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How to Live Safely in a Science Fictional Universe: A Novel Hardcover – Deckle Edge, September 7, 2010


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Product Details

  • Hardcover: 256 pages
  • Publisher: Pantheon (September 7, 2010)
  • Language: English
  • ISBN-10: 0307379205
  • ISBN-13: 978-0307379207
  • Product Dimensions: 8.7 x 6.7 x 0.8 inches
  • Shipping Weight: 14.4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (169 customer reviews)
  • Amazon Best Sellers Rank: #577,007 in Books (See Top 100 in Books)

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Amazon.com Review

Lev Grossman Reviews How to Live Safely in a Science Fictional Universe

Lev Grossman is the author of the New York Times bestselling novel The Magicians. Read his review of How to Live Safely in a Science Fictional Universe:

The science-fictional universe in question in this marvel of a novel is Minor Universe 31 (MU31). It's something of a second-rate universe, having been left unfinished by whoever was constructing it--the laws of physics were abandoned only 93 percent installed, Yu tells us, and the human inhabitants "seem to have been left with a lingering sense of incompleteness." This is a universe you need to visit. If by some happy chance you don’t already live there.

The hero of this story, also named Charles Yu, ekes out a living there as a time travel repairman--"a certified network technician for T-class personal-use chronogramattical vehicles, and an approved independent affiliate contractor for Time Warner Time, which owns and operates this universe as a spatio-temporal structural and entertainment complex zoned for retail, commercial, and residential use." (Time Warner Time -- that's the kind of three-pointer Yu never misses.) Charles is a high-tech sad sack, whose only companions are a dog, who's mostly hypothetical, and a computer with a sexy feminine AI interface that Yu has a crush on.

The thing about time travel in MU31 is that it's not all wormholes and apocalypses and "look out that's a temporal anomaly off the starboard nacelle, Captain!" Human beings mostly use time machines to go back and eavesdrop on their own screwed-up lives, reliving key moments, bad decisions and missed opportunities, in the mistaken belief that they can change them. They can't. "I have job security," Yu explains, "because what the customer wants, when you get right down to it, is to relive his very worst moment, over and over again."

Not that Yu has it all figured out. His elderly mom is parked in a time loop, where she cooks a Sunday dinner over and over again. His father, a tragically frustrated inventor, is lost somewhere in the chronoverse. And Yu has a problem: one day he accidentally ran into his future self … and shot him. That's right: he shot himself. And one day, the laws of the universe dictate, that future self will be him.

How to Live Safely in a Science Fictional Universe is a triumph, as good as anything in Calvino or Stanislaw Lem. I wish I could travel back in time with a copy and fraudulently publish it under my own name. Like most people, I thought I learned everything I needed to know about time travel from H.G. Wells and Star Trek, but I thought wrong: In Yu's skillful hands a worn-out science fiction plot device becomes a powerfully expressive metaphor for how we experience the flickering, ineffable, ungraspable spatio-temporal phenomenon of life. Because after all, we're all time travelers, blundering forward into the future at the rate of one second per subjectively experienced second.

Except when we don't. Think about it: How many times have you yourself been trapped in a time loop, cycling obsessively through one inescapable moment, again and again and again, while the rest of the universe rolled forward and left you behind?

Questions for Charles Yu on How to Live Safely in a Science Fictional Universe

Q: You’re a National Book Foundation 5 Under 35 Award-winner and this is your debut novel. When and why did you start writing, and what advice do you have for other young writers out there trying to get published?
A: I wrote poems and essays as a kid, and in college, I dreamed of becoming a professional writer, whatever I thought that meant, although, for a lot of reasons, I knew that wasn’t going to happen. Mostly, my parents were going to murder me if I tried to apply to an MFA program. First-degree murder.

So I didn’t actually start writing until 2002, shortly after I began my career as a lawyer. Working in a high-pressure environment was squeezing me pretty hard, and all that pressure found its way out in the form of little things I was jotting down, in the margins of receipts, on the backs of business cards. I wrote a series of physics problems about a married couple’s life together. I wrote some instructions for how to play a metaphysical video game. Stuff like that.

But I didn’t think I was actually writing, let alone writing what anyone would call fiction, until I read CivilWarLand in Bad Decline by George Saunders. That book blew the doors off the empty little space that had previously housed my puny imagination.

