Perdido Street Station (Mass Market Paperback)

by China Mieville (Author)

Editorial Reviews

Amazon.com Review
When Mae West said, "Too much of a good thing can be wonderful," she could have been talking about China Miéville's Perdido Street Station. The novel's publication met with a burst of extravagant praise from Big Name Authors and was almost instantly a multiaward finalist. You expect hyperbole in blurbs; and sometimes unworthy books win awards, so nominations don't necessarily mean much. But Perdido Street Station deserves the acclaim. It's ambitious and brilliant and--rarity of rarities--sui generis. Its clearest influences are Mervyn Peake's Gormenghast trilogy and M. John Harrison's Viriconium books, but it isn't much like them. It's Dickensian in scope, but fast-paced and modern. It's a love song for cities, and it packs a world into its strange, sprawling, steam-punky city of New Crobuzon. It can be read with equal validity as fantasy, science fiction, horror, or slipstream. It's got love, loss, crime, sex, riots, mad scientists, drugs, art, corruption, demons, dreams, obsession, magic, aliens, subversion, torture, dirigibles, romantic outlaws, artificial intelligence, and dangerous cults.

Generous, gaudy, grand, grotesque, gigantic, grim, grimy, and glorious, Perdito Street Station is a bloody fascinating book. It's also so massive that you may begin to feel you're getting too much of a good thing; just slow down and enjoy.

Yes, but what is Perdido Street Station about? To oversimplify: the eccentric scientist Isaac Dan der Grimnebulin is hired to restore the power of flight to a cruelly de-winged birdman. Isaac's secret lover is Lin, an artist of the khepri, a humano-insectoid race; theirs is a forbidden relationship. Lin is hired (rather against her will) by a mysterious crime boss to capture his horrifying likeness in the unique khepri art form. Isaac's quest for flying things to study leads to verification of his controversial unified theory of the strange sciences of his world. It also brings him an odd, unknown grub stolen from a secret government experiment so perilous it is sold to a ruthless drug lord--the same crime boss who hired Lin. The grub emerges from its cocoon, becomes an extraordinarily dangerous monster, and escapes Isaac's lab to ravage New Crobuzon, even as his discovery becomes known to a hidden, powerful, and sinister intelligence. Lin disappears and Isaac finds himself pursued by the monster, the drug lord, the government and armies of New Crobuzon, and other, more bizarre factions, not all confined to his world. --Cynthia Ward --This text refers to the Paperback edition.

From Publishers Weekly
King Rat (1999), Mi‚ville's much-praised first novel of urban fantasy/horror, was just a palate-teaser for this appetizing, if extravagant, stew of genre themes. Its setting, New Crobuzon, is an audaciously imagined milieu: a city with the dimensions of a world, home to a polyglot civilization of wildly varied species and overlapping and interpenetrating cultures. Seeking to prove his unified energy theory as it relates to organic and mechanical forms, rogue scientist Isaac Dan der Grimnebulin tries to restore the power of flight to Yagharek, a member of the garuda race cruelly shorn of its wings. Isaac's lover, Lin, unconsciously mimics his scientific pursuits when she takes on the seemingly impossible commission of sculpting a patron whose body is a riot of grotesquely mutated and spliced appendages. Their social life is one huge, postgraduate bull session with friends and associates--until a nightmare-inducing grub escapes from Isaac's lab and transforms into a flying monster that imperils the city. This accident precipitates a political crisis, initiates an action-packed manhunt for Isaac and introduces hordes of vividly imagined beings who inhabit the twilight zone between science and sorcery. Mi‚ville's canvas is so breathtakingly broad that the details of individual subplots and characters sometime lose their definition. But it is also generous enough to accommodate large dollops of aesthetics, scientific discussion and quest fantasy in an impressive and ultimately pleasing epic.

Copyright 2001 Cahners Business Information, Inc.

--This text refers to the Paperback edition.

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Product Details

• Mass Market Paperback: 640 pages
• Publisher: Del Rey; 1st Published edition (July 29, 2003)
• Language: English
• ISBN-10: 0345459407
• ISBN-13: 978-0345459404
• Product Dimensions: 6.8 x 4.2 x 1.1 inches
• Shipping Weight: 11.2 ounces (View shipping rates and policies)
• Average Customer Review: 3.9 out of 5 stars See all reviews (279 customer reviews)
• Amazon.com Sales Rank: #8,979 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

86 of 95 people found the following review helpful:

4.0 out of 5 stars A journey through hell, September 23, 2002

By	Ilana Teitelbaum - See all my reviews

This review is from: Perdido Street Station (Paperback)

Fantasy can to be said to examine human nature by way of myth and archetype, while science fiction does the same with technological possibilities; and horror explores human nature by route of our deepest fears. Perhaps what is most unique about "Perdido Street Station" is that it does all three, being at once of all those genres and at the same time refusing to be so neatly pigeonholed. For the fantastic elements blur into science, and the horror is present throughout.

The palpable atmosphere of the bloated and decadent New Crobuzon is one of the book's major strengths; and it reflects an irony that soon becomes apparent in Mieville's writing. Using the most beautifully wrought language, he creates a vision of hell to curdle the imagination. One is tempted to look away, but is inevitably sucked in by the seductive melody of his prose--melody that is paradoxically used to create dissonance.

