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The City & The City: A Novel (Random House Reader's Circle) Paperback – April 27, 2010
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When a murdered woman is found in the city of Beszel, somewhere at the edge of Europe, it looks to be a routine case for Inspector Tyador Borlú of the Extreme Crime Squad. To investigate, Borlú must travel from the decaying Beszel to its equal, rival, and intimate neighbor, the vibrant city of Ul Qoma. But this is a border crossing like no other, a journey as psychic as it is physical, a seeing of the unseen. With Ul Qoman detective Qussim Dhatt, Borlú is enmeshed in a sordid underworld of nationalists intent on destroying their neighboring city, and unificationists who dream of dissolving the two into one. As the detectives uncover the dead woman’s secrets, they begin to suspect a truth that could cost them more than their lives. What stands against them are murderous powers in Beszel and in Ul Qoma: and, most terrifying of all, that which lies between these two cities.
- Print length336 pages
- LanguageEnglish
- PublisherDel Rey
- Publication dateApril 27, 2010
- Dimensions5.47 x 0.71 x 8.22 inches
- ISBN-10034549752X
- ISBN-13978-0345497529
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Editorial Reviews
Review
"Lots of books dabble in several genres but few manage to weld them together as seamlessly and as originally as The City and The City. In a tale set in a series of cities vertiginously layered in the same space, Miéville offers the detective novel re-envisioned through the prism of the fantastic. The result is a stunning piece of artistry that has both all the satisfactions of a good mystery and all the delight and wonder of the best fantasy.”—Brian Evenson, author of Last Days
“If Philip K. Dick and Raymond Chandler's love child were raised by Franz Kafka, the writing that emerged might resemble China Mieville's new novel, The City & the City." —Los Angeles Times
“China Mieville has made his name via award-winning, genre-bending titles such as King Rat, Perdido Street Station, The Scar and Iron Council. Now, in The City & the City, he sets out to bend yet another genre, that of the police procedural, and he succeeds brilliantly…. [An] extraordinary, wholly engaging read.” — St. Petersburg Times
“An eye-opening genre-buster. The names of Kafka and Orwell tend to be invoked too easily for anything a bit out of the ordinary, but in this case they are worthy comparisons.” — The Times, London
“Evoking such writers as Franz Kafka and Mikhail Bulgakov, Mr. Miéville asks readers to make conceptual leaps and not to simply take flights of fancy.”—Wall Street Journal
“An outstanding take on police procedurals…. Through this exaggerated metaphor of segregation, Miéville skillfully examines the illusions people embrace to preserve their preferred social realities.” — Publishers Weekly, starred review
“An excellent police procedural and a fascinating urban fantasy, this is essential reading for all mystery and fantasy fans.”—Booklist, starred review
“This spectacularly, intricately paranoid yarn is worth the effort.” — Kirkus, starred review
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
I could not see the street or much of the estate. We were enclosed by dirt-coloured blocks, from windows out of which leaned vested men and women with morning hair and mugs of drink, eating breakfast and watching us. This open ground between the buildings had once been sculpted. It pitched like a golf course—a child’ s mimicking of geography. Maybe they had been going to wood it and put in a pond. There was a copse but the saplings were dead.
The grass was weedy, threaded with paths footwalked between rubbish, rutted by wheel tracks. There were police at various tasks. I wasn’t the first detective there—I saw Bardo Naustin and a couple of others— but I was the most senior. I followed the sergeant to where most of my colleagues clustered, between a low derelict tower and a skateboard park ringed by big drum-shaped trash bins. Just beyond it we could hear the docks. A bunch of kids sat on a wall before standing officers. The gulls coiled over the gathering.
“Inspector.” I nodded at whomever that was. Someone offered a coffee but I shook my head and looked at the woman I had come to see.
She lay near the skate ramps. Nothing is still like the dead are still. The wind moves their hair, as it moved hers, and they don’t respond at all. She was in an ugly pose, with legs crooked as if about to get up, her arms in a strange bend. Her face was to the ground.
