Books, Culture, publishing

In Conversation with R.F. Kuang

This interview first appeared in The Teeming Mass in Spring 2020

My Zoom call with the award-winning fantasy writer R.F. Kuang starts not with discussions of her formidable list of writing credentials but on much more common ground — exams. “At this point, I really just need to pass like, I’m into Yale,” says Kuang wryly, clad in a hoodie, “I’m very much feeling like a second semester senior. But I also feel pathologically unable to turn in bad work.” But despite her academic footing, she laughs when I ask her why she chose fantasy as her genre when her trilogy is so preoccupied with Chinese politics and history. 

“I could give a cool academic answer, like, ‘fantasy and fabulism is a refracting prism for reality; and the metaphor of opium, something that was such a symbol of weakness in Chinese history, turned into a device of power for Chinese resistance, to me speaks of the potential of fantasy as a genre’. But that’s not true […] I think all I thought was fantasy is really cool. And I enjoyed reading it a lot. I was also influenced by like Chinese Wuxia novels, TV shows and manga […] So when I sat down to start writing it just seemed like the obvious format for the story wanted to tell.” 

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publishing

Literary Blackface

This article was originally published in Cherwell

When the largest book retailer in the United States, Barnes & Noble, launched their so-called Diverse Editions initiative in honour of Black History Month, they probably didn’t guess that backlash to the move would be so widespread and immediate they would end up shelving the campaign a day later. The initiative essentially professed to champion diversity by relaunching several classic novels with covers depicting characters of colour as the protagonists and was lambasted by prominent African American writers such as Roxane Gay and Angie Thomas. And ultimately, it isn’t hard to see why. 

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