Daily Tribune‘I always write to process the next big question,’ author R.F. Kuang said.
MARSHALL Scholar, translator and award-winning, number one ‘New York Times’ bestselling author Rebecca F. Kuang.
Photograph courtesy of www.rfkuang.com
‘BABEL.’
Photograph courtesy of www.rfkuang.com
‘KATABASIS.’
Photograph courtesy of www.rfkuang.com
‘THE Poppy War.’
Photograph courtesy of www.rfkuang.com
‘YELLOWFACE.’
Photograph courtesy of www.rfkuang.com
There are very few authors whom I can say have dragged me into hell. Rebecca F. Kuang is undeniably one of them.
In her audacious August 2025 release, Katabasis, Kuang transforms the academic thriller into a literal journey through Hell. When graduate student Alice Law inadvertently causes her mentor’s death, she must navigate a perilous underworld to recover his soul and secure the crucial recommendation that could make or break her academic future. Reluctantly accompanied by her brilliant but rival classmate Peter Murdoch, they must traverse the novel’s Hellish “Eight Courts,” each circle reflecting the cutthroat pressures, ethical compromises, and toxic rivalries of elite academia.
Known for her sharp intellect and keen insight into human behavior, Kuang made a name for herself with novels that blend history, philosophy and speculative fiction. Beyond her acclaimed works, Kuang revealed that she hopes to venture into the mystery genre, drawn to its intricate layers of secrets, subtext and shifting motivations that challenge both writer and reader alike.
Kuang told DAILY TRIBUNE that mystery genre is the most intellectually stimulating form she has encountered, saying, “Mystery lets you play with what’s hidden and what’s revealed.”
She explained that the genre offers fertile ground for exploring human behavior, where every clue, misdirection and revelation can illuminate the choices and contradictions that define her characters.
University is a library
Reflecting on her academic years, Kuang described university as a “library,” not merely a physical archive of books but a living network of voices and ideas. She said that reading widely — across eras, genres and traditions — has been her greatest education. “Other writers are the best teachers,” she emphasized.
Music also remains central in Kuang’s creative process. For each novel, she often creates playlists tailored to the emotional architecture of her characters. She curates tracks that mirror their fears, desires and transitions, which is a method she uses to stay grounded in their inner worlds. “It anchors me to who they are,” Kuang said. “It keeps their inner world alive.”
Her recent playlist includes songs by Of Monsters and Men, Billie Eilish, Ozzy Osbourne, and the score of The Boy and the Heron.
When it comes to world building, Kuang admitted she does not begin with elaborate maps or lore.
“It doesn’t come naturally to me, and it usually comes later in the process,” she said. Her worlds materialize only after she fully understands her characters. “Worlds don’t exist until they are experienced subjectively by the characters,” she explained. She even joked that she must reread her drafts to draw maps “retroactively.”
Her novels weave philosophy, linguistics and politics into narrative without oversimplifying them. Kuang said she never underestimates her readers intellectually.
“It’s condescending to think, ‘Is my reader smart enough to understand this?’” she said, quoting Marilynne Robinson. Instead, she invites readers into her own process of discovery, noting she is rarely writing as an expert.
Lecture notes into fiction
During her undergraduate years, Kuang kept lecture notes on one side of her notebook and story ideas on the other. Fiction became her method of understanding complex concepts. She shared that Katabasis drew on logic paradoxes she learned during a “paradox party” thrown by philosopher friends.
Kuang described herself as shy but said teaching changed how she sees her role.
“It took a while to realize — I write the syllabus, I grade the papers. I’m the adult,” she said, calling the relationship between teacher and student “almost maternal.”
Asked about the Internet nickname “Mother Rebecca,” Kuang laughed. “I don’t understand Internet vernacular.”
Still, she acknowledged the impact her books have had on young women who credit her with helping them feel seen or rekindling their love for reading.
Kuang rereads The Count of Monte Cristo and studies writers according to what she wants to learn — scope, brevity or ambition. She curates her reading life with the same intentionality she brings to her writing playlists.
Economic realities
Discussing Singapore’s credential-driven culture, Kuang urged students to disentangle learning from prestige.
“I’m pro-education, but not for bragging rights,” she said, stressing that mentorship and resources matter more than institutional names.
She emphasized that readers should distinguish authors from their governments and said she has received a warm reception from Chinese audiences, especially for Babel.
Asked about overarching themes across her work, Kuang said such patterns are better left to future biographers. “I always write to process the next big question,” she said — a question that may soon take the form of a mystery.
