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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.

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
Much
Creates
Always
Fantasy
Things
Completely
Love
Fiction
Science
Symbolically
Ends
Metaphorically
Also
Weirdness
Best
Laden

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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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What I always try to do in all my books is to make the stories such that if you don't agree with me politically or you're not interested in the thematics, the story will still keep you turning the pages.
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London is an endless skirmish between angles and emptiness.
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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 best way to write a novel is to do it behind your own back.
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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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Subby Subby Subby, whispered Goss. Keep those little bells on your slippers as quiet as you can. Sparklehorse and Starpink have managed to creep out of Apple Palace past all the monkeyfish, but if we're silent as tiny goblins we can surprise them and then all frolic off together in the Meadow of Happy Kites.
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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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Anything for gold and experience.
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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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I'd never been to a science-fiction convention until I became a professional writer.
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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 love it when people want to interpret my books.
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In every book I write, I try to name-check the most prominent influences, or the most prominent conscious influences.
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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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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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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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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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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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