Showing posts with label perdido street station. Show all posts
Showing posts with label perdido street station. Show all posts

Monday, 29 May 2017

Cities of Fantasy: New Crobuzon

There is a city of towers and skyrails, of delights and obscenities, a city of elevated rail lines and glasshouses inhabited by sentient cacti. It is a city of squalor and beauty where insects make art and politicians dine with the ambassadors of hell.

Welcome to New Crobuzon.


Location
New Crobuzon is the largest city-state on the east coast of the continent of Rohagi, one of the major landmasses of the world of Bas-Lag. The city lies south of the ruins of Suroch and north-east of Cobsea, spreading for miles along the banks of both the Canker and the Tar before they meet to form the Gross Tar.

The city is separated from the rest of Rohagi by the Dancing Shoe Mountains to the south-west and the Bezhek Peaks to the north-west. South of the city lies the Rudewood, a substantial woodland which gives way to the Wetlands. South-east of the city, forming a huge peninsula, lies the Grain Spiral, a vast and fertile hinterland which keeps the city of New Crobuzon fed. South-west of the city lie the Mendican Foothills.

The mountains, the Wetlands and the Sully Swamp, which lies to the west of the city, effectively limit the approaches to the city to a few rail lines and roads. These natural defences go some way to explaining why New Crobuzon has survived for almost two thousand years despite its imperialistic tendencies and occasional wars with other powers.

New Crobuzon also exercises control over several smaller settlements, most notably Tarmuth at the mouth of the Gross Tar, which serves as the city’s port.

Further to the south-west lies the Cacotopic Stain, an area of unrelenting danger, whilst to the north-west, beyond the mountains and swamp, lies Wormseye Scrub, a vast plain. New Crobuzon’s nearest rivals are located well over a thousand miles from the city itself.

These geographic limitations make sea travel a more popular alternative. Ten miles south-east of the city, the Gross Tar opens into Iron Bay, an inlet of the Swollen Ocean. Shipping lanes lead to the nearby island of Chet and, further away, the islands of Perrick Night, Gnurr Kett, Dancing Bird Island, the Jheshull Islands and Gnomen Tor. Eventually, thousands of miles to the east, the continent of Bered Kai Nev can be found, where New Crobuzon has established a colony city called Nova Esperium.

The continent of Rohagi, based on China Mieville's own map.

Physical Description
New Crobuzon is centred on the confluence of the Rivers Canker and Tar into the Gross Tar, and has spread outwards in a rough oval shape, nine miles wide from east to west and seven from north to south. The city is furthered defined from the towering grand structure of Perdido Street Station, the city’s major transportation hub, located a mile or so from the confluence. From the station a series of major and smaller skylines radiate outwards, linking the districts of the city together. The Spike, the headquarters of the feared New Crobuzon Militia, is located nearby.

Lying between the rivers are the districts of the Crow, Brock Marsh, Sheck, Skulkford, Gross Coil,  Kinken, Rim, Tar Wedge, Raven’s Gate, Canker Wedge, West Gidd, Spit Hearth and Petty Coil. Strack Island, located south-east of the confluence of the rivers at Brock Marsh, is the location of the New Crobuzon Parliament Building and is the seat of city governance. Broadly speaking, these central districts clustered around the centres of power (civil and military) are richer and more developed, but also older and more decadent.

East of the Canker lies Dryside, Flag Hill, Chnum, East Gidd, Mafaton, Nigh Sump, Abrogate Green, Saltbur and Ludmead, the site of New Crobuzon University. South of the university lies Bonetown, a poorer district famed for the Ribs, the gigantic remains of some vast creature killed millennia ago. East of Bonetown lies Mog Hill, Pincod and Badside, whilst Sunter, Kelltree and Echomire lie to the south. West of the Tar lies Chimer, Creekside, Smog Bend, Saint Jabber’s Mound, Gallmarch, Serpolet, Lichford, Spatters and Howl Barrow. South of the river as it curves around to the confluence are Ketch Heath, Sangwine, Sobek Croix, Salacus Fields, Barrackham, Riverskin, Flyside, Aspic and, located near Strack Island, Griss Twist and Griss Fell. South of the Gross Tar lie Syriac, Murkside, Syriac Well, Pelorus Fields, Dog Fenn and Stoneshell.

