I'm conscious of the fact that I'm sort of a bridging figure. I have my Chinese literary heritage and cultural background, so I'm comfortable with these things, but at the same time, I have to navigate the Anglo-American tradition, which has a self-centred view of what Asia and what being Chinese means.

Ken Liu

In every revolution, there are winners and losers. Every dystopia is a utopia for somebody else. It just depends where you are. Are you in the class that benefits, or are you in the class that's not?

Ken Liu

Real history is far more complex and interesting than the simplistic summaries presented in Wikipedia articles. Knowing this allows you to question received wisdom, to challenge 'facts' 'everybody' knows to be true, and to imagine worlds and characters worthy of our rich historical heritage and our complex selves.

Ken Liu

The Singaporean speculative tradition is different. Singapore doesn't conceive itself as the centre of the world or the one country that's going to save the world, so there's a different tone that comes out in the way speculative fiction is done. That's refreshing to read.

Ken Liu

I think writing novels has taught me more about the value of patience and being organized. I've learned to use timelines and wikis to track decisions and make sure everything still fits together. It's both easier and harder than writing short fiction.

Ken Liu

Because I really love tax, tax topics actually feature quite a lot in my fiction of various lengths. I once wrote a science fiction short story centered around the idea of an alien tax code, and the idea that you can understand a society by parsing its tax code.

Ken Liu

As an American writer, the literary tradition that I draw on the most is the Anglo-American one, and when you are writing in this tradition, the Orientalizing Western gaze is something you have to constantly push against as well as compromise with.

Ken Liu

The 'Grace of Kings' begins as a very dark, complicated world filled with injustices - among them the oppressed position of women - but gradually transforms into something better through a series of revolutions. But since real social change takes a long time, even by the end of the book, only the seeds of deep change have been planted.

Ken Liu

The 'Grace of Kings' isn't a narrative about a return to some golden age, to a lost status quo ante. It portrays a dynamic world in transition, where the redistribution of power is messy, morally ambivalent, and only lurches toward more justice.

Ken Liu

What is fascinating to me is the way I view everything in terms of parallels and connections. When I read about Achilles and Odysseus in Homer's 'Iliad,' I can see parallels in Chinese historical romances, in the way the first emperor of the Han dynasty and his chief rival are portrayed.

Ken Liu

My wife, Lisa, and I both grew up on wuxia - Chinese historical romances. They're kind of analogous to Western epics. They're based on history, just like 'the Iliad' and 'the Odyssey' are based on history, but they're romanticized, and a lot of fantasy elements have been added.

Ken Liu

Labels like 'Chinese Science Fiction' or 'Western Science Fiction' summarize a vast field of work, all of which are diverse and driven by individual authors, with individual concerns.

Ken Liu

Trying to project our expectations and our desires onto the sci-fi being written in China now isn't terribly helpful.

Ken Liu

It's true that misunderstanding and lack of understanding are often themes in my fiction, but I am grateful for the moments when true understanding is achieved, especially between writer and reader. It's miraculous.

Ken Liu

Most of us do not, in fact, read another language, and so when we read a translation, we have no way of knowing what has been changed or added.

Ken Liu

Translation is an act of recreation.

Ken Liu

As a species, we tend to live in environments where our own artifacts dominate. The way we shape our environment and are in turn shaped by it is a key theme in my fiction - indeed, it's a key part of a great deal of science fiction.

Ken Liu

For 'The Grace of Kings,' I read Han Dynasty historical records in Classical Chinese, which allowed me to get a sense of the complexity of the politics and the 'surprisingly modern' reactions of the historical figures to recurrent problems of state administration.

Ken Liu

I don't really care that much about genre labels. I tend to write across a variety of different genres.

Ken Liu

Writers are naturally obsessed with books, the tangible artifacts of their labor. Even beyond the text, I love the physicality of books, the possibilities presented by their substance and form.

Ken Liu

I find most 'rules' about how to write a 'good story' confining, and I enjoy writing stories that don't look like stories at all on the surface.

Ken Liu