A young woman, brown hair pulled into pigtails poking up like plants. She was almost naked, and it was sad to see her skin smooth that cold morning, unbroken by gooseflesh. She wore only laddered stockings, one high heel on. Seeing me look for it, a sergeant waved at me from a way off, from where she guarded the dropped shoe.
It was a couple of hours since the body had been discovered. I looked her over. I held my breath and bent down toward the dirt, to look at her face, but I could only see one open eye.
“Where’s Shukman?”
“Not here yet, Inspector…”
“Someone call him, tell him to get a move on.” I smacked my watch. I was in charge of what we called the mise-en-crime. No one would move her until Shukman the patho had come, but there were other things to do. I checked sightlines. We were out of the way and the garbage containers obscured us, but I could feel attention on us like insects, from all over the estate. We milled.
There was a wet mattress on its edge between two of the bins, by a spread of rusting iron pieces interwoven with discarded chains. “That was on her.” The constable who spoke was Lizbyet Corwi, a smart young woman I’d worked with a couple of times. “Couldn’ t exactly say she was well hidden, but it sort of made her look like a pile of rubbish, I guess.” I could see a rough rectangle of darker earth surrounding the dead woman—the remains of the ?mattress-?sheltered dew. Naustin was squatting by it, staring at the earth.
“The kids who found her tipped it half off,” Corwi said.
“How did they find her?”
Corwi pointed at the earth, at little scuffs of animal paws.
“Stopped her getting mauled. Ran like hell when they saw what it was, made the call. Our lot, when they arrived?.?.?.?” She glanced at two patrolmen I ?didn’t know.
“They moved it?”
She nodded. “See if she was still alive, they said.”
“What are their names?”
“Shushkil and Briamiv.”
“And these are the finders?” I nodded at the guarded kids. There were two girls, two guys. Midteens, cold, looking down.
“Yeah. Chewers.”
“Early morning pick-you-up?”
“That’s dedication, hm?” she said. “Maybe they’re up for junkies of the month or some shit. They got here a bit before seven. The skate pit’s organised that way, apparently. It’s only been built a couple of years, used to be nothing, but the locals’ve got their shift patterns down. Midnight to nine a.m., chewers only; nine to eleven, local gang plans the day; eleven to midnight, skateboards and rollerblades.”
“They carrying?”
“One of the boys has a little shiv, but really little. Couldn’t mug a milkrat with it—it’s a toy. And a chew each. That’ s it.” She shrugged. “The dope wasn’t on them; we found it by the wall, but”— shrug—“they were the only ones around.”
She motioned over one of our colleagues and opened the bag he carried. Little bundles of resin-slathered grass. Feld is its street name—a tough crossbreed of Catha edulis spiked with tobacco and caffeine and stronger stuff, and fibreglass threads or similar to abrade the gums and get it into the blood. Its name is a trilingual pun: it’s khat where it’s grown, and the animal called “cat” in En- glish is feld in our own language. I sniffed it and it was pretty low-grade stuff. I walked over to where the four teenagers shivered in their puffy jackets.
“’Sup, policeman?” said one boy in a Bes-accented approximation of hip-hop English. He looked up and met my eye, but he was pale. Neither he nor any of his companions looked well. From where they sat they could not have seen the dead woman, but they did not even look in her direction.
They must have known we’d find the feld, and that we’d know it was theirs. They could have said nothing, just run.
“I’m Inspector Borlú,” I said. “Extreme Crime Squad.”
I did not say I’m Tyador. A difficult age to question, this—too old for first names, euphemisms and toys, not yet old enough to be straightforward opponents in interviews, when at least the rules were clear. “What’s your name?” The boy hesitated, considered using whatever slang handle he’ d granted himself, did not.
“Vilyem Barichi.”
“You found her?” He nodded, and his friends nodded after him. “Tell me.”
“We come here because, ’cause, and…” Vilyem waited, but I said nothing about his drugs. He looked down. “And we seen something under that mattress and we pulled it off.”
“There was some…” His friends looked up as Vilyem hesitated, obviously superstitious.
“Wolves?” I said. They glanced at each other.
“Yeah man, some scabby little pack was nosing around there and…”
“So we thought it…”
“How long after you got here?” I said.
