Review: Babel

 After reading Yellowface, I had checked out Babel, R. F. Kuang's near past fantasy about a magic/silver based industrial revolution centered around translators of Oxford. At the back of the book I discovered that she got her MSc in Contemporary Chinese Studies from Oxford, which explains her familiarity with the material.

The story centers around Robin Swift, a mixed race Chinese person whose father rescued him for a chorea epidemic and brings him to England, where he undergoes an extensive classical education before starting life as an undergraduate at the translator's institute at Oxford. The department seems unusually small, with only 4 students in their cohort. (As a point of reference though, I'll note that Oxford is just small --- their math department numbers approximately 200 students per cohort)

As he undergoes his education, he's recruited by his predecessor, who faked his own death and dropped out when he realized that this work was being used by the British to oppress foreign countries. The nature of magic in this version of England is tied to silver and translations --- a silver engraving with words of deferring languages and the correct pronunciation and enunciation of both words in bilingual fashion would activate the power of the language based on the subtle differences between the words in these two languages. Kuang uses this conceit to create within the Babel translation department the need for linguistic diversity, with the department accepting its first African and Chinese students in order to research new word-pairs. Kuang associates this with being Chinese raised by the Anglo society:

He had become so good at holding two truths in his head at once. That he was an Englishman and not. That Professor Lovell was his father and not. That the Chinese were a stupid, backwards people, and that he was also one of them. That he hated Babel, and wanted to live forever in its embrace. He had danced for years on the razor’s edge of these truths, had remained there as a means of survival, a way to cope, unable to accept either side fully because an unflinching examination of the truth was so frightening that the contradictions threatened to break him. (kindle loc 5627)

The plot then cleverly revolves around the new, diverse student cohort realizing the oppression of the silver industrial revolution, and the desire of the British Empire's companies to open up the Chinese market to opium:

The silver industrial revolution is one of the greatest drivers of inequality, pollution, and unemployment in this country. The fate of a poor family in Canton is in fact intricately tied to the fate of an out-of-work weaver from Yorkshire. Neither benefits from the expansion of empire. Both only get poorer as the companies get richer. So if they could only form an alliance . . .’ Anthony wove his fingers together. ‘But that’s the problem, you see. No one’s focused on how we’re all connected. We only think about how we suffer, individually. The poor and middle-class of this country don’t realize they have more in common with us than they do with Westminster.’  (kindle loc 7079)

The book's climax drags, however, with the students attempting a revolution and the ending is much less satisfying than the rest of the book. The magic system is of course, as imprecise as translations of any text to any other language would be, which I thought was clever. The story of Robin accepting his privileged state before eventually taking action against his masters is also well done:

Robin had always been willing, in theory, to give up only some things for a revolution he halfway believed in. He was fine with resistance as long as it didn’t hurt him. And the contradiction was fine, as long as he didn’t think too hard about it, or look too closely. But spelled out like this, in such bleak terms, it seemed inarguable that far from being a revolutionary, Robin, in fact, had no convictions whatsoever. (kindle loc 4643)

The book has several anachronisms. For instance, pinyin is used frequently, despite it being a much later invention (post 1950!). It's quite clear that Kuang doesn't have extensive knowledge of non-Mandarin dialects, never even attempting to use Cantonese/Hokkien/Haka words or pronunciations of Chinese words.  It probably would have been better for the book if she'd stuck to actual Chinese characters instead of trying to use pinyin, because of pinyin's inherent ambiguity.

I enjoyed the book, nevertheless, only being disappointed by the ending, where it became clear that Kuang has written herself into a corner. I still recommend the book as a fun read, however, and it might be even more fun if you weren't already familiar with Chinese.