THE WAR OF THE WORLDS A leading sci-fi writer takes stock of China's global rise. Two rival civilizations are battling for supremacy. Civilization A is stronger than Civilization B and is perceived by Civilization B as a grave threat; its position, however, is more fragile than it seems. Neither side hesitates to employ espionage, subterfuge, and surveillance, because the rules of conduct—to the extent that they exist—are ill-defined and frequently contested. But the battle lines are clear: whoever controls the technological frontier controls the future. In Liu Cixin's science-fiction trilogy, "Remembrance of Earth's Past"—also known by the title of its first volume, "The Three-Body Problem"—Civilization A is a distant planet named Trisolaris and Civilization B is Earth. Life on Trisolaris has become increasingly difficult to sustain, so its inhabitants prepare to colonize Earth, a project made possible by their vast technological superiority. Using higher-dimensional geometry, they deploy supercomputers the size of a proton to spy on every terrestrial activity and utterance; Earth's entire fleet of starships proves no match for one small, droplet-shaped Trisolaran probe. Yet Trisolaris's dominance is far from assured, given the ingenuity of the underdogs. Seeking out the vulnerabilities of its adversary, Earth establishes a deterrence based on mutually assured destruction and forces the Trisolarans to share their technology. When the first volume of the series was published in the United States, in 2014, the models for Trisolaris and Earth were immediately apparent. For the Chinese, achieving parity with the West is a long-cherished goal, envisaged as a restoration of greatness after the humiliation of Western occupations and the self-inflicted wounds of the Mao era. As Liu told the Times, "China is on the path of rapid modernization and progress, kind of like the U.S. during the golden age of science fiction." The future, he went on, would be "full of threats and challenges," and "very fertile soil" for speculative fiction. In the past few years, those threats and challenges have escalated, as China's global ambitions, especially in the field of technology, have begun to impinge upon America's preëminence. Disputes about tariffs, intellectual property, and tech infrastructure have become urgent matters of national security. The U.S. has blocked China's access to certain technologies and has cracked down on cyber espionage. In January, the Justice Department filed charges against the Chinese telecommunications giant Huawei, for alleged offenses (denied by the company) including fraud, theft of intellectual property, and violations of sanctions against Iran; the company's C.F.O., who is the daughter of its director and founder, was arrested in Canada, and faces possible extradition to the U.S. In May, Donald Trump signed an executive order that warned of foreign tech companies committing "malicious cyber-enabled actions" at the behest of their governments. The next day, Huawei was added to a list of organizations prohibited from doing business with American companies without explicit government approval, and, not long afterward, Google discontinued Huawei's access to the Android operating system. In response, the president of Huawei told the Chinese media, "I've sacrificed myself and my family for the sake of a goal that we will stand on top of the world. To achieve this goal, a conflict with the U.S. is inevitable." As the standoff has intensified, Liu has become wary of touting the geopolitical underpinnings of his work. In November, when I accompanied him on a trip to Washington, D.C.—he was picking up the Arthur C. Clarke Foundation's Award for Imagination in Service to Society—he briskly dismissed the idea that fiction could serve as commentary on history or on current affairs. "The whole point is to escape the real world!" he said. Still, the kind of reader he attracts suggests otherwise: Chinese tech entrepreneurs discuss the Hobbesian vision of the trilogy as a metaphor for cutthroat competition in the corporate world; other fans include Barack Obama, who met Liu in Beijing two years ago, and Mark Zuckerberg. Liu's international career has become a source of national pride. In 2015, China's then Vice-President, Li Yuanchao, invited Liu to Zhongnanhai—an off-limits complex of government accommodation sometimes compared to the Kremlin—to discuss the books and showed Liu his own copies, which were dense with highlights and annotations. Liu's tomes—they tend to be tomes—have been translated into more than twenty languages, and the trilogy has sold some eight million copies worldwide. He has won China's highest honor for science-fiction writing, the Galaxy Award, nine times, and in 2015 he became the first Asian writer to win the Hugo Award, the most prestigious international science-fiction prize. In China, one