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In 2012, aР’В special issue of Renditions (77/78) introduced eight authors of this new wave to English readers, including Liu Cixin, Han Song Р№СџВ©Р¶СњС•, Wang Jinkang Р·Р‹вЂ№Р¶в„ўвЂ№РµС”В·, Zhao HaihongР’В РёВµВµР¶ВµВ·Рёв„ўв„–, La La Р¶вЂ№вЂ°Р¶вЂ№вЂ°, Chi HuiР’В Р№РѓР†РµРЊвЂ°, Fei Dao Р№Р€С›Р¶В°В, and Xia JiaР’В РµВ¤РЏР·В¬С–. Dozens of writers, belonging to different generations born between the 1940s and 1980s, gained fame for writing science fiction at the same time. The poetics of the new wave points to the illumination of the invisible, the unknown, and the fantastic, which energizes the genre as an imaginary realm opening up to infinite new possibilities. This new wave has been generally marked by a dystopian vision of ChinaРІР‚в„ўs future, ambiguous moral dilemmas, and a sophisticated representation of the power of technology or the technology of power. In a peculiar way, Chinese science fiction has simultaneously entered its golden age and generated a РІР‚Сљnew waveРІР‚Сњ subversion of the genre.

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In the meantime, Liu CixinРІР‚в„ўs success should also be contextualized by looking at it as one facet of the revival of the genre in China over the past fifteen years, which was conditioned by various cultural and social elements ranging from the free platform for new authors on the Internet to the nationРІР‚в„ўs collective yearning for social changes or anxieties about the lack of changes. The success of the trilogy in the American book market is a small echo of its record-breaking popularity among Chinese readers. (words borrowed from the title of a report on the Wall Street Journal, November 4, 2014), the trilogy had already been a national sensation in China and before the trilogy was published in China between 20, a new wave of Chinese science fiction had already emerged at the turn of the twenty-first century. Martin, and Ben Bova.Р”В«efore The Three-Body ProblemР’В РІР‚Сљtouched downРІР‚Сњ in the U.S. The Three-Body ProblemР’В has thus far won the hearts of many American sf readers, gaining support from established authors of the genre such as Kim Stanley Robinson, George R. The publisherРІР‚в„ўs promotion campaign may not match what happened to The Lord of the RingsР’В or The Hunger Games, but the strategy of releasing the trilogy with a steady pace within a less than three-year time frame is apparently aimed to create a similar momentum to entice American readers. Tor released The Three-Body ProblemР’В to critical acclaims in November 2014, followed by its sequel The Dark ForestР’В (translated by Joel Martinsen) in August 2015, with the final volume of the trilogy DeathРІР‚в„ўs EndР’В (translated by Ken Liu) to be released in August 2016. Ken Liu, a Chinese-American sf writer who himself swept the Hugo, Nebula, and World Fantasy Awards with his one short story РІР‚СљThe Paper MenagerieРІР‚Сњ (2012), has fine-tuned Liu CixinРІР‚в„ўs Рµв‚¬ВР¶вЂ¦в‚¬Р¶В¬Р€ novel with a smooth combination of the original Chinese textРІР‚в„ўs dynamism and the stylish accuracy and neatness of American sf. The first non-English novel that won the Hugo Award for Best Novel, it has stayed on the top of AmazonРІР‚в„ўs bestselling list in the category of Chinese literature for almost a year.

Ken LiuРІР‚в„ўs translation of SantiР’В РґС‘вЂ°РґР…вЂњ (The three-body problem) is a milestone in the history of science fiction (sf).

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