At one time the city extended further south and west, but the Rudewood has encroached on the city limits. A railway line continues into the woods before terminating in disarray, a remnant of the settlement in this region.

New Crobuzon is a city of rails and rivers. Among the largest bridges in the city are the Batley, Rust, Sheer and Danechi’s, but the most impressive was the Grand Calibre Bridge, built over the Gross Tar at its widest extent in the city itself. Unfortunately, the bridge’s ambition exceeded its engineering and the bridge shattered after being opened. It has still not yet been repaired.

Lee Croyer's splendid map of New Crobuzon.

History
The port town of Crobuzon was founded at the mouth of the Gross Tar River some 1,800 years ago. The port thrived for a century before a major pirate raid destroyed it. The survivors fled over ten miles upriver to the junction of the Tar and Canker rivers. Here, in what is now Brock Marsh and on Strack Island just to the south, they founded a new fortified settlement. “New” Crobuzon soon prospered and grew. Its location further upriver, with the two rivers used for defence, made it much more difficult to attack.

New Crobuzon grew slowly over a period of about a thousand years. Circa 1000 AU (Anno Urbis, Year of the Town) the merchant Seemly discovered the continent of Bered Kai Nev and its khepri inhabitants, opening the way for trade and exploration.

Around 1300 the city was battered by a Torque storm, one of many “reality storms” which wracked the world of Bas-Lag and left parts of the land battered and changed. An “aeromorphic” engine was built to help defend against future storms and, as a side-effect, also allowed the government to control the weather around the city.

Between 1300 and 1500 New Crobuzon experienced a golden age, a period known as the “Full Years” when the city became the centre of mercantile trade for much of eastern Rohagi. This period also saw the city make many enemies in its quest for greater riches. This culminated in the Pirate Wars, a lengthy conflict between New Crobuzon and many of the island states of the Swollen Ocean, along with several other ports. The war was “won” in 1544 when New Crobuzon deployed “Torque bombs” against the port city of Suroch to the north. The other combatants were so horrified that they ended hostilities. An expedition to Suroch to investigate the effects of the Torque bombs in 1644 uncovered horrors so unspeakable that all records of the mission were purged. Several photographs of the ruins and the creatures left living in them leaked out in 1689 and sparked immediate riots in the city.

The detonation of the Torque bombs seemed to attract the attention of other, extradimensional entities. Hell would begin dispatching ambassadors to the city and the enigmatic, capricious and a bizarre, spiderlike entity known as “the Weaver” took up residence in the metropolis shortly after these events.

The end of the Pirate Wars did not restore New Crobuzon’s former prosperity, and the city has struggled to recreate its former golden age. The aeromorphic engine ceased functioning, the Rudewood encroached on the western approaches to the city and further tensions rose with other city-states. In 1689 the city also experienced a massive influx of refugees from Bered Kai Nev, khepri fleeing a horror known only as the Ravening. New Crobuzon would go on to establish the colony of Nova Esperium on the continent to conduct an exploration and learn more about the Ravening, but ultimately this would fail, with the colony instead becoming a dumping ground for criminals.
In 1779 the city was troubled by a slake moth which caused untold damage and despair before being defeated. The following year an expedition set out from the city which culminated in the discovery of the floating city of Armada and the hunting of a powerful and mysterious aquatic creature. Between 1780 and 1804 New Crobuzon would fight a war with the powerful southern city of Tesh for control of the Firewater Straits separating Rohagi from the southern continent. New Crobuzon would declare victory in this conflict, but has not yet capitalised on this victory in any meaningful way, making some citizens believe that the war was less of a success than first reported.

Most recently, in 1806 the city was wracked by disorder and chaos as poor workers and militants fought the militia in a series of political riots.

Three of the well-known races of Rohagi and New Crobuzon: from left-to-right, a cactacae, garuda and khepri. From The Bas-Lag Gazetteer.


