In Celestial Empire: The Emergence of Chinese Science Fiction, Nathaniel Isaacson discusses the emergence of Chinese science fiction in the early to mid 1900’s. He highlights many different Chinese science fiction stories, but one that especially stood out was City of Cats by Lao She, written in 1933.
The story follows that the narrator crashlands on Mars and finds a city run by cats in “Cat Country”. The cats in Cat Country have a corrupt economic system, government, and education system, and everyone is addicted to the “reverie leaves”, which are drug-like leaves that are similar to opium. The narrator watches as the civilization falls into greater and greater disrepair, and tries to save it, but ultimately loses the civilization. An army of short people overruns Cat Country and kills all the cats. The narrator later leaves on a French ship back to earth, leaving Cat Country behind.
I found City of Cats more interesting than the other stories Isaacson covered, partially in its symbolism of China at the time by the author, and also from the simple dystopian plotline. In between the strangeness of cats on Mars, and armies of short people, the story boils down to a simple dystopia that reflected the anxieties of a person in China in the 1930s and can represent the anxieties of people around the world today.
There were many themes that were prevalent in Chinese science fiction in the early 1900s. Social collapse, colonial modernity, and the metaphor of the Iron House, popularized by Lu Xun–known as the father of Chinese science fiction– all came together in the anxieties of the writers of Chinese science fiction. Lu Xun’s popular metaphor of the Iron House was a comparison of Chinese society to “an iron house: without windows or doors, utterly indestructible, and full of sound sleepers— all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?”1. This metaphor, along with the others above, is pertinent to the despairing society that cannot seem to bring themselves to shed their skins and work together to revive their society.
The parallels to Chinese society at the time, or at least what Lao She thought of Chinese society at the time are clear. As Isaacson so succinctly puts it “[t]hese observations lead to the diagnosis of social and institutional illness, and the prognosis is devastatingly bleak from the outset,”2. Lao She’s “suffocating image of Chinese culture” is a human reaction to what he sees as China’s “own cultural decay and selfishness were to blame for the national plight” and is a stirring thought for those of us reading it ages later3.
The anxieties of any person at any time can be translated through writing and through time. City of Cats and the bizarre cats on Mars can be a warning to anyone about working as a community to do better, and can also be an interesting read for someone craving a story of cats on Mars.