Chinese-Canadian fantasy author Ai Jiang says 'biculturalism is a work in progress'

Toronto-based author Ai Jiang has a theory about why so many readers are gravitating towards Asian science fiction and fantasy.

- Clement Yong

Not for her grand debates about how genre silos are collapsing or the perceived stuffiness of more realist literary fiction.

The answer is to be found outside the book space in new readers not snobbish about literary hierarchies.

She says over Zoom to The Sunday Times: "The rise of K-pop, K-drama and then, in tangent, Chinese dramas has led people to discover other forms of media from Asian countries. They realise, 'Wait, I would love to read this as well."

The 28-year-old Canadian-Chinese author is speaking to ST about the first of her Natural Engines fantasy duology, A Palace Near The Wind, published in April.

Jiang herself is not beholden to genre—her writing career began with realist literary fiction, then surrealist horror—but she is of a piece with fantasy writers like R.F. Kuang and Judy I. Lin, a crop of predominantly younger writers who have found commercial success writing globally legible stories incorporating not-so-discreet nods to Chinese histories and traditions.

A Palace Near The Wind is Asian through and through, from its people-pleasing elder daughter protagonist to the subtle insult of serving a guest cold tea.

While superficially a tale of human versus nature, it is more potently a case study of the delicate balance and self-assuredness required of biculturalism.

Liu Lufeng from the Feng, or Wind, kingdom, is forced to marry an encroaching human King to save her forested kingdom.