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Is it right to say that this is a particular problem with Chinese?
And how do you deal with it? If you try to read a translation of the Iliad or the Odyssey , you have the same issue. There are references upon references to, you know, the seventh monster in birth by the second goddess who came out of the second creator of the Cosmos , or something like that. This is not something unique to the classical Greeks or classical Chinese. We do the same thing. What is this an allusion to?
We do that all the time, we make shortcuts, we make cultural references. For example, in Chinese, when you describe a man as being very handsome, you would say m ao ruo Pan An. These translations were done by some of the most famous writers in vernacular Chinese. I think in some ways the translation work they did was related to and relevant for the task of constructing the vernacular literature. Some of them are derivative of their western models, and some are quite original. That was done in the first decade of the 20th century. But even though we sort of think of that era as the beginning—with this wave of translations and original creation—a lot was forgotten.
Your culture is left behind. Now of course, for most of us, and also I think for most Chinese readers, that kind of ideal is not necessarily desirable and is simply impossible. How can we possibly imagine a future without reference to where we are now?
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Maybe there will be no glazed tiles on these Martian structures, but there will be concepts of Western privacy, of Western division of structures into rooms, there will be all kinds of things that are clearly influenced by the culture from which the astronauts originate. The idea that somehow the way forward is to abandon the past, to me, is preposterous, and both undesirable and unrealistic.enter
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Clarke said that he knew "nothing comparable to it except The Lord of the Rings. And, it's damn exciting read to boot. If that's not enough to qualify this book as one of the best, if not the best, I don't know what is. The Book of the New Sun. The first volume in this quartet starts amid dark, forbidding towers, where young Severian is apprenticed to a Guild of Torturers. Sound like fantasy? Because those towers are actually long-abandoned rocket ships.
The picture of a man in armour that we see inside one of the towers is actually a famous photograph of Buzz Aldrin taken on the moon. This, we realise, is the far future, a future where the world is starting to run down and the people await a saviour who will renew the sun. When Severian is expelled from the guild for putting one prisoner out of her misery, we follow him into a society that is crowded and colourful and mysterious. Here there are aliens, though for a while we don't realise they are aliens because everyone is so used to them that they don't pay them any special attention.
Here there are augmented people, and strange technological advances, but knowledge of these has long been lost. As we pick our way through the story we realise that there is a huge amount of stuff going on that we only glimpse out of the corner of the eye, and each time you re-read the work you notice something else so that the story becomes ever richer and more rewarding. Our narrator, Severian, has a perfect memory, but don't let that fool you into thinking he's a reliable narrator; he leaves things out so that there are always surprises awaiting the reader.
But there is so much going on in the story that you sometimes don't notice when he's left things out, because there are wars and betrayals and miracles and mysteries and people raised from the dead, and Severian's journey includes companions who may or may not be reliable, assassins attempting to kill him for reasons he doesn't understand, attacks by terrifying creatures, and the staggering revelation that he is actually the next autarch. Gene Wolfe is the finest stylist writing in science fiction, it is always a pleasure to read his books.
But The Book of the New Sun marks the high point of his career, a subtle and brilliantly readable blending of science fiction and fantasy, which is reflected in the fact that all four volumes won at least one major award. Campbell Memorial Award. It is hard to dispute the fact that Robert Heinlein is the most important figure in the history of American science fiction. More than any other writer, his work embodied the hard sf aesthetic encouraged by John W.
Campbell at Astounding. And for thirty years, from the s to the s, Heinlein was the dominant figure that every other science fiction writer looked up to. Year in, year out, he wrote novel after novel that became instant classics, so many, indeed, that it is hard to choose just one that represents his work at its very best. But in the end the one that stands out for us is The Moon is a Harsh Mistress. It's the story of a revolt by a lunar colony that is mostly made up of criminals and political exiles.
The hero is Mannie, a computer technician who discovers that the Lunar Authority's master computer has achieved self-awareness, and through the computer he learns that if the colony doesn't stop exporting hydroponic wheat to Earth there will soon be starvation. This is the background for a revolution, with the "Loonies" fighting for independence by dropping rocks on the Earth. Eventually, the colonists win, but the result isn't all that they had hoped for.