Peoples
New Crobuzon is home to many diverse and interesting races from all over the world of Bas-Lag. Humans are the most numerous and influential, but several others are notable.

Most common in the city, after humans, are the cactacae, enormous living catacus-people with thorns growing out of their bodies. They are large, strong and formidable, making excellent workers and very bad enemies. They are hollow, with bullets and arrows passing straight through them, making them almost impossible to kill in combat.

Garuda are winged humanoids capable of flight. They are native to the Cymek Desert far to the south of the city, but a small enclave lives within New Crobuzon.

The khepri are a race of humanoid/insect hybrids native to the eastern continent of Bered Kai Nev. They resemble human women in all respects apart from their heads, which have been replaced with scarab beetles. The females are sentient, highly intelligent and communicate with other species via sign language. The males of the species, who simply resemble large scarab beetles, are non-sentient and treated with disdain by the females.

The Remade are people (human and otherwise) whose body parts have been replaced with mechanical counterparts. Sometimes this is due to industrial accidents, but in most cases is the result of the criminal justice system.

The vodyanoi are an aquatic species, noted for resembling frogs. They can create objects out of water through their innate magical powers.

Most disturbing is The Weaver, an interdimensional spider-like entity of untested power and capabilities. An interloper from another universe, the Weaver took an interest in the city shortly after the detonation of the Torque bombs. Other Weavers are believed to exist, and it is regarded as highly fortunate that only one has shown an interest in Bas-Lag. It is possible that the Weaver’s presence has gone some way to dissuading the city government from ever using Torque bombs again. The Weaver resembles a huge spider. It is highly intelligent, but speaks in bizarre verse and random observations that are difficult to parse. The Weaver regards life as a form of art and moulds it to its own sense of aesthetics. In a crisis situation, the Weaver may remain aloof, preferring to observe; it may aid the beleaguered; or it may make things considerably worse, just to see what happens and satisfy its inscrutable curiosity. The Weaver is capricious, unpredictable and utterly alien, and its guidance should be sought with caution.

The original cover art to Perdido Street Station by Les Edwards.

Origins, Appearances and Influences
New Crobuzon first appeared in Perdido Street Station (2000), the second novel by British fantasy writer China Miéville. It is the primary setting for the novel, in which a group of unlikely characters are drawn together as a slake moth stalks the city and its bizarre inhabitants. The city is also the launching pad for the events of The Scar (2002), although the primary setting for that novel is the floating city of Armada. The city returns to prominence in Iron Council (2004), which concentrates on both a hunt for a missing train far to the south of the city as well as political turmoil within the city itself. The short story “Jack”, from Looking for Jake (2005), is also set in the city and expands on the character of Jack Half-a-prayer from Perdido Street Station.

Bas-Lag was created by China Miéville as a setting for both stories and roleplaying campaigns. He was heavily inspired by The Malacia Tapestry (1976) by Brian W. Aldiss and The Anubis Gates (1983) by Tim Powers. The world and the city seem to be a partial rejection of Tolkienesque notions of fantasy conservatism, but Miéville has also credited Tolkien with inspiring his creation of memorable, horrible monsters. New Crobuzon is also clearly inspired by London, Miéville’s adopted home town.

Since 2005, despite interest from readers, Miéville has not returned to the world of Bas-Lag or the city of New Crobuzon. Instead his books have gone further in exploring fantasised versions of the real London (most notably in Un Lun Dun but also Kraken and many of the stories in Three Moments of an Explosion) or even leaving fantasy behind altogether for SF (as in Embassytown and, arguably, Railsea). A planned development of Bas-Lag as a roleplaying campaign setting has also fallen by the wayside, resulting in this fine (but 100% unofficial) effort from fan Bryce Jones.

Despite – or maybe because of – its relative lack of exposure, New Crobuzon is one of fantasy’s most popular, iconic and impressive cities, a city which is genuinely weird, offbeat and atmospheric but is also highly convincing in its offbeat detail and captivating in its colour and stories. It is to Miéville’s credit that he hasn’t just bashed out 20 novels in the same setting, but there is also the feeling that there is much more to explore in this city, and the hope that the author may one day return to it.

