Ted Chiang does love to explore the counter-factual with empathy and openness where he somehow manages to take himself out of the story in the admirable Virginia Wolfe sense. The OP misses the biting critique hidden in these tales. For example Omphalos, Hell Is the Absence of God, and Tower of Babylon, can all be read as a devastating critique of religion. They all clearly articulate what the world would be like if certain religious beliefs were true. Since those worlds are nothing like our own, the beliefs are false. There is a strong element of cosmic horror in each of these stories that implicitly make a strong case that we are quite fortunate that our religions do not accurately describe nature.

Exhalation is one of my favorites. There is profound lesson about the nature of the mind, expressed simply as a sequence of discovery by a lone scientist in a very alien world. But the world is an idealized, simplified version of our own with much simpler source of work in the physics sense. I very much wanted to know more about the nature of that world, and for the people there to find a way out of their apocalyptic predicament. But that story, like it's world, is hermetically sealed perfection. The fate of our own universe is the same, but with more steps in the energy cycle and a longer timeline. The silence bounding that story is a beautiful choice, one that makes it a real jewel.

Arrival is my new favorite movie ever

If you like Chiang, Netflix has an adaptation of his work called “Pantheon” that’s very good. Animated, two seasons, about the rise of uploaded humans.

I don’t know which of his works it’s based on, so can’t say how true it is to the original, but I enjoyed it.

> Chiang’s much weaker at the middle level, where we consider how societies and civilizations collectively face novel technologies.

I’m not really sure this matters. The ideas are interesting for their effects on the characters of the story—going in depth on the world building outside of the characters doesn’t really mean anything. For the author’s example: yes, economic experiments and drug experiments would be cheaper, but like… so what? What does that mean for the characters in the story? His stories aren’t an exploration of ideas for their own sake, they’re created with a purpose, and this middle level world building doesn’t move that purpose forward at all.

I read Understand by him a really long time ago. I thought it was really good. However at the time I didnt understand the motivation of one of the main characters in it and the ending felt unjustified because of that. Years ago someone posted The Merchant and the Alchemist's Gate (pdf) by him on here. That one was a trip. He nailed the atmosphere and cadence of One Thousand and One Nights with a time travel story superimposed on top of it. Or it least that's how I remember it. Thought it was very Sufi in how it was told.

Interesting observation. Spoilers -> He does the same thing in Tower of Babel, where the topology of the universe is structured in such a manner that the tower can physically reach "heaven", which ends up being a surprise to the reader and the characters at the same time. Masterful stuff.

I want to nitpick two things.

On compatibalism, the first definition presented is the correct one, the framing that "you have to make peace with determinism" isn't quite right. For compatiablists, determinism is freedom, because if one's actions did not follow from prior causes then they would not align with one's internal states.

The other is sneaking in the characterization of Chiang's AI doomer skepticism as a "blindspot". This topic is being debated to death on HN every day so I'll leave that argument for another thread, but IMO it contradicts the tone of the article about a writer whose depth of thought the author was just heaping praise on. I'm not saying its necessary to adopt his views on all things, but I think it deserved more than a footnote dismissal.

> Many of his readers, even in their otherwise rave reviews, miss this. Multiple reviewers complain about how the science in his stories are “unrealistic” (e.g. strong Sapir-Whorf is “discredited”). They expected hard science fiction; Chiang was doing something different. Chiang created different universes with internally self-consistent scientific laws, using science fiction and alternative science as a vehicle for exploring philosophical progress and human relationships.

This is being overly kind. "What if religion was actually true?" does not create a universe with internally self-consistent scientific laws; it creates a universe full of impossibility from which you then pick and choose one or two things to focus on, and end up with not science fiction but fantasy.