Press on November 30, 2015. I’m currently working on the sequel to The Grace of Kings, and I’m having a ton of fun with it. There are a couple more short fiction projects and translation projects that I’m excited about, and you can keep up with what’s happening with me on my web site (http://kenliu.name) and with my mailing list (http://kenliu.name/mailing-list/).
Thank you so much for having me, and I’m glad you enjoyed the book!