Vilyem shrugged. “Don’ t know. Couple hours?”
“Anyone else around?”
“Saw some guys over there a while back.”
“Dealers?” A shrug.
“And there was a van came up on the grass and come over here and went off again after a bit. We ?didn’t speak to no one.”
“When was the van?”
“Don’t know.”
“It was still dark.” That was one of the girls.
“Okay. Vilyem, you guys, we’re going to get you some breakfast, something to drink, if you want.” I motioned to their guards. “Have we spoken to the parents?” I asked.
“On their way, boss; except hers”—pointing to one of the girls—“we can’t reach.”
“So keep trying. Get them to the centre now.”
The four teens looked at each other. “This is bullshit, man,” the boy who was not Vilyem said, uncertainly. He knew that according to some politics he should oppose my instruction, but he wanted to go with my subordinate. Black tea and bread and paperwork, the boredom and striplights, all so much not like the peeling back of that wet heavy, cumbersome mattress, in the yard, in the dark.
Stepen Shukman and his assistant Hamd Hamzinic had arrived. I looked at my watch. Shukman ignored me. When he bent to the body he wheezed. He certified death. He made observations that Hamzinic wrote down.
“Time?” I said.
“Twelve hours-ish,” Shukman said. He pressed down on one of the woman’s limbs. She rocked. In rigor, and unstable on the ground as she was, she probably assumed the position of her death lying on other contours. “She ?wasn’t killed here.” I had heard it said many times he was good at his job but had seen no evidence that he was anything but competent.
“Done?” he said to one of the scene techs. She took two more shots from different angles and nodded. Shukman rolled the woman over with Hamzinic’s help. She seemed to fight him with her cramped motionlessness. Turned, she was absurd, like someone playing at dead insect, her limbs crooked, rocking on her spine.
She looked up at us from below a fluttering fringe. Her face was set in a startled strain: she was endlessly surprised by herself. She was young. She was heavily made up, and it was smeared across a badly battered face. It was impossible to say what she looked like, what face those who knew her would see if they heard her name. We might know better later, when she relaxed into her death. Blood marked her front, dark as dirt. Flash flash of cameras.
“Well, hello cause of death,” Shukman said to the wounds in her chest.
On her left cheek, curving under the jaw, a long red split. She had been cut half the length of her face.
The wound was smooth for several centimetres, tracking precisely along her flesh like the sweep of a paintbrush. Where it went below her jaw, under the overhang of her mouth, it jagged ugly and ended or began with a deep torn hole in the soft tissue behind her bone. She looked unseeingly at me.
“Take some without the flash, too,” I said.
Like several others I looked away while Shukman murmured—it felt prurient to watch. Uniformed mise-en-crime technical investigators, mectecs in our slang, searched in an expanding circle. They overturned rubbish and foraged among the grooves where vehicles had driven. They lay down reference marks, and photographed.
“Alright then.” Shukman rose. “Let’s get her out of here.” A couple of the men hauled her onto a stretcher.
“Jesus Christ,” I said, “cover her.” Someone found a blanket I don’t know from where, and they started again towards Shukman’s vehicle.
“I’ll get going this afternoon,” he said. “Will I see you?” I wagged my head noncommittally. I walked towards Corwi.
“Naustin,” I called, when I was positioned so that Corwi would be at the edge of our conversation. She glanced up and came slightly closer.
“Inspector,” said Naustin.
“Go through it.”
He sipped his coffee and looked at me nervously.
“Hooker?” he said. “First impressions, Inspector. This area,
beat-?up, naked? And…” He pointed at his face, her exaggerated makeup. “Hooker.”
“Fight with a client?”
“Yeah but…If it was just the body wounds, you know, you’d, then you’re looking at, maybe she won’t do what he wants, whatever. He lashes out. But this.” He touched his cheek again uneasily. “That’s different.”
“A sicko?”
He shrugged. “Maybe. He cuts her, kills her, dumps her. Cocky bastard too, doesn’t give a shit that we’re going to find her.”
“Cocky or stupid.”
“Or cocky and stupid.”
“So a cocky, stupid sadist,” I said. He raised his eyes, Maybe.
