TagChina Mieville


For each movement of modernity, there has developed a comprehensive counternarrative. The idea that modernity is associated with the secularization of our institutions has given rise to fears about the rationalization and “disenchantment” of the world; the rise of a market economy and the commercial republic gave way in turn to an antibourgeois mentality that would find expression in politics, literature, art, and philosophy; the idea of modernity as the locus of individuality and free subjectivity gave rise to concerns about homelessness, anomie, and alienation; the achievements of democracy went together with fears about conformism, the loss of independence, and the rise of the “lonely crowd”; even the idea of progress itself gave rise to a counterthesis about the role of decadence, degeneration, and decline.

— Steven Smith, Modernity and Its Discontents


That fantastic has always borrowed enthusiastically from premodern folklore, fairy tales, and myth, of course. Fantasy as a genre is a modern literature, however, born primarily out of Gothic, a kind of bad conscience of the burgeoning ‘instrumental rationality’ of capitalist modernity. ‘The dream of reason,’ as José Monléon persuasively points out (quoting the title of Goya’s famous picture), ‘brings forth monsters.’ In essence, for fantasy to be fantasy, to break down the barriers that were keeping the irrational at bay, society first had to construct those barriers and thoroughly embrace the supposedly ‘rational.’”

— China Miéville, from his introduction to H. P. Lovecraft’s At the Mountains of Madness 

Pulp Modernism

I think for a lot of people who don’t read pulp growing up, there’s a real surprise that the particular kind of Pulp Modernism of a certain kind of lush purple prose isn’t necessarily a failure or a mistake, but is part of the fabric of the story and what makes it weird. There’s a big default notion that “spare,” or “precise” prose is somehow better. I keep insisting to them that while such prose is completely legitimate, it’s in no way intrinsically more accurate, more relevant, or better than lush prose. That adjective “precise,” for example, needs unpicking. If a “minimalist” writer describes a table, and a metaphor-ridden adjective-heavy weird fictioneer describes a table, they are very different, but the former is in absolutely no way closer to the material reality than the latter. Both of them are radically different from that reality. They’re just words. A table is a big wooden thing with my tea on it. I think they also are surprised by how much they enjoy making up monsters.

Novelists have an endless drive to aestheticize and to complicate. I know there’s a very strong tradition—a tradition in which I write, myself—about the decoding of the city. Thomas de Quincey, Michael Moorcock, Alan Moore, Neil Gaiman, Iain Sinclair—that type-thing. The idea that, if you draw the right lines across the city, you’ll find its Kabbalistic heart and so on.

The thing about that is that it’s intoxicating—but it’s also bullshit. It’s bullshit and it’s paranoia—and it’s paranoia in a kind of literal sense, in that it’s a totalizing project. As long as you’re constantly aware of that, at an aesthetic level, then it’s not necessarily a problem; you’re part of a process of urban mythologization, just like James Joyce was, I suppose. But the sense that this notion of uncovering—of taking a scalpel to the city and uncovering the dark truth—is actually real, or that it actually solves anything, and is anything other than an aesthetic sleight of hand, can be quite misleading, and possibly even worse than that. To the extent that those texts do solve anything, they only solve mysteries that they created in the first place, which they scrawled over the map of a mucky contingent mess of history called the city. They scrawled a big question mark over it and then they solved it.

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