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Sunday, 16 April 2017

The Czech covers for China Mieville's novels are awesome

Behold below the Czech cover art for the novels (and one short story collection) of China Mieville:


On the top row, from left, that's King Rat, Perdido Street Station, The Scar, Iron Council and Looking for Jake. On the bottom row, from left, there's Un Lun Dun, The City and The City, KrakenEmbassytown and Railsea.

You may recognise the cover art for Perdido Street Station and The Scar from the original UK editions from Pan Macmillan. The artwork is all by Edward Miller (a pseudonym for artist Les Edwards), also known for his work for PS Publishing (including on the Malazan limited editions and on Scott Lynch's books). After The Scar came out the UK publishers decided to switch to a more generic and standard art style before switching again for the dark, moody covers they are still using today. Although these are okay, the surreal and bizarre imagery from Miller was very appropriate for Mieville's work and it was a shame to see him go.

The Czech publishers clearly agreed, as they retained Miller to keep working on the cover art for their editions of the novels. I couldn't find any information on a Czech edition of Three Moments of an Explosion, This Census-Taker or The Last Days of New Paris, so it's unknown if they will continue to use Miller for their works.

Thanks to Outthere Books for spotting this intriguing development.

Monday, 23 November 2015

A History of Epic Fantasy - Part 28

Epic fantasy has been the most commercially popular strand of the fantastical genre, but it has certainly come in for criticism from more literary quarters. In the late 1970s Michael Moorcock dismissed the genre as being simply "Epic Pooh" (an overwrought version of children's stories like Winnie the Pooh) and M. John Harrison (author of the Viriconium sequence of surreal fantasies) decried the genre for the "clomping foot of nerdism" in its overreliance on worldbuilding and trying to rationalise what should remain irrational. The genre has also been criticised for often descending into being "Medieval Europe with Dragons" rather than trying to be something weirder and more thought-provoking. Not everyone from the literary end of the spectrum agrees with this - Gene Wolfe is a huge Tolkien fan, for example - but it's certainly a point of view with some significant adherents.


Starting in the 1990s, fantasy began to move in slightly odder directions less reliant on dragons and magic and pseudomedieval Europe. Garry Kilworth employing Polynesian mythology (complete with a vast number of tiny gods and some very strange customs) in his Navigator Kings trilogy can be seen as part of this, as can some of the more bizarre concepts in works by Steven Erikson and Glen Cook. But it took a series of novels published between 2000 and 2006 to really ramp up these elements. This period became known as the New Weird.



Perdido Street Station & The Scar

Published in 2000, Perdido Street Station was the second novel by British author China Miéville. His first novel, King Rat (1998), had been an urban fantasy indebted to the likes of Neil Gaiman's Neverwhere (1996), but Perdido Street Station was something different. It was set in the sprawling, uncertain cityscape of New Crobuzon, a city of squalor and beauty where insects make art and the government dines the ambassadors of hell. Cactii-people live and trade alongside the inhabitants of a thousand lands and the city is linked by elevated railway lines carrying souls to work and destinies and deaths. It is part steampunk, part urban fantasy, part horror and part Alien.

Perdido Street Station is a remarkable novel, utterly beautifully written and powered by an imagination almost unmatched in the modern fantasy genre. The city of New Crobuzon lives and breathes in a way few fantasy metropoles ever achieve. Miéville populates his city with strange people but also gives them a feeling of how they live and work day-to-day. New Crobuzon is both weird and workable. Oddly, despite Harrison's criticisms of traditional fantasy and lauding (and some might say foreshadowing) of the New Weird, this works mainly because Miéville invests strongly in worldbuilding, making the city work and feel real. It even first saw light in a home roleplaying campaign which Miéville used to develop the location before trying to realise it in prose.