Up until that point, I’d had no clue as to what a story could be. And it was because my ideas were assumptions. Tacit, limiting, ultimately false assumptions, which added up to a severely impoverished conception of what was possible in fiction. After reading CivilWarLand, I knew I wanted that feeling, wanted to be surprised like that, and flattened onto the floor, and embarrassed my by own narrowness. I wanted to have my doors blown off again and again. It was a short distance to go from wanting to have that feeling to also wanting to see if maybe I could ever give that feeling to someone else.

As for advice, it would be to transfer all the anxiety about publication into anxiety about whether the story works, whether a reader is going to care about the characters. I break down the process into four components: writing, rewriting, submitting, and worrying. My ideal, not at all realistic, scenario, would be to make the proportion of time spent on each of those activities something like: 19 percent, 80 percent, 1 percent, 0 percent. This is very hypocritical of me to say, of course, as I’ve never done this myself, I’ve never even been close. But I do know that the farther from zero the last two numbers get, the more I’m in trouble. And that the second number should be much bigger than the first.

Q: How has your interest in and knowledge of science and science fiction contributed to and inspired your writing of this book?
A: I read and collected comics as a kid, read pretty much everything I could find of Asimov, including the whole Foundation series in one semester in eighth grade (to the detriment of my English grade), and so much else, too much to list or even remember. Then, at some point in high school, I got the idea that there were serious books we read in school, and there was science fiction, and there was not a lot of overlap. That lasted until my senior year in college, when I stumbled on Richard Powers’s Galatea 2.2, which wasn’t exactly science fiction, it was this amazing love story. It also handled actual science (cognitive science, artificial intelligence) without watering it down, and yet was still clearly Serious Fiction, whatever that meant to me back then, the kind that was in the Sunday book review sections. After that, I began to search out more writing like that, more Powers, and Jonathan Lethem.

Currently, I read more science than I do anything else, including fiction. I especially enjoy reading books written by scientists for lay folk, like me. I was a biochem major in college, and so part of it is that I am interested in the science itself, but I’m just as interested in the process of explanation, how the author, an expert in a specialized field, tries to explain difficult concepts through simplification and creative analogy. I am fascinated by that process of distilling something really complex into something most people can understand. There are so many examples of great books that do this, but the one that still stands out for me is Brian Greene’s The Elegant Universe. After finishing that book, I was convinced I had a working knowledge of string theory. I was like, I can do this stuff; I could hang with string theorists at a cocktail party. Of course, when I tried to explain even the simplest concept from the book to someone else, I realized how much Greene had been holding my hand. I was like a baby who thought he could walk, until I tried on my own.

Q: Your book deals with time travel in a more serious and even tragic way than most stories about the subject, though you mask the severity with humor to keep the dialogue light and amusing. What made you decide to write about this complicated topic, and how did you come to write about it in this unique manner?
A: I knew I wanted the novel to be a family story, mostly about a father and son, but also about a marriage, and a son-mother story, too. But I could not find the right frame for the story. At the same time, I kept coming back to this idea that had been floating around in my head and on my laptop for years, but one that I could never find a home for. It was about of a man who keeps popping up in different hypothetical universes, trying to find the universe where he belongs. I’d been messing around with that conceit, on and off, for close to five years. Then I remembered a book I’d read years earlier, called The Fabric of Reality, by David Deutsch (which sets out, among other things, Deutsch’s multiverse interpretation of quantum mechanics), and in particular, one specific sentence from that book: “Other times are just special cases of other universes.” That sentence was a bridge for me. I realized I didn’t want to write a story about hypothetical universes. I wanted to write a time travel story.

Once I decided that the novel would be about time travel, the book started to take shape. Not quickly, more like, I had a frame, and now little pieces started sticking to the frame, just odd scraps here and there, but the frame was the right one, and I could hang things on it. Most important, what happened was that the two vocabularies—the emotion of a father-mother-son story and the technical glossary of a time travel story--started to interact; like two dry wool blankets, they started to rub up against each other and crackle a bit. Things would pop out of that, phraselets and new words and little surprises of grammar and language and emotion, and science fiction would fall out from that interaction.