of his stories has been a set text in the gao kao—the notoriously competitive college- entrance exams that determine the fate of ten million pupils annually; another has appeared in the national seventh-grade-curriculum textbook. When a reporter recently challenged Liu to answer the middle-school questions about the "meaning" and the "central themes" of his story, he didn't get a single one right. "I'm a writer," he told me, with a shrug. "I don't begin with some conceit in mind. I'm just trying to tell a good story." The trilogy's success has been credited with establishing sci-fi, once marginalized in China, as a mainstream taste. Liu believes that this trend signals a deeper shift in the Chinese mind-set—that technological advances have spurred a new excitement about the possibilities of cosmic exploration. The trilogy commands a huge following among aerospace engineers and cosmologists; one scientist wrote an explanatory guide, "The Physics of Three Body." Some years ago, China's aerospace agency asked Liu, whose first career was as a computer engineer in the hydropower industry, to address technicians and engineers about ways that "sci-fi thinking" could be harnessed to produce more imaginative approaches to scientific problems. More recently, he was invited to inspect a colossal new radio dish, one of whose purposes is to detect extraterrestrial communications. Its engineers had been sending Liu updates on the project and effusive expressions of admiration. Earlier this year, soon after a Chinese lunar rover achieved the unprecedented feat of landing on the dark side of the moon, an adaptation of Liu's short story "The Wandering Earth" earned nearly half a billion dollars in its first ten days of release, eventually becoming China's second- highest-grossing film ever. A headline in the People's Daily, the Chinese Communist Party newspaper, jubilantly summed up the mood: "Only the Chinese Can Save the Planet!" Liu, who is fifty-five, first travelled to the U.S. in the eighties, on work trips he made as an engineer, but before his November visit he had never been to Washington. In an Uber to his hotel—we'd come from New York by train—he peered through square-rimmed glasses at the city gliding by, which reminded him of the kind of development zone one sees on the edge of China's everexpanding cities. "Sparsely populated, with everything neat, orderly, and symmetrical," he observed. "As if the city were built yesterday." When he saw the gilded letters of the Trump hotel, he gave a gleeful chuckle. "Out of all the American Presidents, he is the only one whose speeches I can understand directly, without translation," he remarked. "There are no big words or complicated grammar. Everything he says is reduced to the simplest possible formulation." Liu's fellow sci-fi writers in China call him Da Liu—Big Liu—but he is small, with an unusually round head, which seems too large for his slight, wiry physique. He has the unassuming presence, belying an unflappable intelligence, of an operative posing as an accountant. Rarely making eye contact, he maintains an expression at once detached and preoccupied, as if too impatient for the future to commit his full attention to the present. "There's nothing special or memorable about me," he said at one point. "I always blend into any crowd." Sure enough, as we walked around town, I found that it was disconcertingly easy to lose sight of him, and I started consciously trying to keep an eye on his inconspicuous frame and clothes—dark jeans and checked tops—as if I were minding a small child. Although it was his first time in Washington, the cityscape was already familiar to him, thanks to his predilection for Hollywood blockbusters. As a result, our sightseeing trips yielded disappointments. Things were invariably bigger or smaller than he expected, and in surprising juxtapositions. The Reflecting Pool was farther from the Washington Monument than "Forrest Gump" suggested, and it looked strange without Vietnam War protesters thronging its perimeter. When we climbed the steps of the Lincoln Memorial, Liu expressed dismay that the seated statue featured Lincoln's pensive face, rather than a simian one. "I think I prefer the 'Planet of the Apes' version," he said. When we passed a block-long brutalist building, Liu immediately recognized it as the headquarters of the F.B.I. It turned out that he had pored over its floor plan online while researching his early novel "Supernova Era," which was published in 2003 and will appear in English later this year. It took him twelve years to get the book published, with several rounds of revision, in part because prospective publishers worried about the likely reaction of the state censors. Liu, unlike many Chinese writers popular in the West, is no dissident, but he had conceived the novel in the nervous aftermath of the Tiananmen Square protests.