“Remembrance of Earth’s Past” by Liu Cixin: A Critical Follow-Up

Shortly after I published my review of the “Remembrance of Earth’s Past” trilogy by Liu Cixin, I tweeted a link to it and @ referenced both the author and the two English language translators of the series, Ken Liu and Joel Martinsen. Shortly after that tweet, Ken posted a series of tweets in response.

I’m incredibly grateful that Ken took the time to respond. His tweets are insightful and his critique of my review is helpful. I’ve included them here with his permission. Please read through them.

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Book Review: “Remembrance of Earth’s Past” by Cixin Liu

Remembrance of Earths Past by Cixin Liu

The Three-Body Problem by Cixin Liu
(translated by Ken Liu)
Tor, 2014

The Dark Forest by Cixin Liu
(translated by Joel Martinsen)
Tor, 2015

Death’s End by Cixin Liu
(translated by Ken Liu)
Tor, 2016

In my review of Leviathan Wakes by James S. A. Corey, I compare reading it to reading Asimov’s Foundation when I was a kid.

I’m going to make the same comparison with the “Remembrance of Earth’s Past” series by Cixin Liu. Reading this awakens the same sense of discovery and amazement as reading Asimov when I was a child. Liu gifts us a story that’s astounding in scope and vision, with some of a biggest Big Ideas in science fiction.

The English translations of Liu’s work boast an admirable level of stylistic polish. There’s a spare and refreshing lyricism at work here. I’m as impressed with the quality of the translations as I am with Liu’s story.

This is what science fiction should be. I’m in awe of Liu’s imagination and accomplishment.

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Further Ruminations on Jerusalem by Alan Moore

Reader comments left on a copy of Jerusalem by Alan Moore

Reader comments left on a copy of Jerusalem by Alan Moore

Photo from the ReBound event on March 21, 2017, hosted by the Young Friends of the Kansas City Public Library and KCUR’s Generation Listen KC at the recordBar in Kansas City, Mo.

Image © Kansas City Public Library. Used with permission.

After writing the single longest and most exhaustive review I’ve ever written for Jerusalem by Alan Moore, I find I still have more to say.

I’ve had conversations now with a few other people about this book and discovered that I’m in a minority in my opinion. Most people I know couldn’t stand it. Most didn’t finish it. Mostly, they found it too long, too wordy, too self-indulgent. The general reaction is that Moore desperately needed an editor to reel him in.

I get that. On some level, I feel this way, too. I spent quite a lot of the book convinced that he was over-indulgent and lacking writerly discipline.

However, as others have stated (and I quote Library Journal here), Jerusalem is “[m]ore a work of art than a novel.”

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Book Review: Jerusalem by Alan Moore

Jerusalem by Alan Moore
Jerusalem by Alan Moore
Liverlight, 2016
Cover art © Alan Moore

The greatest challenge about reviewing Jerusalem by Alan Moore is summarizing what it’s about. This isn’t a traditional novel and it doesn’t deliver a normal story. The plot is meandering, almost vestigial in some sections. Setting is paramount—language, tone, atmosphere, characters: all of these matter far more than mere plot.

I’ve come to think of this book as being akin to the Bayeux Tapestry—a sprawling and artistically audacious account of a place and its people. It’s a love letter to a neighborhood as only Moore can write it.

In general terms, it’s a quasi-fictional history of the Boroughs—the poverty-stricken Northampton neighborhood in England where Alan Moore was born, raised, and still lives—from ancient times through the near future, not told in chronological order, and actively eschewing the concept of linear narrative. It’s the story of a unique family who lives there through several generations, and various persons associated with them. It’s a story of the afterlife and eternity and the Universe. It’s a story about life and death, art and work, obligation and free will, ghosts and angles and builders and demons. Visions and dreams are as real in this world as reality.

If I had to categorize this book, I’d probably call it fantastical realism. Everyone is going to shelve it in their SF sections. But it’s more than just these—it’s philosophical, historical, political, religious.

It’s holy and profane, poetic and pedestrian, beautiful and gritty. It’s deeply human. It’s hard to explain. You really need to read it.

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Movie Review: Rogue One: A Star Wars Story

Rogue One: A Star Wars Story, directed by Gareth Edwards
Rogue One: A Star Wars Story
Directed by Gareth Edwards
Screenplay by Chris Weitz & Tony Gilroy
Story by John Knoll & Gary Whitta
Produced by Lucasfilm, Ltd.
Distributed by Walt Disney Studios, 2016

I finally saw Rogue One: A Star Wars Story this weekend and I’m very happy with it. I enjoyed it immensely and I have many thoughts about it now.

I should point out that I never had much to do with the Expanded Universe—I read a couple of the novels but I never paid much attention to it. I’ve also never watched any of the animated series (“Star Wars: The Clone Wars” or “Star Wars: Rebels”). My reactions to Rogue One come purely from the perspective of how well it fits in with the other movies.

**WARNING: SPOILERS**

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Book Review: The Passage by Justin Cronin

The Passage by Justin Cronin
The Passage by Justin Cronin
Ballantine Books, 2010

On paper, there’s a lot I could criticize about The Passage by Justin Cronin.

The plot isn’t terribly original: a virus is unwittingly unleashed by the government which turns people into something very much like vampires. Mr. Cronin presents the standard well-intentioned scientist whose work is hijacked by the military (which, as expected, doesn’t go well). There’s a roster of bad guys, a cop with a conscience, and a Chosen One whose arrival can save mankind. There’s even an oracle of sorts.

It’s a man-made apocalypse story built on fairly generic story tropes. We witness the moment it all goes wrong and then spend the rest of the novel living in the post-apocalyptic world of the few survivors.

We’ve seen all this before. I Am Legend, zombie movies, The Walking Dead, et al. The ending offers a faint wisp of Buffy the Vampire Slayer. Even the hive-mind wrinkle the author incorporates into his vampires is a familiar idea.

But none of that is a problem. None of it is a weakness. None of it feels derivative. This is one of the best renditions of all these ideas I’ve read.

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Book Review: Dead Set by Richard Kadrey

Dead Set by Richard Kadrey
Dead Set by Richard Kadrey
Harper Voyager, 2013

Dead Set by Richard Kadrey wasn’t what I expected.

The basic plot summary is very much in keeping with Kadrey’s métier:

A teenage girl starts having strange dreams after her father dies. She’s in turmoil, she and her mom fallen on hard times, their life turned upside down. She discovers a record store with a room full of records which contain the lives of dead people… including her father’s. There’s an imaginary brother she relies on who only appears to her in dreams, and an underground world full of dead people, monsters and myth.

It’s the kind of dark, fantastical setting Kadrey is so good at. Literally underground, too, like most of his settings. Dead Set gives us a compelling main character, a satisfying story, and takes on important themes.

So, too, Dead Set has all the attitude and swagger, the sense of outsiderness, and it drips with a punk aesthetic.

So far—typical Kadrey.

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