Whatever humor there is in there, if any, is probably also a product of that process, of smashing together two sub-languages, emotional and science fictional, and seeing what weird tonal particles are produced from the collision. I knew that the story needed weight, because if it were just whimsical, a reader might wonder why any of it mattered, and of course, the most important thing that I am trying to do is create characters who matter to the reader. I do hope that there are at least a few laughs in there.

Q: Your protagonist, a time travel technician attempting to save people from trying to alter their pasts, is named Charles Yu. How did you come to name him after yourself?
A: It was originally a placeholder, to be honest. So was the father’s name, which is my father’s name. I tried different names for the son and the father, but none of them would take, so I just put in my real name (and my dad’s) so I could get going with the writing, but when I did that, a strange thing happened: the story started moving, fast, in a different direction. Suddenly, it was about a self meeting his self, and the details of the character’s life started to come together, as did the relationship between the son and the father. I think having my actual name in there gave me a straw man, a straw story, that I could write in reaction to. For some reason, once the name of the character became Charles Yu, I stopped slipping in autobiographical or semi-autobiographical information, and actually started removing it. I think I realized, wow, if this character is going to have my name, I’d better take some of this stuff out. There is still a fair amount of it in there, semi- or pseudo-autobiographical, but much of it is more emotionally resonant than factually resonant.

Q: Though there is a definite science fictional aspect to your novel, it is also heavily literary and much more about real life than it at first appears. How, then, would you characterize your novel? Fiction, science fiction, or something outside the realm of typical genre classifications?
A: I was hoping it would be characterized as a time machine, although I realize there is no section for time machines in most bookstores. In terms of topology, I think of it as a stable, looped, four-dimensional object with chronodiegetic properties. In terms of genre, I would be happy for it to be shelved in both fiction and in science fiction. Or maybe under a new category, where they would put books that resist either classification. A lot of my favorite books would be in that category.

Q: What’s next for you?
A: I’m working on a new novel that takes place in “America,” i.e., not America, but a dream-and-desire-fueled holographic projection of the collective mental environment of Americans, which exists as a geographical place that happens to overlap the physical America. It’s also a story about a man looking for his ex-wife and daughter. I hope I can figure out a way to make that make sense.

(Photo © Michael Zara)

From Publishers Weekly

Yu uses futuristic ideas to explore a mundane theme: writing about the self and the moment in Tristram Shandy–esque digressions. The protagonist, who shares the author's name, spends most of the story interacting with entities that either mirror him (TAMMY, an operating system who reflects his personality) or don't exist (Ed, a "weird ontological entity" in the shape of a dog; Phil, a programmed supervisor who thinks he's human). The conclusion tries to mitigate character-Yu's risk-averse solipsism, but is too quick and abstract to really counter the rest of the book's emotional weight. Mainstream readers will be baffled by the highly nonlinear Oedipal time travel plot, but the passive, self-obsessed protagonist is straight out of the mainstream fiction that many SF fans love to hate, leaving this book without an audience.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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Customer Reviews

This review ended up being relatively long, but there is just so much about this book I don't like.
Billiam
Charles Yu's How to Live Safely in a Science Fiction Universe is nothing like your average time travel novel which is precisely what makes it so wonderful.
Brandyn
The book is a bit of a bore, written in a compelling way but page after page about wit, style, and not about plot and substance.
Patrick McCormack

Most Helpful Customer Reviews

28 of 31 people found the following review helpful By R. Murphy VINE VOICE on October 28, 2010
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
Charles Yu has a really neat concept, and some extremely clever and funny ideas, but this book was extremely hard for me to get into. Despite all that it had going for it, the early chapters felt like work to read, and it was a very easy book for me to put down. I ended up reading most of it in very small segments, and I never spent more than half an hour with it at a time. I just never felt either truly invested in the characters or truly entertained by them, and I think that Yu needed me to feel either one or the other for this to really work.

