Michael Barnes
- Yimei Tangguo
- Cai Jun
- Chi Hui
- Chu Xidao
- Chuan Ge
- Fan Zhou
- Goodnight Xiaoqing
- Zhou Haohui
- Gu Shi
- she cong ge
- Su Min
- Hong Niangzi
- Zhou Dedong
- Nanpai Sanshu
- Xueting Christine Ni
This was an outstanding recommendation that led me to Xueting Christine Ni work. On my engagement with Sinophagia I immediately bought Sinopticon her anthology Celebration of Chinese Science Fiction.
As with the best anthologies Sinophagia provides an introduction and content warnings for each story, then offers fourteen stories ranging greatly in length and theme. The stories span from the earliest 2002 (“Immortal Beauty” by Chu Xidao), to (“Night Climb” by Chi Hui). At the end of each piece, Ni has included thoughtful notes about both story and author and track the different sub genre's of horror covered in these stories, some common to western horror and others more unique to Chinese and Asian stories.
I have picked a few stories that really stuck with me, but I really could have chosen any of these stories and their excellent supporting notes by Ni.
The collection begins with The Girl in the Rain” by Hong Niangzi feeling like a western urban legend horror surrounding a university campus, and then getting into a blood-soaked narrative. Central is the three-person friendship between Jiang Ruohan, Luo Xi, and Shen Jie. Two of the three are in a romantic relationship, and things eventually take horrific turns—those turns being tied closely to the legends established at the outset. The notes describe it as Xiaoyuan Jingson (college horror) and it clearly reflects the stresses of university life, including the social elements.
“The Waking Dream” by Fan Zhou is a science fiction horror story in which technology has been developed to allow people to perform as part of a workforce in a virtual workplace while their bodies are sleeping. Shen Yue is one such worker, but in her case, the shared virtual workplace is littered with what seem to me very Chinese/Asian style monsters. As the story progresses, we learn more about the cost these work practices take and the what or more how she is seeing these. In the notes I discovered the author Fan Zhou writes under pseudonym and keeps her identity behind avatars which makes the story she tells even more impactful.
And due to my love of spicy food I couldn't neglect the Chuan Ge's the Ying Yang pot with its focus on hot pot and traditional magic which is used to trap a thoughtless male who wanted to take advantage. How one can find themselves “locked” in marriage to the dead through the very act of dining – which food is consumed and how – leading to an unplanned ghost wedding inside a hotpot restaurant ensconced in a dimly lit street. Our protagonist discovers a dish that breaks the boundaries between the living and dead in a story full of food culture and twists. Try to read this one when you are about to go to lunch, preferably Sichuan hotpot.
“The Shanxiao” by Goodnight, Xiaoqing. In this odd story, it’s the damsel who saves the young man in distress, but all is not as it seems in this metafictional story with its readerly address: “What? You’re laughing at this tired old plot… yes, a lot of books tell this sort of story.” It disentangles embedded stories in reimagined tales.
Another enjoyable albeit haunting story is Zhou Dedong’s “Have You Heard of Ancient Glory”, which is a social horror about a haunted suburb. In varied perspectives, the narrative cleverly explores the shifting burial practices in a crowded landscape.
She Cong Ge’s “Those Who Walk at Night, Walk with Ghosts” offers stories-within-a-story in a novelette-length tale that captures folklore and haunting across night walks in remote villages. Yimei Tangguo’s “The Ghost Wedding” spotlights the tragic custom of stolen brides and draws attention to sexual abuse, imprisonment and poverty, while Su Min’s “Ti’Naang” is a Frankenstein-type story with a twist.
Cai Jun’s “Huangcun” is another novella that unfolds a pleasant yet ominous tale. It’s immersive in first-person voice, where an encounter with a strange girl on a cold, Shanghai night leads to a visit to her hometown in an ancient house haunted with familial spectres associated with a ghostly flute.
I was also gratified to realise that Ni had chosen a more female authors than many anthologies and a wide spread of writers with those early in the their careers and well established. Also writers with different experiences in publishing some traditionally based, some purely web based.
This was an outstanding recommendation that led me to Xueting Christine Ni work. On my engagement with Sinophagia I immediately bought Sinopticon her anthology Celebration of Chinese Science Fiction.
As with the best anthologies Sinophagia provides an introduction and content warnings for each story, then offers fourteen stories ranging greatly in length and theme. The stories span from the earliest 2002 (“Immortal Beauty” by Chu Xidao), to (“Night Climb” by Chi Hui). At the end of each piece, Ni has included thoughtful notes about both story and author and track the different sub genre's of horror covered in these stories, some common to western horror and others more unique to Chinese and Asian stories.
I have picked a few stories that really stuck with me, but I really could have chosen any of these stories and their excellent supporting notes by Ni.
The collection begins with The Girl in the Rain” by Hong Niangzi feeling like a western urban legend horror surrounding a university campus, and then getting into a blood-soaked narrative. Central is the three-person friendship between Jiang Ruohan, Luo Xi, and Shen Jie. Two of the three are in a romantic relationship, and things eventually take horrific turns—those turns being tied closely to the legends established at the outset. The notes describe it as Xiaoyuan Jingson (college horror) and it clearly reflects the stresses of university life, including the social elements.
“The Waking Dream” by Fan Zhou is a science fiction horror story in which technology has been developed to allow people to perform as part of a workforce in a virtual workplace while their bodies are sleeping. Shen Yue is one such worker, but in her case, the shared virtual workplace is littered with what seem to me very Chinese/Asian style monsters. As the story progresses, we learn more about the cost these work practices take and the what or more how she is seeing these. In the notes I discovered the author Fan Zhou writes under pseudonym and keeps her identity behind avatars which makes the story she tells even more impactful.
And due to my love of spicy food I couldn't neglect the Chuan Ge's the Ying Yang pot with its focus on hot pot and traditional magic which is used to trap a thoughtless male who wanted to take advantage. How one can find themselves “locked” in marriage to the dead through the very act of dining – which food is consumed and how – leading to an unplanned ghost wedding inside a hotpot restaurant ensconced in a dimly lit street. Our protagonist discovers a dish that breaks the boundaries between the living and dead in a story full of food culture and twists. Try to read this one when you are about to go to lunch, preferably Sichuan hotpot.
“The Shanxiao” by Goodnight, Xiaoqing. In this odd story, it’s the damsel who saves the young man in distress, but all is not as it seems in this metafictional story with its readerly address: “What? You’re laughing at this tired old plot… yes, a lot of books tell this sort of story.” It disentangles embedded stories in reimagined tales.
Another enjoyable albeit haunting story is Zhou Dedong’s “Have You Heard of Ancient Glory”, which is a social horror about a haunted suburb. In varied perspectives, the narrative cleverly explores the shifting burial practices in a crowded landscape.
She Cong Ge’s “Those Who Walk at Night, Walk with Ghosts” offers stories-within-a-story in a novelette-length tale that captures folklore and haunting across night walks in remote villages. Yimei Tangguo’s “The Ghost Wedding” spotlights the tragic custom of stolen brides and draws attention to sexual abuse, imprisonment and poverty, while Su Min’s “Ti’Naang” is a Frankenstein-type story with a twist.
Cai Jun’s “Huangcun” is another novella that unfolds a pleasant yet ominous tale. It’s immersive in first-person voice, where an encounter with a strange girl on a cold, Shanghai night leads to a visit to her hometown in an ancient house haunted with familial spectres associated with a ghostly flute.
I was also gratified to realise that Ni had chosen a more female authors than many anthologies and a wide spread of writers with those early in the their careers and well established. Also writers with different experiences in publishing some traditionally based, some purely web based.