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London is an endless skirmish between angles and emptiness.

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
Skirmish
Angles
Angle
Emptiness
Endless
London

More quotes by China Mieville

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Scars are memory. Like sutures. They stitch the past to me.
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A lot of geeks are pale, bespectacled, wear dark clothing and don't get out much - the stereotype exists because it is very often true. I could pass for a non-geek but it would be inaccurate.
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I always felt sorry for the sidekick as a kid. They never got their due and it left a very bad taste in the mouth - they are defined by a subordinate relationship to someone else. I always felt like a bit of sidekick when I was a kid and it didn't feel fair.
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I love it when people want to interpret my books.
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The best way to write a novel is to do it behind your own back.
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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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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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Scars are not injuries, Tanner Sack. A scar is a healing. After injury, a scar is what makes you whole.
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I like the idea of trying to write a book in every genre.
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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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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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My sustenance is information. My interventions are hidden. I increase as I learn. I compute, so I am.
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I'd never been to a science-fiction convention until I became a professional writer.
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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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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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There's plenty of stuff that I don't feel dissident about: I really like tea, I don't have any problem with that. I like lots of paintings.
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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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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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While yes we can both agree the sudden recovery of this footage smells not a little, and that we appear to be bits of tinfoil-on-string to some malevolent government kitten, yes yes yes but, Borlu, however they've come by this evidence, this is the correct decision.
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