“Alright,” I said. “Could be. Do the rounds of the local girls. Ask a uniform who knows the area. Ask if they’ ve had trouble with anyone recently. Let’s get a photo circulated, put a name to Fulana Detail.” I used the generic name for woman-unknown. “First off I want you to question Barichi and his mates, there. Be nice, Bardo, they ?didn’t have to call this in. I mean that. And get Yaszek in with you.” Ramira Yaszek was an excellent questioner. “Call me this afternoon?” When he was out of earshot I said to Corwi, “A few years ago we’d not have had half as many guys on the murder of a working girl.”
“We’ve come a long way,” she said. She wasn’t much older than the dead woman.
“I doubt Naustin’s delighted to be on streetwalker duty, but you’ll notice he’s not complaining,” I said.
“We’ve come a long way,” she said.
“So?” I raised an eyebrow. Glanced in Naustin’s direction. I waited. I remembered Corwi’s work on the Shulban disappearance, a case considerably more Byzantine than it had initially appeared.
“It’s just, I guess, you know, we should keep in mind other possibilities,” she said.
“Tell me.”
“Her makeup,” she said. “It’s all, you know, earths and browns. It’s been put on thick, but it’s not—” She vamp-pouted. “And did you notice her hair?” I had. “Not dyed. Take a drive with me up GunterStrász, around by the arena, any of the girls’ hangouts. Two-thirds blonde, I reckon. And the rest are black or bloodred or some shit. And…” She fingered the air as if it were hair. “It’s dirty, but it’ s a lot better than mine.” She ran her hand through her own split ends.
For many of the streetwalkers in Bes´zel, especially in areas like this, food and clothes for their kids came first; feld or crack for themselves; food for themselves; then sundries, in which list conditioner would come low. I glanced at the rest of the officers, at Naustin gathering himself to go.
“Okay,” I said. “Do you know this area?”
“Well,” she said, “it’s a bit off the track, you know? This is hardly even Bes´zel, really. My beat’s Lestov. They called a few of us in when they got the bell. But I did a tour here a couple years ago—I know it a bit.”
Lestov itself was already almost a suburb, six or so k out of the city centre, and we were south of that, over the Yovic Bridge on a bit of land between Bulkya Sound and, nearly, the mouth where the river joined the sea. Technically an island, though so close and conjoined to the mainland by ruins of industry you would never think of it as such, Kordvenna was estates, warehouses, low-rent bodegas scribble-linked by endless graffiti. It was far enough from Bes ´zel’s heart that it was easy to forget, unlike more inner-city slums.
“How long were you here?” I said.
“Six months, standard. What you’d expect: street theft, high kids smacking shit out of each other, drugs, hooking.”
“Murder?”
“Two or three in my time. Drugs stuff. Mostly stops short of that, though: the gangs are pretty smart at punishing each other without bringing in ECS.”
“Someone’s fucked up then.”
“Yeah. Or doesn’t care.”
“Okay,” I said. “I want you on this. What are you doing at the moment?”
“Nothing that can’t wait.”
“I want you to relocate for a bit. Got any contacts here still?” She pursed her lips. “Track them down if you can; if not, have a word with some of the local guys, see who their singers are. I want you on the ground. Listen out, go round the estate—what’s this place called again?”
Product details
- Publisher : Del Rey; Reprint edition (April 27, 2010)
- Language : English
- Paperback : 336 pages
- ISBN-10 : 034549752X
- ISBN-13 : 978-0345497529
- Item Weight : 2.31 pounds
- Dimensions : 5.47 x 0.71 x 8.22 inches
- Best Sellers Rank: #34,434 in Books (See Top 100 in Books)
- #304 in Science Fiction Crime & Mystery
- #1,277 in Paranormal Fantasy Books
- #3,075 in Literary Fiction (Books)
- Customer Reviews:
About the author

China Miéville lives and works in London. He is three-time winner of the prestigious Arthur C. Clarke Award (Perdido Street Station, Iron Council and The City & The City) and has also won the British Fantasy Award twice (Perdido Street Station and The Scar). The City & The City, an existential thriller, was published in 2009 to dazzling critical acclaim and drew comparison with the works of Kafka and Orwell (The Times) and Philip K. Dick (Guardian).