That being said, this would probably be a very appealing book to anyone who likes their fiction on the experimental, and there are some very witty ideas and moments.
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47 of 57 people found the following review helpful By Billiam on September 23, 2011
Format: Paperback
I picked up this book from the local library. It had a snazzy cover, a cool sounding title, and a pretty entertaining blurb. Unfortunately, nearly every joke in the book was on that blurb, and they weren't even that funny. The blurb (and a few reviews, from the guardian etc.) made me think that this book would at least resemble Douglas Adams, Neil Gaiman, people who could provide insights while still entertaining. If so, then Yu writes like Adams with all the warmth, wit, profundity, and insight cut out and replaced with laboured metaphors, pretentious words, lists, commas, lists, redefinitions, more commas, and then some more lists.

Let's do this systematically. This book isn't a science fiction novel, like I expected. It's Literature, with a capital 'L'. Now, I'm ok with that. I took some literature classes at university, I like a good exploration of the human condition as anyone. But that's the key word; good.

Let's start with the plot. There isn't one. The totality of the events in this novel could be condensed to a short story. And the events that are there? They're ok. I won't go into spoilers, but it's a pretty standard science fiction plot. Probably the most interesting concept is of time-travel as some kind of literary/physical almagamation. Universes that adhere the science fictional conventions. Time machines powered by changes in word tense. Again, in the hands of a Pratchett, and Adams, a Fforde, these kind of ideas have been used to create a clever and humorous story. Yu mentions these ideas but doesn't explore them. They exist as abstractions in the background, as if he came up with the ideas, thought 'wouldn't it be cool if ...?", but had no idea how to incorporate them into an interesting story.

So what does he fill the pages with, if not plot?
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59 of 73 people found the following review helpful By BrianB VINE VOICE on September 3, 2010
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
Colson Whitehead thinks that this book is cool as hell. I have some reservations about that.

Yu grapples with time travel problems and paradox, physics and metaphysics, and the unmathematical mysteries of the human heart. The protagonist, who is also named Charles Yu, is an emotionally stunted time machine technician who gets himself into a time loop, armed with a cryptic message from his future self. He writes a book that his future self has already written. The title of the book that Charles writes (re-writes) is also the title of this book: How to live safely in a science fictional universe. So which book are we reading? Is this physical book different from the book in the story? Is the question unnecessary? The paradoxes quickly pile up in a logical and slightly dismaying sequence, until the plot becomes very confusing.

Yu has thought a lot about the complications and ramifications of time travel, presenting them to the reader in rapid sequence, all with the laid back attitude that says these things are already well known, so try to keep up. The tone of the early pages is a bit jaded, but when he gets into emotional space-time, the tone changes, becoming more sympathetic. I liked the emotional parts of this book a lot more than the technical ones.In the emotional part of the story Charles revisits his childhood, his mother, and his father, and we learn about their tortured Huis Clos relationships. They mistreated each other for years, but they love each other nevertheless, and he wants to return to them, if he only could.

Yu makes lengthy asides on various topics, from the mathematics and physics of space-time to the personal nature of failure.
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78 of 101 people found the following review helpful By Marion VINE VOICE on August 28, 2010
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
I loved this awesome book. It's a word-lover's feast! It blew my mind, figuratively, of course, you word nerds out there. I'm a literature person, not a science person at all, but that didn't matter much. I did Google a few words, but mostly I figured out things in context. My vocabulary is definitely larger. That's always a plus when reading a fabulous book: it takes you to places you've never been. And that's an understatement with this spectacular little tome.

The story is lyrical, exciting, surprising, elegant, funny, sad and ultimately, wise. It's a masterpiece of imagination that demands to be read with an open mind because the lines between past, present and future often blur or completely disappear. I found myself in an unexplored literary landscape marveling at the words on my skin and the exotic language piercing my heart. I underlined most of the book, but one of my favorite lines is on page 86: "After a night out in the lost half city, you end up with dust of dead robots in your hair, or someone's dreams, or their nightmares."

This is the story of Charles Yu who lives in Minor Universe 31, a vast story-space on the outskirts of fiction. And yes, paradox fluctuates like the stock market, as the back cover states. I laughed out loud on page 13 at the reference to 'Linus Skywalker' son of Luke who has father issues: "You have no idea what it's like, man. To grow up with the freaking savior of the universe as your dad." The author's sharp wit, sarcasm and sense of humor are worth the price of the book.

Charles Yu is a time travel technician. The main issue with time travel is that everyone wants to do the one thing they can't and shouldn't do: change the past. Therein lies Mr. Yu's job security.
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