If Perdido Street Station works as a fantastic piece of atmosphere and mood, it's less successful in working as a structured novel, as the basic plot boils down to a bug hunt for a monster. It's the incidents along the way and the people the reader meets that makes the book so fantastic. It falls to the successor (not a true sequel), The Scar (2002), to really sing on every level. This book starts off as a travelogue, with the core characters departing New Crobuzon in search of the mysterious floating city of Armada, located somewhere in the vast ocean. As the book continues it invokes elements of Moby Dick whilst also remaining very much its own beast. The story is far more original and strange than Perdido Street Station, the characters more vivid and the situations more bizarre whilst also remaining a compelling read. It's Miéville's masterpiece.

Miéville has only released one novel since set in the same world of Bas-Lag, namely the excellent Iron Council (2004), but he has explored other worlds and settings in his fiction. Un Lun Dun (2007) and Kraken (2010) are urban fantasies set in London, Embassytown (2011) is science fiction flavoured by the New Weird and Railsea (2012) is set on a world where the ocean has been replaced by an endless landscape of train tracks. The Tain (2002) is a post-apocalyptic tale. His most successful post-Bas-Lag novel is The City and the City (2009), a weird tale that features one city split into two parallel realities where the people of one side can see those of the rest but cannot interact with them on fear of abduction by a supernatural force. Miéville will publish two novels in 2016, This Census-Taker and The Last Days of New Paris, but it appears that a return to Bas-Lag is not in the cards for the near future.


The Year of Our War

Published in 2004, The Year of Our War is noted for its vivid (and occasionally hallucinogenic) prose and its success in taking the old fantasy standby - a civilisation defended by some huge threat by a massive wall - and turning it on its head. The enemy this time is a race of insects, but humanity is defended by a race of super-powered immortals who serve as rulers and defenders and generals. The weirdness is generated by Jant, the main protagonist, who is a drug-addict and sometimes wastrel but also someone who can visit a supernatural realm of the undead where he can gain vital clues about the enemy. The immortals are riven by internal dissent, politics and love feuds that sometimes distract them from the threat that looms in the north. It is a strange and odd book that, as with Miéville, actually features some pretty robust worldbuilding and well-paced plot developments.

This was the first book in The Castle Series, and was followed by No Present Like Time (2005) and The Modern World (2007). Steph Swainston has since published a prequel, Above the Snowline (2010). However, she also vocally criticised the modern requirement by publishers and the marketplace for authors to engage in social media, marketing and networking, feeling this took too much time away from writing. She has since taken up a day job in chemistry, but continues to write a fifth book in the series in her own time.


Other Works of the Weird

After Miéville, the most successful author of the New Weird is Jeff VanderMeer (he even co-edited an anthology called The New Weird in 2007). His novels and short stories set in the fantastical city of Ambergis - Cities of Saints and Madmen (2001), Shriek: An Afterword (2006) and Finch (2009) - proved both popular and influential, as did Veniss Underground (2003), set in a different milieu but likewise bizarre and strange. His most recent major work is the Southern Reach Trilogy, an original take on the haunted lighthouse trope.

The most surprising book of the period is K.J. Bishop's The Etched City (2003), mainly because the author has not so far followed it up with any other work. Although not as well known as Miéville, Swainston and VanderMeer, Bishop's book may be the most succinct summing-up of the subgenre of the bizarre.


The New Weird never really went away, but it did start to drift into other forms of fantasy. Alan Campbell's superb Scar Night (2006) brings together the New Weird with elements of urban fantasy. It is somewhat let down by its less ambitious sequels, Iron Angel (2008) and the disappointing God of Clocks (2009), which relies on a retcon ending. Mark Charan Newton's Legends of the Red Sun series (starting with Nights of Villjamur in 2009) may be seen as an attempt to merge the New Weird with the Dying Earth subgenre popularised by Jack Vance in 1950. It is a strong and original voice, hampered by a far too-rushed conclusion.

