Embassytown

China Miéville

Book - 2011

Avice Benner Cho, a human colonist on a distant planet populated by the Ariekei, sentient beings famed for their unique language, returns to Embassytown after many years of deep space exploration to find she has become a living simile in the Ariekei language even though she cannot speak it, and she is torn by competing loyalties when hostilities erupt between humans and aliens.

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SCIENCE FICTION/Mieville, China
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Subjects
Published
New York : Ballantine Books c2011.
Language
English
Main Author
China Miéville (-)
Edition
1st ed
Physical Description
345 p.
ISBN
9780345524492
Contents unavailable.
Review by New York Times Review

THE innovative and protean British writer China Miéville's declared ambition to write a novel in every genre offers an insight into his powers of invention. "I'm in this . . . business for the monsters," he said in an interview a few years ago. "Unfortunately, you can't really sell books of monsters to publishers. They insist on stories linking them." To create the necessary narratives, Miéville repurposes genre formulas like a salvage artist, mixing a connoisseur's respect for recovered materials with heretical joy in putting them to surprising uses. The fashioning of intricately conceived parallel worlds plus the recombinant use of popular formulas equals a story-generating method that the 38-year-old Miéville has employed to write eight novels (he has also published short fiction, comics, criticism and a scholarly book based on his doctoral thesis on Marxism and international law). The formulas provide the plot structure and momentum that enable his characters to explore the fabulous places he imagines and reveal the underlying forces that make those places tick: colonialism, uneven development, cultural syncretism, urbanism. Thus far, in addition to various subgenres of science fiction, fantasy and horror, he's sampled the western, the police procedural, the sea adventure and more. Miéville's story-generating methods worked particularly well in his 2009 novel, "The City and the City," a police procedural set in the twin Balkan cities of Beszel and Ul Qoma, which are imperfectly superimposed over each other so that residents of each are haunted by ghostly neighbors. A shadowy agency known as Breach enforces the habit of "unseeing" the other city. The novel could get lost in pondering its endless allegorical possibilities, but the plot conventions of a murder investigation keep it pressing forward. "Embassytown" belongs to the science fiction subgenre of planetary romance, in which the main purpose is to explore a richly conceived alien world. Embassytown is a human diplomatic enclave in the middle of an alien city on Arieka, a planet at the outer edge of the known universe. Like all of Miéville's additions to the literary atlas, this place seems, at once wildly imagined from scratch and phantasmagorically drawn from life. Flying out from the enclave, the novel's human protagonist, Avice Benner Cho, observes: "We crossed over the zone where the architecture went from the brick and ivied wood of my youth to the polymers and biorigged flesh of the Hosts, from alley-tangles to street-analogues of other topographies. Building-things were coming down and being replaced. Construction sites like combined slaughterhouses, puppy farms and quarries." Each of the Ariekei has a fanwing, a giftwing, several hairy, many-jointed legs and two mouths that speak different words simultaneously, making contrapuntal meaning. Their speech requires a distinctive fractionlike typography: a simple greeting is rendered as .... Because the Ariekei are traditionally able to say only true things, to speak only of events that actually happened, they stage "similes," scripted scenes that expand their range of reference by fashioning new experiences they can talk about. When Avice was a child, she was invited to play a part in a simile, so that from then on the Ariekei could compare themselves and others in various situations to "the girl who was hurt and ate what was given her." Language is the principal theme of "Embassytown," a particularly deep-thinking entry in a tradition of using the speculative resources of science fiction to address how language shapes culture and society. Miéville joins Jack Vance, Robert Heinlein, Ursula K. Le Guin, Suzette Haden Elgin, Samuel Delany and others in this project. The drama of "Embassytown" develops as the Ariekei learn to lie and are beset by violent addiction to a new kind of speech. The resulting plague sends waves of change pulsing through the semi-sentient buildings and machinery of their city - an inspired Miévillean touch, grotesquely original (addicted houses try to grow ears) and yet also strikingly familiar to anybody who's spent time in a neighborhood in steep decline. "EMBASSYTOWN" has the feel of a word-puzzle, and much of the pleasure of figuring out the logic of the world and the story comes from gradually catching the full resonance of its invented and imported words: exoterre, Anglo-Ubiq, turing-ware, manchmal, immer, zelles. There are times when I wish Miéville, brilliant as he is, would take a lesson from other writers he has clearly read - like Vance, the master of planetary romance - and devote a little more of his potent originality to showing rather than telling. Vance's stories feel as if they were engineered with great economy, tinkered up to impart strangeness while rolling steadily onward under their own power. Miéville's, by contrast, feel theorized, sweepingly grand in conception but sometimes a bit disembodied, not quite fully fleshed in scenes that feel genuinely lived. But I don't hold this will to abstraction against him. Genre writers, and for that matter writers of the well-wrought middlebrow novel, mostly tell the usual stories in the usual way: narrative and character are advanced through conventional action. Miéville is up to something else. In the case of "Embassytown," which with his usual confident ambition takes its monsters and spaceships deep into the zone of overlap between linguistics and politics, let's call it a ... . Carlo Rotella is the director of American studies at Boston College and a contributor to The Times Magazine.

