China Miéville Quotes

Lists make magic, the rhythm of itemized words: you do not list ten techniques, numbered and chantable, in austere prose appropriate for some early-millennium rebooted Book of Thoth, and not know that you have written an incantation.

The winds of this city are a more melancholy breed. They explore like lost souls, looking in at dusty gaslit windows. We are brethren, the city-winds and I. We wander together.

He tried to grin but it did not go well.

This was the remnant of honour, nostalgic for spurious legendary times.

The lamp was a beacon, a lighthouse in that forbidding city, steering the wyrman’s way over the river and out of the predatory night.

But Isaac’s research-unchanged in its aims over all those years-could not proceed in a vacuum. He had to publish. He had to debate. He had to argue, to attend conferences-as the rogue, the rebellious son. There were great advantages to renegacy.

In the emptied remains of a foreign bank was a sports shop. Below posters of physically adept men was a glass-front cabinet and iron grille, behind which was a big chunk of stone…The London Stone. That old rock was always suspiciously near the centre of things. A chunk of the Millarium, the megalith-core from where the Romans measured distances…This had been the seat of sovereignty, and it cropped up throughout the city’s history if you knew where to look…the Stone was the heart, the heart was stone, and it beat from its various places, coming to rest at last here in an insalubrious sports shop between cricket equipment.

We have watched mutant creatures crawl from sewers into cold flat starlight and whisper shyly to each other, drawing maps and messages in faecal mud. I have sat with the wind at my side and seen cruel things, wicked things. My scars and bonestubs itch. I am forgetting the weight, the sweep, the motion of wings. If I were not garuda I would pray. But I will not obeise myself before arrogant spirits.

Mercantile law ruled: let the buyer beware.

It is more foolish and childish to assume there is a conspiracy, or that there is not?

I think artists have an ambivalent relationship with drugs. I mean, the whole project’s about unlocking the beast within, right? Or the angel. Whatever. Opening doors one thought were jammed closed. Now, if you do that with drugs, then doesn’t that make the art rather a let-down? Art’s got to be about communication, hasn’t it? So if you rely on drugs, which are, I do not care what any proselytizing little ponce dropping a fizzbolt with chums at a dancehall tells me, which are an intrinsically individualized experience, then you’ve opened the doors, but can you communicate what you’ve found on the other side? Then on the other hand, if you remain stubbornly straight-edged, keep sternly to the mind as she is more usually found, then you can communicate with others, because you’re all speaking the same language, as it were… but have you opened the door? Maybe the best you can do is peer through the keyhole. Maybe that’ll do…

But it's a prize that... if you're into science-fiction and fantasy you grow up reading books with "Hugo [Award-winner]" on the cover. And this is very, very moving, to be in that position oneself. It's an odd situation [too], because, as you say, it was a tie, which is very rare with the Hugo, which has happened, like three times over sixty years, or something. But I prefer to think of it as a quantum Hugo and that Paolo Bacigalupi and I oscillate between between Hugo particle and wave form, this year. So it's properly science-fictional.

The other, more nebulous, but very strong influence of RPGs was the weird fetish for systematization, the way everything is reduced to “game stats.” If you take something like Cthulhu in Lovecraft, for example, it is completely incomprehensible and beyond all human categorization. But in the game Call of Cthulhu, you see Cthulhu’s “strength,” “dexterity,” and so on, carefully expressed numerically. There’s something superheroically banalifying about that approach to the fantastic. On one level it misses the point entirely, but I must admit it appeals to me in its application of some weirdly misplaced rigor onto the fantastic: it’s a kind of exaggeratedly precise approach to secondary world creation.

New Weird—along with the other mo(ve)ments of which it’s some kind of cousin, the Ratbastards, the Interstitial Arts, the New Space Opera and others—reflected a major cultural shake-up. Soon, though, if not already, those groups will have their epigones, and will probably be the very fantasy mainstream they were railing against. At which point, doubtless, some new punkass radicals will come along and subvert us all, by writing about hobbits.

That was why this congregation protected him. He was not just another saint. Billy was the preserver. Giant-squid John the Baptist. The shyness he saw in the Krakenists was devotion. It was awe.
“Oh for God’s sake,” he said.
The men and women stared. He could see them attempting exegesis on his outburst.