Customer reviews
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Learn more how customers reviews work on AmazonCustomers say
Customers find the book entertaining and thought-provoking. They describe it as an inventive and unique concept that makes them reflect on modern urban life. However, some readers find the pacing confusing and difficult to follow. There are mixed opinions about the writing quality, with some finding it excellent and well-written, while others consider it poor and uninteresting.
AI-generated from the text of customer reviews
Customers find the book engaging and entertaining. They say it keeps them hooked until the end and is a great introduction to Mieville's work.
"...Although the plot - with its many twists and turns - is the sort of well-crafted, exceptionally-detailed masterpiece that we can now safely expect..." Read more
"...At the time, it seems like this is an exceptional site, the occasion of the worst of the frayed-reality sites that I mentioned earlier..." Read more
"...On one level, it's a noir thriller, a murder mystery and as that, it is excellent. Sort of Gorky Park...." Read more
"...It was an excellent book. It had a great plot line and kept me entertained throughout. Science Fiction as we know it appears to be changing...." Read more
Customers find the book intriguing with its fascinating world-building. They describe the concept as mind-bending and stimulating. The murder mystery keeps readers hooked.
"...Mieville has a fantastic, mind-bending concept. By following the mystery, the story teases it and then introduces it fully...." Read more
"...What is interesting from a thematic point of view, however, is not necessarily interesting form a plot point of view...." Read more
"...I think it a masterpeice of creativity. Really ingenious...." Read more
"...Overall this was a really intriguing book whether or not it was a great science fiction book I am unsure...." Read more
Customers find the book inventive and unique, even for Mieville. They describe it as an original world with enough glimpses of fantastical elements. The novel is described as a nice experiment in style, with an interesting genre mix.
"...What Mieville has done is simply this: take a simple creative idea - the stuff of any magazine story or Creative Writing 101 - and make it into a..." Read more
"...I think it a masterpeice of creativity. Really ingenious...." Read more
"...It places a traditional murder mystery in a very complicated and nuanced background...." Read more
"...Highly imaginative, vivid, rich urban world of city-state(s) complete with their own imagery and languages, which bring to mind metaphorical..." Read more
Customers enjoy the concept of the book. They find the cities an allegory that works well and makes them reflect on modern urban life. The book's social-topological construct is imaginative and relevant, making the concept make sense as the story progresses. The atmosphere of the cities is brilliantly evoked, reminding readers clearly of eerie moments in Bucharest.
"...end that resolves the conflict gives the reader a final, holistic view of the concept...." Read more
"...that is at the heart of speculative fiction; extrapolating current trends in social problems and seeing where those trends lead us down the road...." Read more
"...They are reminiscent of East and West Berlin, but instead of a high concrete walls and guard towers, the walls between Miéville's two city-countries..." Read more
"...Political commentary is kept to a minimum and not preachy..." Read more
Customers have different views on the pacing of the book. Some find it interesting and intelligent, with an intriguing premise and great mystery. Others find the storyline unengaging and clichéd, ending disappointingly.
"...The book is old-fashioned pulp - basic one-engine, two-twist science fiction. Mieville has a fantastic, mind-bending concept...." Read more
"...That being said, it reads as if it were a speculative novel for the vast majority of its length, and so I think that it should be undoubtedly..." Read more
"...It’s not really Science Fiction, nor is it really Fantasy. I think Speculative Fiction may be the best description...." Read more
"...Really ingenious. And there is, along with this sci fi wonderful craziness, a great mystery and a detective that you come to care a great deal about...." Read more
Customers have different experiences with the writing. Some find it well-written with believable characters and action. Others find the writing convoluted, confusing, and difficult to read at times. The language and imagery are minimalist and dialogue-heavy.
"...of disbelief - when it comes to combining pulp story-telling and impeccable writing, he has his cake and eats it too...." Read more
"...This makes the reading difficult at the beginning but much more rewarding by the end...." Read more
"...The book is written, as opposed to Miéville's Bas Lag novels, in a very cinematic and understated prose style...." Read more
"...Pros and cons: The prose is perfectly legible, even for a non native English speaker like me...." Read more
Customers have mixed opinions about the character development. Some find the characters decently realized and likable, while others feel they aren't well-developed with strange names. The narrator is not endearing, and the narrative style is minimalist and dialogue-heavy.
