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China Miéville, an English writer born in 1972, is best known for his NewWeird work, much of which has won or been nominated for the [[UsefulNotes/ArthurCClarkeAward Arthur C. Clarke Award]] or the UsefulNotes/WorldFantasyAward.
to:
China Miéville, an English writer born in 1972, is best known for his NewWeird work, much of which has won or been nominated for the [[UsefulNotes/ArthurCClarkeAward [[MediaNotes/ArthurCClarkeAward Arthur C. Clarke Award]] or the UsefulNotes/WorldFantasyAward.MediaNotes/WorldFantasyAward.
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* BlueAndOrangeMorality
to:
* BlueAndOrangeMoralityBlueAndOrangeMorality: Many of his characters operate under this logic, particularly The Weaver and the garuda people from the [[Literature/BasLagCycle Bas-Lag Cycle]]. Cultural differences and incompatibility is a recurring theme in his work.
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* SteamPunk
to:
* SteamPunkSteamPunk: PlayedWith in his epic [[Literature/BasLagCycle Bas-Lag Cycle]], as it takes place in a steampunk like setting...except with a bunch of weird monsters and creatures.
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That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations.
Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies?
Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge.
The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.”
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* DeconstructorFleet
to:
* DeconstructorFleetDeconstructorFleet: Mieville has sought to distance himself from the Tolkien model of fantasy and create his own creatures and monsters. He has even critiqued Tolkien's impact on the fantasy genre in the past. While he has toned down on his criticisms against Tolkien over the years, and respects his contribution to the genre. He clearly wants to make his own splash in the fantasy genre:
--> Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader.
That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations.
Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies?
Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge.
The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.”
--> Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader.
That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations.
Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies?
Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge.
The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.”
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* CreatorsOddball: He is primarily know for his fantasy works, but he also wrote ''October'', a NarrativeNonfiction history of UsefulNotes/RedOctober.
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* GenreAdultery: He is primarily know for his fantasy works, but he also wrote ''October'', a NarrativeNonfiction history of UsefulNotes/RedOctober.
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** ''Literature/PerdidoStreetStation''' (2000)
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** ''Literature/PerdidoStreetStation''' ''Literature/PerdidoStreetStation'' (2000)
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* ''Literature/KingRat'' (1998)
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** ''Literature/PerdidoStreetStation''
** ''Literature/TheScar''
** ''Literature/IronCouncil''
* ''Literature/TheCityAndTheCity''
* ''Literature/{{Embassytown}}''
* ''Literature/KingRat''
* ''Literature/{{Kraken}}''
* ''Literature/LookingForJake'' (short story collection)
* ''Literature/{{Railsea}}''
* ''ThreeMomentsOfAnExplosion'' (short story collection)
* ''Literature/ThisCensusTaker''
* ''Literature/TheLastDaysOfNewParis''
* ''Literature/UnLunDun''
** ''Literature/TheScar''
** ''Literature/IronCouncil''
* ''Literature/TheCityAndTheCity''
* ''Literature/{{Embassytown}}''
* ''Literature/KingRat''
* ''Literature/{{Kraken}}''
* ''Literature/LookingForJake'' (short story collection)
* ''Literature/{{Railsea}}''
* ''ThreeMomentsOfAnExplosion'' (short story collection)
* ''Literature/ThisCensusTaker''
* ''Literature/TheLastDaysOfNewParis''
* ''Literature/UnLunDun''
to:
** ''Literature/PerdidoStreetStation''
''Literature/PerdidoStreetStation''' (2000)
**''Literature/TheScar''
''Literature/TheScar'' (2002)
**''Literature/IronCouncil''
* ''Literature/TheCityAndTheCity''
* ''Literature/{{Embassytown}}''
* ''Literature/KingRat''
* ''Literature/{{Kraken}}''
''Literature/IronCouncil'' (2004)
* ''Literature/LookingForJake'' (short storycollection)
collection) (2005)
*''Literature/{{Railsea}}''
''Literature/UnLunDun'' (2007)
* ''Literature/TheCityAndTheCity'' (2009)
* ''Literature/{{Kraken}}'' (2010)
* ''Literature/{{Embassytown}}'' (2011)
* ''Literature/{{Railsea}}'' (2012)
* ''ThreeMomentsOfAnExplosion'' (short storycollection)
collection) (2015)
*''Literature/ThisCensusTaker''
''Literature/ThisCensusTaker'' (2016)
*''Literature/TheLastDaysOfNewParis''
* ''Literature/UnLunDun''
''Literature/TheLastDaysOfNewParis'' (2016)
**
**
* ''Literature/TheCityAndTheCity''
* ''Literature/{{Embassytown}}''
* ''Literature/KingRat''
* ''Literature/{{Kraken}}''
* ''Literature/LookingForJake'' (short story
*
* ''Literature/TheCityAndTheCity'' (2009)
* ''Literature/{{Kraken}}'' (2010)
* ''Literature/{{Embassytown}}'' (2011)
* ''Literature/{{Railsea}}'' (2012)
* ''ThreeMomentsOfAnExplosion'' (short story
*
*
* ''Literature/UnLunDun''
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* ''Between Equal Rights: A Marxist Reading of International Law'' (doctoral thesis)
* ''October: The Story of the Russian Revolution''
* ''A Spectre, Haunting: On The Communist Manifesto''
* ''October: The Story of the Russian Revolution''
* ''A Spectre, Haunting: On The Communist Manifesto''
to:
* ''Between Equal Rights: A Marxist Reading of International Law'' (doctoral thesis)
thesis) (2005)
* ''October: The Story of the RussianRevolution''
Revolution'' (2017)
* ''A Spectre, Haunting: On The CommunistManifesto''Manifesto'' (2022)
* ''October: The Story of the Russian
* ''A Spectre, Haunting: On The Communist
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''A Spectre, Haunting: On The Communist Manifesto''
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* ''A Spectre, Haunting: On The Communist Manifesto''
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''A Spectre, Haunting: On The Communist Manifesto''
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* GenreAdultery: He is primarily know for his fantasy works, but he also wrote ''October'', a NarrativeNonfiction history of UsefulNotes/RedOctober.
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* FolkHorror: Some of his short stories, such as "Säcken" from ''Three Moments of an Explosion'', fall into this genre.
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* BlackAndGreyMorality: And when it's not...
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* BlackAndGreyMorality: BlackAndGrayMorality: And when it's not...
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* ''LookingForJake'' (short story collection)
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* ''LookingForJake'' ''Literature/LookingForJake'' (short story collection)
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* ''Literature/LookingForJake'' (short stories)
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* ''Literature/LookingForJake'' ''LookingForJake'' (short stories)story collection)
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* ''Literature/ThreeMomentsOfAnExplosion'' (short stories)
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* ''Literature/ThreeMomentsOfAnExplosion'' ''ThreeMomentsOfAnExplosion'' (short stories)story collection)
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China Miéville, an English writer born in 1972, is best known for his NewWeird work, much of which has won or been nominated for the [[UsefulNotes/ArthurCClarkeAward Arthur C. Clarke Award]] or the UsefulNotes/WorldFantasyAward at some time or another.
to:
China Miéville, an English writer born in 1972, is best known for his NewWeird work, much of which has won or been nominated for the [[UsefulNotes/ArthurCClarkeAward Arthur C. Clarke Award]] or the UsefulNotes/WorldFantasyAward at some time or another.UsefulNotes/WorldFantasyAward.
