While there’s a whole lot of focus on China Miéville’s Big Ideas – his seemingly limitless creativity, his rigorous political convictions, his baroque genre smorgasbording – there’s considerably less attention given over to the minutia of his prose, and his identity as a master stylist. It would be a shame if the grand schemes of his stories overshadowed too much the actual words he uses to tell them.
And while most readers acknowledge that he is an incredible stylist, most reviews don’t delve any deeper than vague comments about how cool and adjectival and maximalist his writing is. All of which is true, of course, and all of which I love; but it’d be nice to see some closer sentence-by-sentence readings and appreciations of China Miéville’s texts.
I mean, he doesn’t always hit the mark (describing a forest as a ‘barkscape’ is an attempt at linguistic estrangement that, for me at least, veered dangerously close to twee, much as I love that particular suffix…(though who knows, maybe ‘twee’ was what he was aiming for?)), but when you encounter such gems as this paragraph from Iron Council, then all is forgiven:
Time was stilled. Cutter walked through a ghostworld, the earth’s dream of its own grasslands. There were no nightbirds calling, no glucliches, nothing but the dark vista like a painted background. Cutter was alone on a stage. He thought of dead Ihona. When at last the lights were close he could see a kraal of heavy houses. He walked into the village as brazen as if he were welcome.
Themes here include wilful loneliness and grief; the language becoming suitably poetic in order to handle such things; perhaps an attempt at finding a narrative register appropriate to the lofty (dare I say ‘tragic’) emotions being described. A head count of the rhetorical devices in the above paragraph includes: psychological abstraction (‘Time was stilled’), neologism (‘ghostworld’), description via negatives that reinforce the themes of loss and absence (‘no nightbirds, no glucliches’); there’s simile (‘like a painted background’), as well as metaphor, (‘alone on a stage’), simple direct sentences (‘He thought of dead Ihona’), contrasting imagery (‘dark’ / ‘light’), as well as subjunctive mood (‘as if he were welcome’).
That’s a real magician’s hatful of rhetorical techniques, all of them pushing and tugging and rubbing against one another in a brilliant linguistic maelstrom that echoes the tensions and conflicts roiling up within the protagonist. If you were feeling particularly generous, you might even claim that the theatre-centric imagery is an attempt to recall the literary space most familiarly given-over to addressing tragedy, despair and loss. Just please stop short of saying ‘Shakespearean’.
So, the TL:DR version of this is: don’t lose sight of the details in looking at the bigger picture. It’s something I know I do all too often, and I’ll endeavour to give more space over to close reading in future posts.
New reviews coming soon. Honest.