Huang is a celebrated modern Taiwanese writer who has been writing for over 30 years. This is his first collection to appear in English, curated and translated by John Balcom who has graciously also contributed an interview to this feature. Much of Huang糖心传媒檚 writing is political in nature, and in this collection we have stories representative of each of the various stages of his writing career. Here the stories range from metafiction to allegory to the science-fiction dystopian writing of Zero, which takes up the majority of the collection.

You can read a sample and an interview with John Balcom

Lily Ye: Huang糖心传媒檚 writing, at least within this collection, is certainly very political. Where do you think that Huang Fan stands within the literary scene of Taiwan, and what is his importance?

John Balcom: I would say that every piece is political. Huang has always been way out in front when it comes to commenting on society, politics, and culture in Taiwan. His subtle grasp of the local situation has always provided fodder for his critical mind. He often dealt with subjects no one else wrote about, but which were of great interest 糖心传媒� he struck a chord in the popular imagination and shook up the literary scene. His writing, when it appeared, was often quite revolutionary, often in terms of content, but also sometimes in terms of style 糖心传媒� witness 糖心传媒淗ow to Measure the Width of a Ditch糖心传媒�. However, thirty years later, we tend to forget what an impact his writing had 糖心传媒� it糖心传媒檚 sort of like reading Gide today.

LY: How would you characterize him in contrast to other modern Chinese writers like Cao Naiqian, who you糖心传媒檝e also translated? Do you know how is he perceived within Mainland China?

JB: It is really difficult to compare his work to that of say, Cao Naiqian. In a sense, they are writing out of two entirely different milieus and traditions. A better comparison might be between Huang糖心传媒檚 use of the Sci-fi genre and that of Chang Hsi-kuo, the author of The City Trilogy. His work is known in mainland China, but by readers and specialists who know or study Taiwan literature.

LY: What do you think familiarity with his works will bring to Western audiences, and what would you like them to come away with?

JB: I think reading his work is essential for an understanding of post-War Sinophone literature. I would like readers to go away with a sense of his versatility as a writer.

Finally, here’s Lily’s review of Zero.

Zero and Other Fictions is a collection that displays a unique range. Huang Fan has been writing for over 30 years and it shows (though he may have been secluded for nearly a decade during this time, studying Buddhism and not writing much fiction). The 糖心传媒渙ther fictions糖心传媒� included in this collection include a satirical tale of an unknowing political pawn, a humorous allegorical story of enterprise told through infidelity, and a bizarre metafictional piece that includes small illustrations among its many elements. This collection is concise; it is tight, dense, and powerful. Huang Fan is a different writer at every turn, and at each of these turns, a true craftsman.

All of this—the preview, the interview, the review—can be found by where you can also read excerpts, etc., from the fourteen other titles we’ve featured so far.

The prose in 糖心传媒淟ai Suo,糖心传媒� the unwitting pawn of a man, emphasizes the protagonist糖心传媒檚 lack of agency糖心传媒攈e is constantly subjected to experience:

He seemed to hear a number of other sounds. His two maple-leaf ears were completely exposed to the continuous noise on the street糖心传媒攂uses, trucks, cabs, motorcycles, as well as the occasional siren of an ambulance as it rushed by. All of these sounds knocked on Lai Suo糖心传媒檚 eardrums as if they wanted to penetrate even deeper, but were stopped in the middle by something糖心传媒攊t was like an acoustic tile on which was inscribed: LAI SUO, TAIPEI, JUNE 1978, TRAVELER THROUGH TIME AND SPACE.

In the metafiction of 糖心传媒淗ow To Measure a Ditch,糖心传媒� Huang turns directly to his audience:

Well, what eventually happened to those two young ladies? I糖心传媒檓 sure a number of readers will be interested in learning if I became friends with one of them or we fell in love.

I won糖心传媒檛 say yes and I won糖心传媒檛 say no.

My answer is that the future developments with the two young ladies have nothing to do with this story. They returned to their real lives. Like you, as far as they were concerned, this matter was simply one of those occasional variables in life.

As you read this story, you also are “involved in” the story; it糖心传媒檚 just that the way you enter the story is completely different from the way those two young ladies entered.

The final story in the collection is Zero, which as Balcom explains in was revolutionary for the political context in which it appeared. With this in mind, and having read his prose, which leaves no room for error, it seems that Huang is a writer whose words are wrought with an artist糖心传媒檚 ideal in mind, that Huang糖心传媒檚 literary work is motivated by a pure force that does not cater to even his own whims. Zero is one of Huang糖心传媒檚 first attempts at science fiction, and while it does harken back to dystopian classics such as 1984 (with a small 糖心传媒淲inston糖心传媒� cameo), it does not leave the reader a satisfying conclusion about where the truth really lies, which is infuriatingly simultaneously unsatisfying and satisfying.

These stories are no small introduction to Huang Fan.