Article Text:
In the realm of science fiction, imagination is supposed to forge the future. Yet, for Han Song, one of China’s prominent voices in the genre, his narratives often echo real-life occurrences. An illuminating example is his novel written in 2000, which eerily depicted the events surrounding the fall of the World Trade Center long before they transpired. Additionally, his 2016 work, “Hospital,” portrayed a world where citizens were forcibly taken from their homes into healthcare facilities—an unsettling reflection of experiences faced during the height of the COVID-19 pandemic.
Reflecting on these uncanny revelations, the 59-year-old author remarked, “I always thought my writing would remain fiction, but it’s startling how closely it mirrors reality.” In his eyes, phenomena previously deemed impossible are now manifestations of life itself. “This turns out to be a case of reality surpassing what I envisioned in my stories,” he acknowledged.
For over forty years, Han has grappled with the disarray accompanying China’s rapid modernization. In his capacity as a journalist for China’s state news agency, he documents the breathtaking expansion of the nation, while by night, he delves into fiction that captures the discomforting evolution of contemporary society. His works, often dreary and grotesque in nature, critique the widening cultural chasm between China and Western nations. An example includes his short story “The Passengers and the Creator,” centered around a dubious reverence for the aircraft manufacturer Boeing.
Many of Han's settings are unremarkably ordinary—such as subway systems—yet they serve as backdrops to grim and shocking scenarios filled with cannibalistic instincts and unrestrained chaos. In contrast to the optimism that usually accompanies tales of progress, Han Song’s narratives question the moral and societal implications of a rapidly changing world, compelling readers to confront the stark and often overwhelming realities of their environment.
In the realm of science fiction, imagination is supposed to forge the future. Yet, for Han Song, one of China’s prominent voices in the genre, his narratives often echo real-life occurrences. An illuminating example is his novel written in 2000, which eerily depicted the events surrounding the fall of the World Trade Center long before they transpired. Additionally, his 2016 work, “Hospital,” portrayed a world where citizens were forcibly taken from their homes into healthcare facilities—an unsettling reflection of experiences faced during the height of the COVID-19 pandemic.
Reflecting on these uncanny revelations, the 59-year-old author remarked, “I always thought my writing would remain fiction, but it’s startling how closely it mirrors reality.” In his eyes, phenomena previously deemed impossible are now manifestations of life itself. “This turns out to be a case of reality surpassing what I envisioned in my stories,” he acknowledged.
For over forty years, Han has grappled with the disarray accompanying China’s rapid modernization. In his capacity as a journalist for China’s state news agency, he documents the breathtaking expansion of the nation, while by night, he delves into fiction that captures the discomforting evolution of contemporary society. His works, often dreary and grotesque in nature, critique the widening cultural chasm between China and Western nations. An example includes his short story “The Passengers and the Creator,” centered around a dubious reverence for the aircraft manufacturer Boeing.
Many of Han's settings are unremarkably ordinary—such as subway systems—yet they serve as backdrops to grim and shocking scenarios filled with cannibalistic instincts and unrestrained chaos. In contrast to the optimism that usually accompanies tales of progress, Han Song’s narratives question the moral and societal implications of a rapidly changing world, compelling readers to confront the stark and often overwhelming realities of their environment.
