Sensory perception, identity, and time: Yesterday, I was part of an amazing paper-session discussing ominous sounds (Bo Ærenlund Sørensen), representations of gender (Zhou Danxue), and chronopolitics (Erik Mo Welin) in contemporary Chinese SF.
I talked about the oceanic origins and possible futures of life – and about how astro-nautical realms are used as fruitful settings for narratives that explore postcolonial ecocriticism and posthuman understandings of being (see full abstract below).
Looking forward to following the incredibly rich programme of Futures from the Margins including Multispecies Futures, Afrofuturisms, Queer Futures and more!
Space Oceans: Astro+nautical convergences in Chinese SF
Since the beginning of the space age, the universe has been envisioned as a huge, mysterious ocean upon which the vessels of human explorers could continue their expansion of the known world into the future. Indeed, one of the most influential writers of 20th century science fiction, Arthur C. Clarke, wrote just as captivatingly of earth’s oceans as of outer space, and compared the two as frontier regions of knowledge and resources.
In both Chinese and English, nautical terminology is used to describe interstellar travel: spacecrafts are flying ships (飞船), with the wind-sails of ocean vessels exchanged for solar sails, and the people who pilot them are star sailors (astronauts) or universe-boat attendants (宇航员), while the Chinese name for the Milky Way, Silver River (银河), highlights the connection between the vast aquatic realm and the galactic void. This maritime vocabulary has spilled over into literary criticism, when Darko Suvin describes how science fiction contains “a curiosity about the unknown beyond the next mountain range (sea, ocean, solar system…)” and “the planetary island in the aether ocean,” or when historical periodization of both American and Chinese science fiction is being described as “waves.”
In this paper, I look at how contemporary Chinese writers tackle themes of colonialism and exploitation of natural resources, humanoid aliens and space-dwelling humans, as they explore the oceans of outer space. First, I look at how Hu Shaoyan 胡绍晏 imagines the universe itself as an intergalactic ocean. I read the human encounter with astro-jelly fish in her story “Submerged in a Flame Sea ” 火海潜航 as an example of what Astrida Neimanis calls the “hydrocommons of wet relations” albeit on an interstellar scale. Second, I turn to Chi Hui’s 迟卉 “Deep Sea Fish” 深海鱼 and the alien seascapes of Titan composed not of water but of methane. Here, I analyse colonialism of terrascaping and how the environment shapes the mind of the inhabitants even as they try to shape their environment. Finally, Regina Kanyu Wang’s 王侃瑜 “Return to Mi’an” 重返弥安 highlights the problematic notion of the frontier itself, with its violent ignorance and erasure of earlier inhabitants. I read the return of the surgically humanized protagonist to her own original ocean planet as an expression of human space travel as both a search of new frontiers and a longing for a homecoming to the ocean that spawned us.