More recently the New Weird has kind of merged into fantasy as a whole. Francis Knight's Rojan Dizon trilogy (starting with 2013's Fade to Black) feels like it should be New Weird, set as it is in a towering vertical city inside a mountain, but it is played more straight as a standard urban fantasy with epic undertones. Luke Scull's Grim Company trilogy is much more set in a post-New Grim sword and sorcery world, but the immortal god-sorcerers and their ability to warp reality results in strange and bizarre consequences (and otherwise sets his work aside from the likes of Joe Abercrombie, to whom he shares superficial similarities).


As the 2000s started in earnest, traditional epic fantasy remained popular but perhaps less so that in the previous decade. Publishers looked for different kinds of fantasy, from the baroque oddness of Miéville to the everything-and-the-kitchen-sink fantasy of Steven Erikson, but if there was one direction that epic fantasy was taking it was into darker territories, where philosophy and morality and ideologies were entwined and complicated, resulting in some of the most interesting - but also controversial - works published in the history of the genre.

Wednesday, 27 December 2006

Perdido Street Station by China Mieville

I decided to put up a review I did a little whilst ago of the best book I read in 2006, although it was actually published back in 2000.

Welcome to New Crobuzon. A vast city of skyrails and towers, of elevated railway lines and glasshouses inhabited by sentient cactii-people, a city of squalor and beauty where insects make art and the government dines the ambassadors of hell.


China Mieville’s debut novel takes the reader on dizzying tour of his immense construction, a teeming steampunk metropolis of six million people, the industrial and commercial hub of his painstakingly-constructed fantasy world of Bas-Lag. Rarely has a fictional city been brought to life so vividly, its tastes and smells all but leaping off the page. New Crobuzon immediately joins Viriconium, Ankh-Morpork, Minas Tirith, Amber, Lankhamar and the city-castle Gormenghast as one of the great civic constructions of fantasy literature.

Enough of the backdrop, what about the story? The novel follows the misadventures of a mixed band of heroes and antiheroes, of the ‘rebel’ inventor and scientist Isaac trying to build wings for a flightless bird-man of the desert; of the half-human, half-insectoid artist Lin being called upon to create the most complex piece of art of her life; of a journalist working for a secret newspaper dedicated to bringing down the corrupt government. Combined with the backdrop of civil discord and even robotic rebellion, the stage would be set for a truly great story.


What we get instead is a bug-hunt. Naturally, it’s a very good bug-hunt, tremendously well-written and incredibly tense in places, but it does feel that Mieville, having built one of the most amazing constructions in fantasy history, didn’t know what to do with it, but happily caught a re-run of
Aliens on TV and was inspired. The slight mundanity of this plot compared to the amazing backdrop makes for a curious dichotomy. A bit like Tolkien creating Middle-earth and choosing to concentrate on the adventures of Thranduil fighting spiders in Mirkwood rather than on Frodo and Aragorn’s adventures. This lack is offset on a first read by the expectation of the story taking a more radical turn, and the introduction of the sentient, demigod-like Weaver does fulfil this criteria. However, although the Weaver is a fascinating creation and character, it does veer towards deus ex machina, being employed to rescure our heroes from certain death twice in a short space of time. Despite the slight dampening effect of this, Mieville turns things round for a satisfyingly twisted and melancholy ending. There are some plot elements that are not explained and are presumably being held back for later Bas-Lag novels (the enigmatic character of Jack Half-a-Prayer being one, hopefully), but overall Perdido Street Station emerges as an awesome piece of worldbuilding, with a reasonable and entertaining story tacked on. But you get the feeling Mieville could have done more with his story. And perhaps he will.

Perdido Street Station (****) is published by Pan in the United Kingdom and by Del Rey in the United States.

China Mieville is also the author of King Rat (1998), The Scar (2002) and Iron Council (2004), the latter two of which are also set on the world of Bas-Lag. He published a short story collection, Looking for Jake and Other Stories, in 2005 which includes a Bas-Lag novella featuring Jack Half-a-Prayer. His next novel, Un Lun Dun, is a young adult fantasy due out in early 2007. He has plans to return to Bas-Lag at a later date. Mieville is also a political writer: his PhD thesis was published in book form in 2005 as Between Equal Rights: A Marxist Theory of International Law.