Copyright (c) The New York Times Company [June 5, 2011]
Review by Publisher's Weekly Review

Mieville (Kraken) adds to the sparse canon of linguistic SF with this deeply detailed story of the ways an alien language might affect not only thought patterns but ways of life. Avice Benner Cho returns to her backwater colony home of Embassytown so her linguist husband, Scile, can study the almost empathic, in-the-present language of the planet's natives, the Hosts. When a Host learns to lie, the resulting massive cultural earthquake in Host society is compounded by two new Ambassadors whose voices have a profound physiological effect on the Hosts. Mieville's brilliant storytelling shines most when Avice works through problems and solutions that develop from the Hosts' unique and convoluted linguistic evolution, and many of the most intriguing characters are the Hosts themselves. The result is a world masterfully wrecked and rebuilt. (May) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Avice Benner Cho is a born exile, one of a small human colony on a world in which the locals, the Ariekei, can incorporate humans into their weirdly literal language but not speak to or understand them-except for the Ambassadors, doubled humans bred and raised into an illusion of being a single creature. Made into a living simile as a child, Avice escapes to crew an interstellar ship, only to return to indulge her linguist husband's fascination with her home world. Both become caught up in the Ariekei's evolving view of their own language and the cataclysmic changes that result. Verdict Mieville's (The City & the City) latest novel is incisive, insightful, disturbing, and occasionally even uplifting. For its portrait of aliens that are convincing yet sympathetic, it ranks up with the works of Vernor Vinge and Candas Jane Dorsey's A Paradigm of Earth; for complex cultural interaction, with Mary Doria Russell's The Sparrow. Occasionally, Mieville's worldbuilding is inconsistent, as when a culture of "property-based" marital forms gives its children to be raised by "shiftparents"; Avice's central role in the aliens' mental shift verges on excessive upstaging, and overcleverness like her ABC name can puncture the reader's suspension of disbelief. Still, overall, this is one of the best sf books of this or any decade and likely to reach beyond the genre to appeal to book clubs and other literary fiction readers. [See Prepub Alert, 11/1/10.]-Meredith Schwartz, New York (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

A new venture into science fiction from the talented British author (Kraken, 2010, etc.) best known for his extraordinary steampunk-style fantasies.Avice Benner Cho returns to her childhood home, the remote planet Arieka, after many years of working in the immer, a weird hyperdimension that permits passage among the stars. Arieka's indigenous Hosts have a remarkable, entirely biological technology and maintain a bubble of human-breathable atmosphere above Embassytown. The Ariekei have two speaking orifices and utter their language through both simultaneously; for them, language, thought and reality are inseparable, hence they cannot understand the speech of individual humans, tell lies or speculate. The only way they can express things that haven't happened is by performing a ceremony in which a human is declared a "simile," an honor for which young Avice was chosen. The Ariekei hold contests to see which of them can come closest to uttering an untruth; by human standards, their efforts are laughable. Humans, however, developed Ambassadors: clone-twins so alike in appearance, thought and experience that when they speak simultaneously, the Ariekei can comprehend them. Then Embassytown's overlords send a new type of Ambassador, EzRa, dissimilar in appearance and thought. Somehow, they can speak and be understoodyet the Ariekei don't react as expected. Instead, they show every sign of being intoxicated by EzRa's speech; not only that but they turn out to be hopelessly addicted. As their civilization begins to crumble, Avice must team up with Bren, a former Ambassador whose clone-twin died, to unravel a most unpleasant conspiracy. Much of this is far too formidably dense and complex to be summarized, and Miville further blurs matters with a difficult, almost hallucinatory narrative structure. Conceptually, though, it's utterly astonishing.A major intellectual achievement that, despite all difficulties, persuades and enthralls.]] Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

