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Scars are not injuries, Tanner Sack. A scar is a healing. After injury, a scar is what makes you whole.

China Mieville

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China Mieville
Age: 52
Born: 1972
Born: September 6
Academic
Anthropologist
Blogger
Fantasy Author
Literary Critic
Novelist
Political Scientist
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Norwich
Norfolk
China Tom Miéville
China Mieville
China Tom Mieville
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Sack

More quotes by China Mieville

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It had not been a long journey, but the memory of it filled her like an infection. She had felt tethered by time to the city behind her, so that the minutes stretched out taut as she moved away, and slowed the farther she got, dragging out her little voyage.
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My dad hates umbrellas, said Deeba, swinging her own. When it rains he always says the same thing. 'I do not believe the presence of moisture in the air is sufficient reason to overturn society's usual sensible taboo against wielding spiked clubs at eye level.
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A sickly little smile grew and died on his mouth like a fungus.
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I'd never been to a science-fiction convention until I became a professional writer.
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My sustenance is information. My interventions are hidden. I increase as I learn. I compute, so I am.
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Fantasy and science fiction can be literal as well as allegorical and there’s nothing wrong with enjoying a monster like a giant squid for what it is, as well as searching for metaphor.
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Part of the appeal of the fantastic is taking ridiculous ideas very seriously and pretending they're not absurd.
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It felt like being a child again, though it was not. Being a child is like nothing. It's only being. Later, when we think about it, we make it into youth.
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Every book I write, the first thing I have to do is get into the voice, and the voice varies from book to book - that's part of what's interesting to me.
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So long as it fated, fate didn't care what it fated.
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Books are always obviously having conversations with other books, and some times they're amiable and sometimes not.
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Personally I don't like it when writers become excessively proscriptive about the way that people read their books.
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When I'm writing a book, generally I start with the mood and setting, along with a couple of specific images—things that have come into my head, totally abstracted from any narrative, that I've fixated on. After that, I construct a world, or an area, into which that general setting, that atmosphere, and the specific images I've focused on can fit.
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I think there's something quite interesting about the almost tragic quality of a lot of overwrought prose, because it has a much more self-conscious awareness of its own failure to touch the real.
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I feel fantastically geeky. [But] I'm not one of those people who's enormously proud of being a geek, but nor am I particularly ashamed of it.
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The problem with most genre fantasy is that it's not nearly fantastic enough. It's escapist, but it can't escape.
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I couldn't tell if I was perspicacious or paranoid.
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The best way to write a novel is to do it behind your own back.
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A city like London was always going to be a paradox, the best of it so very riddled with the opposite, so Swiss-cheesed with moral holes.
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There are only so many ways to experience pain. There are an almost limitless number of ways to inflict it, but the pain itself, initially vividly distinct in all its specifications, becomes, inevitably, just pain.
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