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A sickly little smile grew and died on his mouth like a fungus.

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
Politician
Writer
Norwich
Norfolk
China Tom Miéville
China Mieville
China Tom Mieville
Littles
Fungus
Little
Fungi
Like
Sickly
Mouth
Mouths
Smile
Died
Grew

More quotes by China Mieville

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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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I differ with myself then agree, like the rock that was broken and cemented together. I change my opinion.
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One of the things that I love so much about fantasy and science fiction is that the weirdness that it creates is always at its best completely its own end and also metaphorically and symbolically laden.
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If you're brave enough to try, you might be able to catch a train from UnLondon to Parisn't, or No York, or Helsunki, or Lost Angeles, or Sans Francisco, or Hong Gone, or Romeless.
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The reason that I like SF and fantasy and horror is that to me it's the pulp wing of surrealism. That's the aesthetic of undermining and creative alienation that I really go for.
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I have danced with the spider. I have cut a caper with the dancing mad god.
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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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Socialism and SF are the two most fundamental influences in my life.
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To take the choice of another ... to forget their concrete reality, to abstract them, to forget that you are a node in a matrix, that actions have consequences. We must not take the choice of another being. What is community but a means to ... for all we individuals to have ... our choices.
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Remember the movements that don't look like moving.
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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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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 remember vividly what it's like to read as a 10-year-old - that passionate inhabiting of a book.
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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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I love it when people want to interpret my books.
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London is an endless skirmish between angles and emptiness.
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Anything for gold and experience.
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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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I'll never be a minimalist. The fact that the prose is more tightly controlled doesn't for a minute mean that it's minimalist. I very much like arcane words and baroque sentence structure.
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A sense of wrongness, of fraught unease, as if long nails scraped the surface of the moon, raising the hackles of the soul.
China Mieville