The characters are introduced by degrees, so that they have time to sink into the reader's awareness before disaster strikes. This is a rare accomplishment, given that Mieville chose to make his main characters so potentially incomprehensible to us. Isaac is in love with a woman whose head is an insect--an idea that could have backfired terribly had Lin been any less vivid a personality than she was. As it is, that concept in itself is difficult to accept, as it defies reproductive logic that a race of women with insectile heads should exist; nevertheless, Lin is someone the reader comes to care about, and Isaac is a colorful and wholly original spin on the mad scientist stereotype.

It is difficult to tell if Isaac is in fact the main character, or if it is Yagharek's story after all. Through Yagharek's eyes the world is different than it is through Isaac's; more personal since his story is told in the first person; and the lyrical quality of his narrative, together with his desperate quest, binds the story in the form of a sad, twisted parody of an epic. In the end the story circles back to Yagharek, transcending political concerns to explore the universal problem of identity.

Those who are very sensitive to horrific imagery and even horrific concepts might do well to avoid this book. While Mieville writes without emotion, the events that occur do the work for him. The catastrophe that eventually overwhelms New Crobuzon provides no means of escape, not even death. The surreal quality of this book and the way in which it pierces to the deepest and most instinctive of human fears--the utter loss of identity--makes it less of a story than a lush, fantastic nightmare. And like a nightmare, very likely to stay with you long after you've awakened.

31 of 33 people found the following review helpful:

3.0 out of 5 stars A Dazzling Milieu, November 19, 2001

By	Patrick Shepherd "hyperpat" (San Jose, CA USA) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

This review is from: Perdido Street Station (Paperback)

If you are looking for the unusual, the bizarre, for unforgettable images, this is the book to get. Mieville's city of New Crobuzon is a phantasmagorical tapestry of weirdly modified humans, from cactus to bird to frog to ant-men, a technology that is an equally crazy quilt of steam power, magic, electric-powered clockwork for heightened psi-powers, a political structure that could come straight from Stalin's Russia complete with deals with an all-too-real Satan and a world-thread artist spider known simply as the Weaver, a trash-heap conscious computer, and intimations of a history and wider world that is even more fantastic.

Beyond the incredible scenery is an almost Victorian moralistic plot, where the protagonist is forced to deal with the consequences of his innocent-seeming research into methods of restoring flight to a criminal garuda bird-man. His fight against the slake-moths that were inadvertently freed as a result of one of his investigations forms the main story line, and slowly builds to an (almost) exciting story line. However...

Mieville's style is very densely descriptive. In the beginning of the book, this is excellent, as it paints a very dark, depressive, intimate picture of the city and its inhabitants. As the plot unfolds and becomes more pressing, though, this same style and repeated images become an obstacle to getting the story told. At the very moments when tension has been raised to high levels, we step out for two to three pages at a time for more descriptions, effectively destroying the pacing of the story. I think this book could have been considerably improved by some heavy cutting of this material in the latter stages of the book.

There are places where the plot could have been tightened. At multiple points, the Weaver saves our hero from impossible situations, an effective deus-ex-machina device as the Weaver can apparently do almost anything (except defeat the slake-moths single-handed). Although this is consistent with Victorian-era plotting, it really doesn't belong in a modern novel. Thematically the book also falls somewhat flat, with overly simplistic value/action/consequence matings, almost reminiscent of something out of Dickens.

A brilliant, off-beat, dazzling setting; an exciting adventure tale; but marred by too many words and too little depth.

32 of 36 people found the following review helpful:

3.0 out of 5 stars Imaginative, but seriously flawed., January 28, 2002

By	Steve Graham (Raleigh, NC USA) - See all my reviews

This review is from: Perdido Street Station (Paperback)

China Mieville's style here is impressive, invoking Dickens, Lovecraft and the 19th century in general. That and the brilliant creation that is New Crobuzon must've been what wowed the critics.

That said, I can't believe the fatal flaws in storytelling and characterization generally slipped under their radar.

I felt there were too many characters in play. One significant figure doesn't arrive until the last 20 pages! And I lost track of the villains; Vermishank, Motley, the slake moths, the mayor, etc. Some players meet abrupt ends, and some disappear for literally dozens of pages. My favorite character is given a major subplot early on, only to vanish for half the book!

The basic mechanics of the story suffer a similar fate. As Mieville bounces from character to character, plot threads are introduced, dropped, and mostly resolved (if at all) in a very unsatisfying way, especially after 710 pages of waiting to see how things turn out. In the end (spoiler alert), the remaining villains vanish from the stage, Isaac's apparent main goal is suddenly abandoned, and the heroes limp off into the sunset after horrible losses. I wasn't expecting "happily ever after," but the ending seemed half-baked indeed.

A final note: Mieville is fond of the words "stink," "stench," "greasy," "filth," and scatalogical terms I won't type here. Halfway through the book, I found myself thinking, "Okay, New Crobuzon stinks. I get it."

Overall, there's a lot of potential here, and genre crossover appeal, but I prefer tidier storytelling.