China Miéville: Trending quotes (page 4)

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“This was the most difficult, the most extraordinary transition. Her body had been a source of shame and disgust; to engage in activities with no purpose at all except to revel in their sheer physicality had first nauseated, then terrified, and finally liberated her.”

China Miéville book Perdido Street Station

Source: Perdido Street Station (2000), p. 188

““She probably used proxies and a cleaner-upper online too, because there was bugger-all of interest in her cache.”
“You have no idea what you’re saying, do you, boss?”
“None at all. I had the techies write it all out phonetically for me.””

China Miéville book The City & the City

Source: The City & the City (2009), Chapter 13 (p. 139)

Idea

“Tearfly looked at Bellis curiously, bewildered by her ignorance. She did not care. What was important to her was where she was fleeing from, not where she was, or where she was going.”

China Miéville book The Scar

Part 1 “Channels”, chapter 2 (p. 21)
The Scar (2002)

“Now what are we looking at right here? What’s bang in the middle? Some people think that’s mathematics there. Fine. But if maths is the study that best allows you to think your way to the centre, what’re the forces you’re investigating? Maths is totally abstract, at one level, square roots of minus one and the like, but the world is nothing if not rigorously mathematical. So this is a way of looking at the world which unifies all the forces: mental, social, physical.”

China Miéville book Perdido Street Station

Source: Perdido Street Station (2000), pp. 145-146

People , World , Way , Mathematics

“There are no cats in UnLondon, for example, because they’re not magic and mysterious at all, they’re idiots.”

China Miéville book Un Lun Dun

Source: Un Lun Dun (2007), Chapter 12, “Safe Conduct” (p. 53)

Cats

“As far as I'm concerned, some of the best literature of the last hundred years has come out of the genre tradition and of course the best of it challenges expectations just as the best of literary fiction challenges those expectations. But it's not that genre fiction is any more a constraint than mimetic fiction. So I see myself very much as a genre writer. I love the fantastic genres. I see what I'm doing as a development of them but very much a part of them. I never feel that I'm leaving them behind. I try and be as experimental and avant-garde and stretching as I can be but I don't see that as turning my back on the genre at all. Genre has always been able to encompass that.”

China Miéville

interview with 3am http://www.3ammagazine.com/litarchives/2003/feb/interview_china_mieville.html

Love , Feeling , Literature , Parting

“I am often asked is [my work] science fiction or fantasy and my answer is usually ‘Yes’.”

China Miéville

In a panel about his work in Comic Con 2010. Quoted in China Miéville Takes Comic Con http://www.tor.com/blogs/2010/08/china-mieville-takes-comic-con.

Science

“I want to know everything, he says.”

China Miéville book Iron Council

“Anamnesis” (p. 202)
Iron Council (2004)

““Destiny’s bunk,” said the book. “That’s why this lot aren’t the Propheseers anymore.”
“From here on in,” said Mortar, “we’re the Order of Suggesters.””

China Miéville book Un Lun Dun

Source: Un Lun Dun (2007), Chapter 98, “Fit for Heroes” (p. 419)

Books

“It’s the first principle, isn’t it? Whoever’s arguing fiercest for violence is the cop.”

China Miéville

’Tis the Season (p. 195)
Short Fiction, Looking for Jake (2005)

“In a newsagent’s he picked up a copy of the Standard, and hesitated by the chocolate, looking at the low-fat version he had trained himself to pretend he liked but suddenly hungry for a real bar, which with guilty devil-may-care he took and paid for.”

China Miéville book Go Between

Go Between (p. 129)
Short Fiction, Looking for Jake (2005)

Training

“You make what you see into a window, and you see what you want through it. You make what you see a sort of a door.”

China Miéville book Details

Details (p. 113)
Short Fiction, Looking for Jake (2005)

Making love

“Although we revolutionary socialists are always accused of being Utopian, nothing strikes me as more Utopian than the reformist belief that with a bit of tinkering and some good faith, we can systematically improve the world. You have to ask how many decades of broken promises and failed schemes it will take to disprove that hope. Marxism isn’t about saying you’ll get a perfect world: it’s about saying we can get a better world than this one, and it’s hard to imagine, no matter how many mistakes we make, that it could be much worse than the mass starvation, war, oppression, and exploitation we have now. In a world where 30,000 to 40,000 children die of malnutrition daily while grain ships are designed to dump food into the sea if the price dips too low, it’s worth the risk.”

China Miéville

Interview with Joan Gordon

Faith , Imagination , Food , War

“We say what happens now. We’re taking control. We’re turning around; we’re heading home. Your orders to proceed…are in-fucking-validated.”

China Miéville book The Scar

Part 7 “The Lookout”, chapter 47 (p. 557)
The Scar (2002)

Home

“How is it appropriate to feel? she thought. Only humans dread. Dread is appropriate to nothing. It’s the surplus of animal fear, it’s never indicated, it’s nothing but itself.”

China Miéville book Keep

Keep (p. 280)
Short Fiction, Three Moments of an Explosion (2015)

Animals , Fear , Feeling

“I told myself I had no choice but in a situation like that the choice you have is how you go about not having a choice.”

China Miéville book The Dusty Hat

The Dusty Hat (p. 211)
Short Fiction, Three Moments of an Explosion (2015)

“We know the axes on which we should judge, and age has never been one.”

China Miéville book The Dusty Hat

The Dusty Hat (p. 203)
Short Fiction, Three Moments of an Explosion (2015)

Age

“You were sick of sentimentality, of the moralism, maneuvering, and malice that comes with it.”

China Miéville book The Dusty Hat

The Dusty Hat (p. 202)
Short Fiction, Three Moments of an Explosion (2015)

“Do you even know why you’re angry with me?”

China Miéville book After the Festival

Simone shouted.
“Oh, I’ll figure something out,” Tova said.
After the Festival (p. 196)
Short Fiction, Three Moments of an Explosion (2015)

“So what’s your alternative?”

China Miéville book The Dusty Hat

people say, as if that’s logic. We don’t have to have an alternative, that’s not how critique works. We may do, and if we do, you’re welcome, but if we don’t that no more invalidates our hate for this, for what is, than does that of a serf for her lord, her flail-backed insistence that this must end, whether or not she accompanies it with a blueprint for free wage labour. Than does the millennially paced rage of the steepening shelf of the benthic plain for a system imposed by the cruelest and most crass hydrothermal vent, if that anemone-crusted angle of descent does not propose a submerged lake of black salt.
The Dusty Hat (p. 215)
Short Fiction, Three Moments of an Explosion (2015)