"...really get to know the main protagonist Borlú, other characters remain quite undeveloped, and the dialogue is fairly sparse and intense...." Read more
"...Borlu is an engaging, empathetic character- but, again, that's almost incidental...." Read more
"...Nobody is a great hero, nobody is a great villain, people are part of systems and yet have some scope for thinking for themselves...." Read more
"...Tyador Borlu of the Beszel Extreme Crime Squad to be an entirely sympathetic main character and hope the author will, one day, share some of the..." Read more
Customers find the book confusing and difficult to follow. They mention it's never well explained, unnecessarily complicated, and difficult to start. Some feel the descriptions are redundant. Overall, customers find it hard to start and finish.
"I start reading City in the City and it isn't really understandable...." Read more
"...The story is set in the modern world, and yet no sufficient explanation is given of why keeping these cities separate is so important...." Read more
"...of shared topography; however, I sometimes felt the descriptions a bit redundant, as if the author wanted to make sure I understood the setting...." Read more
"...of this book you're likely to find, but I am just finding it confusing and frustratingly weird...." Read more
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- Reviewed in the United States on August 10, 2009This novel is a departure from the overt fantasy of his Bas-Lag series and his recent young adult book, Un Lun Dun. The closest approximation to his previous work would be to King Rat, which, for all its fantastic elements, was essentially a modern urban thriller.
The review that follows is phenomenally vague, but The City & The City is an exceptionally clever piece of fiction, and I don't want to spoil it.
The protagonist is Inspector Tyador Borlu, of the Extreme Crime Squad. Mieville sets the book up like a murder mystery - the slightly-jaded Borlu must deal with incompetent superiors (and juniors), awkward bureaucratic processes and an aging, under-staffed department. If anything, it is a conscious replication of the vaguely-existential non-Western mysteries that are currently quite trendy (and rightfully so).
The existence of a mystery, however, is the ultimate red herring. Although the plot - with its many twists and turns - is the sort of well-crafted, exceptionally-detailed masterpiece that we can now safely expect from Mieville, this book is not about the plot.
Nor, for all Mieville's work in capturing the tone and the style of Albert Camus or Milan Kundera, is this a piece of existential literature. Borlu is an engaging, empathetic character- but, again, that's almost incidental.
Instead, the closest approximation to The City & The City is actually vintage science fiction - the days of Bradbury and Asimov. The book is old-fashioned pulp - basic one-engine, two-twist science fiction.
Mieville has a fantastic, mind-bending concept. By following the mystery, the story teases it and then introduces it fully. We're then introduced, bit by bit, to the logical extensions of the story's core conceit - including its negative repercussions. We get a final twist at the end that resolves the conflict gives the reader a final, holistic view of the concept.
Stepping back from the distractions of the mystery and the characters, the progression of The City & The City is almost obvious. Of course Borlu goes where he does and winds up where he does - it is (again) only due to Mieville's immense skill as a story-teller that I never stepped back and thought about it. Despite a core conceit that's wildly impossible, Mieville never breaks the suspension of disbelief - when it comes to combining pulp story-telling and impeccable writing, he has his cake and eats it too.
To put an end to the vagueness, here's something specific. The City & The City is easily the best book I've read this summer, and possibly this year. It's genre-bending classification will invariably frustrate booksellers and award lists alike, but this is a new classic of any... every... classification.
What Mieville has done is simply this: take a simple creative idea - the stuff of any magazine story or Creative Writing 101 - and make it into a mind-bogglingly delicious novel. And the intricate plot? The empathetic character? The philosophical progression? He does those as extras - Mieville casually includes what most authors strive - and fail - to achieve. That's crossing the line from skill to genius.
- Reviewed in the United States on September 12, 2010"In the morning trains ran on a raised line meters from my window. They were not in my city. I did not of course, but I could have stared into their carriages - they were quite that close - and caught the eyes of foreign travelers."
