The term seems to be applied to his work by others -- also reflects his affinity for the writing of Mervyn Peake.
Yes. I looked around and found others that used the term. I decided to to do that too. Oh, and i have to read Gormenghast, soon.
Steampunk and the "New Weird" are the terms most often used in reference to his work.
Yes, "New Weird" or Weird Fiction is what China Mieville calls his writing. What the heck is steampunk? Sounds like a new species of cooked lobster.
It's a new term for me too but I see how it would apply to Perdido Street Station - wiki states that it is "...works set in an era or world where steam power is still widely used..." his writing fascinates me overall - especially tring to see how his education and politics come out in his stories...
Steampunk is a style of fantasy fiction in which steam technology (late 1800's-ish) happily coexists with the practice of magic. This is the term I always use to describe his Bas-Lag books, since most people I talk to have no idea who Lovecraft is or what "New Weird" is.
Mieville's setting is considered Steampunk or really Fantasy Steampunk, only because of the level of Technology found in the book. Even though really, you can say the background and city play a character in the novel.
"Since the 1990s, the application of the steampunk label has expanded beyond works set in recognizable historical periods (usually the 19th century) to works set in fantasy worlds that rely heavily on steam- or spring-powered technology. China Miéville is one of the better-known fantasy steampunk authors. " on Steampunk
By the by, I did make a Steampunk Group to talk about Steampunk Novels and such.
Also you should check out SteampunkMagazine.com
Yes, I did some illlustration for it, but still it's pretty righteous and it's free!
This is nothing important, just trying to decide if it would be justified to put the tag "steampunk" on Miéville's Bas Lag-books? I think it would be.
I have tried to read this book three times, as I admire the ambitious world Mieville created, and the language is often quite alive and new, which can be uncommon in the genre. However I can't get past the sadism in the book, the relentless violence with such little payoff. This one is sadly not for me.
This book was recommended to me by a good Shelfari friend, and I have to say I was not disappointed. Gritty, dark, strange, weird. All of these words can be useful to start to describe this book, but only to start. I loved the huge scope of a world that is mostly like the one I know, but also nothing like it. There are so many ideas wrapped up in such a strange story, that I feel like I will be thinking about it for a long time. I mean, artificial intelligence created by a virus? Slake moths? Spiders that weave a pattern into the world, and think that missing ears are pretty? And the mythology student in me loved the references to Ancient Egypt. There were times that I felt like 'the grown-ups were talking' and that there are some things that I missed, things I might understand better when I'm older. maybe.
Beautifully horrific, intense, labyrinthine and very good.
I read this book shortly after reading American Gods. In tandem they make a strong argument that fantasy fiction has the potential for a bright and interesting future. Mievlille's sense of place is breathtaking throughout, but it is his characters' that raise Perdido Street into very rare territory.
I read Perdido years ago and, frankly, didn't like it that much but I do remember one problem I had with the story: There are these people with wings who find it incredibly important to be able to make their own decisions. A lot of emphasis is place on that particular trait, but at some point somebody important (forgive me, I really don't remember many details) goes to the people with wings to ask for their help. And the leader of them is quite rude (I think) and tells him, basically, to get lost. He speaks for all members of his group, even though some of them were inclined to help the other guy. So how does that work in a society where your own decision is the most important thing? How can one of them speak for all of them (and especially if they don't all agree)? This has always bugged me (as you can see, I'm still bothered years later). Did I just totally misunderstand the whole thing? I'd be grateful for any comments.
I think you misunderstood, I as I understand it this outcast group have lost what it means to be garuda, they've lost their traditions and culture. Earlier in the same scene he thinks that the human language is the native tongue for these people and they probably can't speak the garuda tongue anymore.
What I loved about this work was that Mieville was unafraid to let you down. He tells the story in a realistic way, with none of the typical fairy tale resolution you'd expect from a "fantasy" book. He understands that a great story is the middle, with no beginning and no ending.