High Signal Podcasts Evidence ledger
Method
Browse

Public evidence record

Rebecca F. Kuang

Published podcast speaker

Claims
16
Episodes
1
Shows
1
Named items
1

Books, apps, and tools

The evidenced stack.

Browse the grouped index →

book / likes

Pale Fire

“I love Pale Fire. For my birthday this year, one of my friends, Rodrigo, got me this special edition that has the cantos printed on index cards, so you can go through the index cards as you’re reading the narrative proper or the notes on the poem.”

Conversations with Tyler · 24 Jan 2024

Evidence receipt · Source ↗

Claim ledger

What Rebecca said.

5 transcript-backed records

01 / evaluation

When I was drafting Babel and doing some research into what technologies existed, what my characters’ lives would have been like, I was at first disappointed to find that I couldn’t rely on shows like Penny Dreadful, things set in the late 19th century because a lot of that stuff had not been invented yet.

“When I was drafting Babel and doing some research into what technologies existed, what my characters’ lives would have been like, I was at first disappointed to find that I couldn’t rely on shows like Penny Dreadful, things set in the late 19th century because a lot of that stuff had not been invented yet.”
Publisher
Conversations with Tyler

02 / evaluation

I say this because, based on conversations with friends who are either part of the HarperCollins Union or folks who are trying to enter the publishing industry and become one of those gatekeepers — one of those people who can decide which manuscripts are valuable, worthy of getting a platform, worthy of being put in front of readers — everyone circles back to the same problem: that it’s nearly an impossible industry to enter unless you have previous connections, and more importantly, inherited family wealth — some situation that lets you live in London or New York without worrying too much about your income because entry-level wages are really so atrocious.

“I say this because, based on conversations with friends who are either part of the HarperCollins Union or folks who are trying to enter the publishing industry and become one of those gatekeepers — one of those people who can decide which manuscripts are valuable, worthy of getting a platform, worthy of being put in front of readers — everyone circles back to the same problem: that it’s nearly an impossible industry to enter unless you have previous connections, and more importantly, inherited family wealth — some situation that lets you live in London or New York without worrying too much about your income because entry-level wages are really so atrocious.”
Publisher
Conversations with Tyler

03 / evaluation

I think a lot of this Chinese-language science fiction comes to us mediated by what Ken has decided is interesting, and it occupies that platform and gains an audience — rightfully deserved — because Ken has decided to introduce it to that audience.

“I think a lot of this Chinese-language science fiction comes to us mediated by what Ken has decided is interesting, and it occupies that platform and gains an audience — rightfully deserved — because Ken has decided to introduce it to that audience.”
Publisher
Conversations with Tyler

04 / evaluation

It gets back to a paradigm called world literature, which means a lot of different things. But broadly, when we think about literature is produced in different languages and the movements within those literatures, and we compare them on a global stage and look at what’s gaining a readership, what isn’t, what is moving through translation, what isn’t, and which languages we associate with literary prestige, this is clearly influenced by history, geopolitical movements.

“It gets back to a paradigm called world literature, which means a lot of different things. But broadly, when we think about literature is produced in different languages and the movements within those literatures, and we compare them on a global stage and look at what’s gaining a readership, what isn’t, what is moving through translation, what isn’t, and which languages we associate with literary prestige, this is clearly influenced by history, geopolitical movements.”
Publisher
Conversations with Tyler
Search evidence