Cagliari, my city, reaches out to the sea, but it's built on several hills. I imagined how it would be transformed following a rise in sea level, with people taking refuge on hills and on the roofs of the highest buildings, but, all in all, life would continue.
10-12 November 2017
Over the past three years I’ve scouted out and published many Science Fiction stories from around the world. Through the independent small press Future Fiction, I’ve published more than 60 stories translated from English, French, Spanish, Portuguese and Chinese. China has been particularly striking in recent years, with two authors – Liu Cixin (刘慈欣) and Hao Jinfang (郝景芳) – winning the 2015 Hugo Award for Best Novel (The Three Body Problem 三体) and the 2016 Hugo Award for Best Novelette (Folding Beijing 北京折叠), both translated by Ken Liu.
And yet, I would have never thought of being invited by Professor Wu Yan to the 4th International SF Convention in Chengdu for the promotion and advancement of Chinese SF, following the publication of Nebula, the first ever dual-language anthology of contemporary Chinese SF, published thanks to the contribution of the Confucius Institute in Milan, the Chinese company Storycom, and translations by Chiara Cigarini, Gabriella Goria and Alessandra Cristallini.…
I’d really like to invite all SF readers to explore—at least every once in a while—what’s behind the big, shiny billboards of big industry titles. I’ve done it myself and I’ve found there are a lot of wonderful, refreshing stories coming from unexpected sources.
For our latest author interview we're excited to welcome Maria Haskins, author of 'Balawats portar' 'The Gates of Balawat', reprinted in our September issue, to talk to us about short fiction, museums and her favourite reads of 2017.
When you really love something, it's not enough to enjoy it only through other people's work. I think it is unavoidable that at some point you will try to engage with it, to become something more than a spectator.
A few years ago I was drawn into the world of translated speculative fiction, and all of that changed.
I was enthralled by the stories and books from around the world that I would never have heard about, or been able to read, without the work of excellent translators.
It is hard—and I speak as a freelance translator as well—to convince editors that certain authors are worthwhile. Perhaps the best way to do this is to try to work by little instalments, either publishing the kind of book that Nevsky Books wants to produce in English over the next few years or via projects such as Samovar. There is a lot of hope, though: diverse cultures and diverse writers are coming through the pipeline slowly but surely, and we need to build on that.