[Note: I generally try to avoid spoilers in my reviews, but The City and The City is a novel about shifting perspectives and, as such, I don't think that it would be possible to do anything more than a shallow overview without them, so be warned.]
China Miéville is no stranger to anticlimaxes. To one degree or another, every one of us his Bas Lag novels have ended in one. The City and The City, however, takes things to a whole new level. The book is, essentially, composed of two massive anticlimaxes.
The novel's main idea is the overlapping nature of the cities of Beszel and Ul Qoma. The two cities inhabit the same geographic coordinates, yet are actually disparate in location. Despite the fact that their streets overlap, a journey into Ul Qoma consists of passing through strictly guarded borders, rather than crossing to the next block. At first, the whole experience seems delightfully surreal. When the concepts were first introduced, in the opening chapters of the novel, I imagined it as if reality was frayed in the area, with buildings phasing in and out of existence depending on how much crossover there was in the area. At this point in the novel, the reader's main question is probably along the lines of how the two cities got to be the way they were, and how Breach - a secret police organization, of sorts, that brutally enforces the boundaries - manages to keep the two cities in line.
As the novel progresses, these fantastic layers are stripped away one by one. Near the beginning, we are told that:
"I lived east and south a bit of the old town...It is a heavily crosshatched street - clutch by clutch of architecture broken by alterity, even in a few spots house by house. The local buildings are taller by a floor or three than the [Ul Qoma] buildings, so Besz juts up semiregularly and the roofscape is almost a machicolation."
At the time, it seems like this is an exceptional site, the occasion of the worst of the frayed-reality sites that I mentioned earlier (in my terminology, not Miéville's). As the book continues, however, we come to realize that every part of the city is crosshatched. We come to understand that every Besz building is also, to some degree or other, a part of the Ul Qoma landscape, that every square foot of Ul Qoma also exists in Besz and that there is no fundamental difference between the two. The act of "breaching," or travelling unauthorized from one to the other, is not one of violating a magical law, but rather the breaking of a social custom. Besz and Ul Qoma are the same city, they just like to pretend otherwise.
It's commonly accepted that a large part of the allure of fantasy is the ability to deal with real world issues in a new way, analyzing concepts like race without the connotations that something like the Jim Crow Laws immediately drag into play. This is never put to better use than in The City and The City. The novel is about the incorporeal nature of the divides we put on ourselves. It is saying that the man next to us is, no matter what we think, actually not that different at all. By exaggerating our tendencies to stay within our social comfort zone to the point where we try our damndest to pretend any other doesn't exist, Miéville makes us realize the flaws in our own perceptions.
Of course, such a thing could never work from the beginning of the novel. If The City and The City started with half the population simply ignoring the other half, we would find it ridiculous. Instead, the beginning implies that this all occurred in some fantastic, magical way, and that it is not the will of the individual occupants at all. Because of this, our initial transition into the world is a relatively easy one. As Miéville strips away the trappings of fantasy one by one, we are forced to recognize that he was talking about us all along.
Unfortunately, though the focus shifts from who made it like this, there's nothing to make the question go away. If there was nothing otherworldly in its schizophrenic creation, why on earth have Beszel and Ul Qoma evolved the way that they have? The obsessive, unanimous, impossible drive that would be needed in the founding generation of such a place is something that I can't conceive of. The city initially works as a storytelling device and gradually changes over to a thematic one, but the transformation to the latter effectively hamstrings the former.
That is only one of a few similar issues in the novel. In the beginning, Breach seems omnipotent in their ability to enforce the laws. Later, we discover that they have no superpowers at all. This is a necessary realization; a supernatural dividing force would be a bullet to the heart of the novel's themes. That doesn't mean that it makes any sense, however. If Breach is a police organization made exceptional only by their ability to traverse the boundaries, how can they appear at the scene of a cross-city accident in seconds?
The second great anticlimax of the novel deals with the plot of the story, and it goes hand in hand with the steady debunking of the city's wonders. For the novel's first sections, the mystery grows ever more complex. Eventually, it seems obvious that the force behind the throne, so to speak, is the mythic Orciny, a third city that is believed to be long extinct. Through tantalizing hints and small clues, Miéville builds our expectations of Orciny up to a fever pitch.