The novel provides a platform for Heinlein to discuss themes familiar from a lot of his work, including non-traditional social and sexual organisation here, for instance, the idea of the line marriage, with new people joining the marriage at regular intervals so it is virtually unending , and libertarian politics. In later books, this philosophizing would come to overwhelm the work, but here he has it perfectly balanced with a dramatic plot. Which is why this is probably the best of his books. Why It's On the List. A successful venture capitalist with billions in the bank, Mike Cohen has it all figured out.
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Brainocytes transform the human experience, making you smarter, faster, and more powerful. With enemies at every turn, Mike must use his newly enhanced capabilities to save his family, his friends, and ultimately, the world. The Dispossessed has been acclaimed as a new approach to utopian literature, but we should pay attention to the subtitle that appears in most editions of the book: "An Ambiguous Utopia". Le Guin is never straightforward in her presentation of the various societies in her novels, there is always a subtlety, an ambiguity, which is what makes her undoubtedly one of the finest of all science fiction writers.
On the planet Urras, the societies reflect the time when Le Guin was writing the novel. There is one state, A-Io, that calls to mind the capitalist society of the United States, and another, Thu, that has something of the statist communism of the Soviet Union. In contrast, on the moon Anarres, there is a functioning anarchist society based on the teaching of Odo. But we should not read Anarres as utopian, there are all sorts of restrictions on life there, as our protagonist, Shevek, discovers.
He is a scientist working on a revolutionary new theory of time, and there are limitations on how far he can advance while on Anarres. So he travels to Urras in order to exchange ideas with the scientists there, only to discover that he faces different but equally frustrating restrictions there. In alternating chapters we follow Shevek on Anarres and on Urras, incidents in one often being reflected in a similar incident in the other, so that we are constantly able to compare and contrast the different societies.
And while the purity of the anarchist society is presented very positively, we also see ways in which the capitalist and communist societies of Urras have an advantage. Beautifully written, vividly realised, and packed with ideas that make us constantly reassess our views on the different political systems in the novel, this is a prime example of science fiction as the literature of ideas. Little wonder that it won the Hugo, Nebula and Locus Awards. As an alternative choice for this spot on the list we can present Le Guin's other work as an alternative read if you want another choice.
Ursula Le Guin is, deservedly, one of the most highly acclaimed writers in science fiction. Set on a planet known as Winter, it describes a society in which people are gender neutral and only take on sexual characteristics once a month at a time known as kemmer. At this time an individual might take on the characteristics of either sex, so the novel works as a thought experiment about what it would be like to have no male and no female. The result is one of the most challenging and the most inspiring books in science fiction.
Hyperion Cantos. A fantastic Hugo-winning space opera that merges the narrative element of Chaucer's Canterbury Tales with a futuristic space opera set in the distant future.
The world of science fiction
The whole series not just the first book is based on the assumption that man's conquering the stars is inevitable and the complexities and troubles this brings. The sequence consists of two pairs of novels. The first pairing, Hyperion and The Fall of Hyperion, introduces a group of six travellers who set out on a pilgrimage to the Time Tombs on Hyperion, a pilgrimage that is a certain death sentence. For these pilgrims are seeking out the Shrike, a god like creature that legend says will kill all but one pilgrim, granting the one survivor a wish.
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During the journey the travellers, like Chaucer's pilgrims before them, each tell a story, and through the stories we find out what drove them to this desperate journey. The second pair of novels, Endymion and The Rise of Endymion, is set nearly years later and concerns a soldier, Raul Endymion who is unfairly condemned to death and rescued to perform a serious of hazardous tasks.
The most important of these is to protect Aenea, a time traveller from the past who represents a threat to the all-powerful Church. These are dark novels, exploring the suffering of the human soul -- both physical, emotional, and spiritual. Don't go reading this if you are looking for a light, happy go lucky read.
Star Wars this is not, so don't think about this book if you want something happy. The entire sequence depicts one grand hall of suffering, from the decrepit, dying world that's on the verge of collapse, to the tortured pilgrims who've given up all hope and are gambling their lives on a pipe dream shot of hope, to the "messiah of hope" the pilgrims are seeking, which is in fact in itself a missionary of pain and suffering with less empathy than one of the Greek gods.
It's brilliant and I hazard to say the best damn space opera science fiction out there. The titles, and the appearance of a character called John Keat, show that this sequence is heavily influenced by the poetry of John Keats, and it is indeed a gloriously poetic work. But it is also filled with stark and striking science fictional imagery. This is an ambitious, powerful and successful sequence that shows just how much science fiction can achieve when it sets its mind to it.