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果奖、星云奖科幻双奖得主，美国华裔科幻作家刘宇昆小说精选集，收录雨果奖获奖短篇《物哀》、星云奖入围短篇《杀敌算法》《书籍掠影》，以及影视原著作品《弧》《信息》等共十四篇惊艳之作。
作者以贯通东西的积淀衍发出自身独特的科幻气质，巧妙地将东方历史文化融入创作之中，其平静舒缓的故事下总是包裹着振聋发聩的内核，并在宏大叙事和个体命运之间找到了他独特的切入点，饱含着对星空的浩瀚沉思和对人之价值的关切。
作者以贯通东西的积淀衍发出自身独特的科幻气质，巧妙地将东方历史文化融入创作之中，其平静舒缓的故事下总是包裹着振聋发聩的内核，并在宏大叙事和个体命运之间找到了他独特的切入点，饱含着对星空的浩瀚沉思和对人之价值的关切。
396 pages, Paperback
Published July 1, 2022
About the author
Ken Liu
473 books22.4k followersKen Liu (http://kenliu.name) is an American author of speculative fiction. A winner of the Nebula, Hugo, and World Fantasy awards for his fiction, he has also won top genre honors abroad in Japan, Spain, and France.
Liu’s most characteristic work is the four-volume epic fantasy series, The Dandelion Dynasty, in which engineers, not wizards, are the heroes of a silkpunk world on the verge of modernity. His debut collection of short fiction, The Paper Menagerie and Other Stories, has been published in more than a dozen languages. A second collection, The Hidden Girl and Other Stories, followed. He also penned the Star Wars novel, The Legends of Luke Skywalker. His latest book is All That We See or Seem, a techno-thriller starring an AI-whispering hacker who saves the world.
He’s often involved in media adaptations of his work. Recent projects include “The Regular,” under development as a TV series; “Good Hunting,” adapted as an episode in season one of Netflix’s breakout adult animated series Love, Death + Robots; and AMC’s Pantheon, with Craig Silverstein as executive producer, adapted from an interconnected series of Liu’s short stories.
Prior to becoming a full-time writer, Liu worked as a software engineer, corporate lawyer, and litigation consultant. He frequently speaks at conferences and universities on a variety of topics, including futurism, machine-augmented creativity, history of technology, bookmaking, and the mathematics of origami.
In addition to his original fiction, Liu also occasionally publishes literary translations. His most recent work of translation is a new rendition of Laozi’s Dao De Jing.
Liu lives with his family near Boston, Massachusetts.
Liu’s most characteristic work is the four-volume epic fantasy series, The Dandelion Dynasty, in which engineers, not wizards, are the heroes of a silkpunk world on the verge of modernity. His debut collection of short fiction, The Paper Menagerie and Other Stories, has been published in more than a dozen languages. A second collection, The Hidden Girl and Other Stories, followed. He also penned the Star Wars novel, The Legends of Luke Skywalker. His latest book is All That We See or Seem, a techno-thriller starring an AI-whispering hacker who saves the world.
He’s often involved in media adaptations of his work. Recent projects include “The Regular,” under development as a TV series; “Good Hunting,” adapted as an episode in season one of Netflix’s breakout adult animated series Love, Death + Robots; and AMC’s Pantheon, with Craig Silverstein as executive producer, adapted from an interconnected series of Liu’s short stories.
Prior to becoming a full-time writer, Liu worked as a software engineer, corporate lawyer, and litigation consultant. He frequently speaks at conferences and universities on a variety of topics, including futurism, machine-augmented creativity, history of technology, bookmaking, and the mathematics of origami.
In addition to his original fiction, Liu also occasionally publishes literary translations. His most recent work of translation is a new rendition of Laozi’s Dao De Jing.
Liu lives with his family near Boston, Massachusetts.
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Displaying 1 - 3 of 3 reviews
July 23, 2026
非常令我失望的刘宇昆，这本选的好作品我已读过，剩下的作品我宁愿自己没有读过，我一直觉得自己喜欢刘宇昆一部分原因是因为作为男作家写出来的东西没有太重的男味、感情线写得没有那么工具化、对殖民和移民等有充分思考，这一部选的很多作品反而出彩的地方只有一些灵感和哲思，但这些是合格的科幻作品最基本要有的，而且很明显意识到他自己也发现了写出来的爱情一没必要二不真实，到后期他就扬长避短专注亲情或者由亲情中转的爱情了，只能感慨原来这些也是后面慢慢学会的。
This was a deeply disappointing collection for Ken Liu. Most of the strongest stories included here were ones I had already read; as for many of the rest, I wish I hadn’t.
Part of what has always drawn me to Ken Liu is that, as a male writer, his work often feels refreshingly free of the gendered habits that weigh down so much contemporary fiction. His relationships rarely reduce women to narrative devices, and his writing has consistently shown a thoughtful engagement with colonialism, migration, and cultural memory.
Here, however, many of the stories stand out only for their conceptual ingenuity or philosophical premise. Those qualities are certainly valuable, but they are also the baseline I expect from good science fiction, not what makes a work truly memorable.
What struck me most was how unconvincing many of the romantic relationships felt. They often seemed unnecessary, as though they had been included because a story was expected to have one rather than because it genuinely needed one. In hindsight, it’s almost possible to see Liu recognizing this limitation himself. His later work increasingly shifts its emotional center toward family, or toward forms of love that emerge through familial bonds.
Perhaps that’s simply part of a writer’s evolution. Looking back, it’s striking to realize that this, too, was something he had to learn.
This was a deeply disappointing collection for Ken Liu. Most of the strongest stories included here were ones I had already read; as for many of the rest, I wish I hadn’t.
Part of what has always drawn me to Ken Liu is that, as a male writer, his work often feels refreshingly free of the gendered habits that weigh down so much contemporary fiction. His relationships rarely reduce women to narrative devices, and his writing has consistently shown a thoughtful engagement with colonialism, migration, and cultural memory.
Here, however, many of the stories stand out only for their conceptual ingenuity or philosophical premise. Those qualities are certainly valuable, but they are also the baseline I expect from good science fiction, not what makes a work truly memorable.
What struck me most was how unconvincing many of the romantic relationships felt. They often seemed unnecessary, as though they had been included because a story was expected to have one rather than because it genuinely needed one. In hindsight, it’s almost possible to see Liu recognizing this limitation himself. His later work increasingly shifts its emotional center toward family, or toward forms of love that emerge through familial bonds.
Perhaps that’s simply part of a writer’s evolution. Looking back, it’s striking to realize that this, too, was something he had to learn.
September 7, 2023
描写和比喻很美妙，少数我没有因为自己匮乏的想象力而羞愧的科幻体验。
March 28, 2023
嗷嗷嗷嗷嗷呜！爱惨了 我爱惨了十年前的小刘。这里面的故事我大概在16/17年读过 当时坐在地铁上心口揪揪鼻子酸酸热泪狂撒的样子我还记得 今天坐地铁又读到这些故事我还是狂哭。每一个故事我都好爱 每一个。时间 爱 生命的意义 人性 战争 现代性 我爱他包裹这些主题的故事和叙事方法。
出版社不断翻新旧文出新集 我知道这是消费 但我心甘情愿往里头蹦。我爱刘宇昆！！
出版社不断翻新旧文出新集 我知道这是消费 但我心甘情愿往里头蹦。我爱刘宇昆！！
Displaying 1 - 3 of 3 reviews