And then, in the same way that the fantastical nature of the cities was orchestrated to collapse from the word go, the entire thing turns out to be a very human puzzle, and it is backed by a very human evil. To a degree, this accomplishes the same slow but inevitable shift of perceptions that the change in world building does. At first, we need to feel no responsibility for the increasingly sinister shape that the conspiracy is taking. It is Orciny, a direct product of the bizarre, irreproducible structure of the cities. It turns out, however, that there is no supernatural agency in play at all; in fact, the whole thing is a literal example of the real world's intrusion into the oddities of Beszel/Ul Qoma.
What is interesting from a thematic point of view, however, is not necessarily interesting form a plot point of view. After having Orciny built up for so long, it turns out to be nothing but the creation of an all but absent side character. Instead of a mind blowing revelation, the book's climax takes the form of a long speech, in which Inspector Borlu reveals every piece of the puzzle, a scene that serves primarily to emphasize the underlying mundane nature of the whole book. Fascinating? Yes. Rewarding? No.
Any book that shifts our perceptions to such a degree could be hard to relate to, and The City and The City does much to magnify the problem. The book is written, as opposed to Miéville's Bas Lag novels, in a very cinematic and understated prose style. Events are reported in a matter of fact way, with a minimum of stylistic flourishes. We see the actions of Inspector Borlu from the outside enough to get an idea of who he is, but we never get to see under the hood and learn what really makes him tick. The experience feels like following him from directly over his shoulder. We see what he sees, and we hear what he hears, but we never know what he's thinking.
There has been much debate over whether The City and The City is a speculative work at all. Now, as I've repeated for much of the review, The City and The City has very, very few (if any) speculative elements. That being said, it reads as if it were a speculative novel for the vast majority of its length, and so I think that it should be undoubtedly counted as one. Let's take one of Miéville's earlier works. Perdido Street Station is undeniably speculative in nature, but what if, at the very end, someone in New York City had woken up and remarked upon the strange dream that they'd just had? The novel would then contain no speculative elements whatsoever, but would anyone really say that it was not a speculative novel? Though the degree is obviously quite different here, I think that the question of genre is one determined more by form and style than by literal content, and I think that The City and The City dons far more than enough of a genre costume for it to be considered beside Miéville's other works.
In the end, The City and The City is a novel that is easier to admire than it is to enjoy. It is, at times, a page turner, but visceral pleasure and intellectual interest are in an inverse proportion here. When the novel feels like a fantastic mystery, you find yourself compulsively reading on, but unable to even begin to answer the myriad questions posed by the novel's setting. When those questions are answered, however, the revelation sucks away much of the book's thrill. The City and The City is something that I recommend to every genre fan, but it is not something that I can consider Miéville's best work.
Top reviews from other countries
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MAX DReviewed in Mexico on October 17, 2024
5.0 out of 5 stars Buen libro
Buen libro
- przemoartReviewed in Poland on January 5, 2024
3.0 out of 5 stars The printing editorials didn't do their homework
No book in Poland would be allowed with such bad margins etc.
Still the book is what it is. That's way 3 stars
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IratxeReviewed in Spain on August 20, 2019
4.0 out of 5 stars Original
Una vuelta de tuerca a las novelas policíacas, con el toque "Mieville", que asegura un escenario imaginativo y originalidad como pocos y una narrativa espectacular.
- Smiti KumarReviewed in India on June 3, 2019
5.0 out of 5 stars Science fiction, mystery
It is a good read for science fiction, crime thriller fans. The imagination doesn't disappoint and the pace doesn't slack. Enjoyed it!
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Jean-Marc H.Reviewed in France on November 25, 2018
5.0 out of 5 stars Un cadre incroyablement original !
J'ai du mal avec les thrillers mais sur celuic-ci, le scénario est incroyablement original ! Je n'ai pas autant accroché mais je donne 5 étoiles pour l'originalité
Je conseille, au moins pour découvrir l'idée de l'auteur des x villes encastrées.