0.1     When we were young in Embassytown, we played a game with coins and coin-sized crescent offcuts from a workshop. We always did so in the same place, by a particular house, beyond the rialto in a steep-sloping backstreet of tenements, where advertisements turned in colours under the ivy. We played in the smothered light of those old screens, by a wall we christened for the tokens we played with. I remember spinning a heavy two-sou piece on its edge and chanting as it went, turnabout, incline, pig-snout, sunshine , until it wobbled and fell. The face that showed and the word I'd reached when the motion stopped would combine to specify some reward or forfeit. I see myself clearly in wet spring and in summer, with a deuce in my hand, arguing over interpretations with other girls and with boys. We would never have played elsewhere, though that house, about which and about the inhabitant of which there were stories, could make us uneasy. Like all children we mapped our hometown carefully, urgently and idiosyncratically. In the market we were less interested in the stalls than in a high cubby left by lost bricks in a wall, that we always failed to reach. I disliked the enormous rock that marked the town's edge, that had been split and set again with mortar (for a purpose I did not yet know), and the library, the crenellations and armature of which felt unsafe to me. We all loved the collegium for the smooth plastone of its courtyard, on which tops and hovering toys travelled for metres. We were a hectic little tribe and constables would frequently challenge us, but we needed only say, 'It's alright sir, madam, we have to just…' and keep on. We would come fast down the steep and crowded grid of streets, past the houseless automa of Embassytown, with animals running among us or by us on low roofs and, while we might pause to climb trees and vines, we always eventually reached the interstice. At this edge of town the angles and piazzas of our home alleys were interrupted by at first a few uncanny geometries of Hosts' buildings; then more and more, until our own were all replaced. Of course we would try to enter the Host city, where the streets changed their looks, and brick, cement or plasm walls surrendered to other more lively materials. I was sincere in these attempts but comforted that I knew I'd fail. We'd compete, daring each other to go as far as we could, marking our limits. 'We're being chased by wolves, and we have to run,' or 'Whoever goes furthest's vizier,' we said. I was the third-best southgoer in my gang. In our usual spot, there was a Hostnest in fine alien colours tethered by creaking ropes of muscle to a stockade, that in some affectation the Hosts had fashioned like one of our wicker fences. I'd creep up on it while my friends whistled from the crossroads. See images of me as a child and there's no surprise: my face then was just my face now not-yet-finished, the same suspicious mouth-pinch or smile, the same squint of effort that sometimes got me laughed at later, and then as now I was rangy and restless. I'd hold my breath and go forward on a lungful through where the airs mixed, past what was not quite a hard border but was still remarkably abrupt a gaseous transition, breezes sculpted with nanotech particle-machines and consummate atmosphere artistry, to write Avice on the white wood. Once on a whim of bravado I patted the nest's flesh anchor where it interwove the slats. It felt as taut as a gourd. I ran back, gasping, to my friends. 'You touched it.' They said that with admiration. I stared at my hand. We would head north to where aeoli blew, and compare our achievements.   A quiet, well-dressed man lived in the house where we played with coins. He was a source of local disquiet. Sometimes he came out while we were gathered. He would regard us and purse his lips in what might have been greeting or disapproval, before he turned and walked. We thought we understood what he was. We were wrong, of course, but we'd picked up whatever we had from around the place and considered him broken and his presence inappropriate. 'Hey,' I said more than once to my friends, when he emerged, pointing at him behind his back, 'hey.' We would follow when we were brave, as he walked alleys of hedgerow toward the river or a market, or in the direction of the archive ruins or the Embassy. Twice I think one of us jeered nervously. Passers-by instantly hushed us. 'Have some respect,' an altoysterman told us firmly. He put down his basket of shellfish and aimed a quick cuff at Yohn, who had shouted. The vendor watched the old man's back. I remember suddenly knowing, though I didn't have the words to express it, that not all his anger was directed at us, that those tutting in our faces were disapproving, at least in part, of the man. 'They're not happy about where he lives,' said that evening's shiftfather, Dad Berdan, when I told him about it. I told the story more than once, describing the man we had followed carefully and confusedly, asking the Dad about him. I asked him why the neighbours weren't happy and he smiled in embarrassment and kissed me goodnight. I stared out of my window and didn't sleep. I watched the stars and the moons, the glimmering of Wreck.   I can date the following events precisely, as they occurred on the day after my birthday. I was melancholic in a way I'm now amused by. It was late afternoon. It was the third sixteenth of September, a Dominday. I was sitting alone, reflecting on my age (absurd little Buddha!), spinning my birthday money by the coin wall. I heard a door open but I didn't look up, so it may have been seconds that the man from the house stood before me while I played . When I realised I looked up at him in bewildered alarm. 'Girl,' he said. He beckoned. 'Please come with me.' I don't remember considering running. What could I do, it seemed, but obey? His house was astonishing. There was a long room full of dark colours, cluttered with furniture, screens and figurines. Things were moving, automa on their tasks. We had creepers on the walls of our nursery but nothing like these shining black-leaved sinews in ogees and spirals so perfect they looked like prints. Paintings covered the walls, and plasmings, their movements altering as we entered. Information changed on screens in antique frames. Hand-sized ghosts moved among pot-plants on a trid like a mother-of-pearl games board. 'Your friend.' The man pointed at his sofa. On it lay Yohn. I said his name. His booted feet were up on the upholstery, his eyes were closed. He was red and wheezing. I looked at the man, afraid that whatever he'd done to Yohn, as he must have done, he would do to me. He did not meet my eyes, instead, fussing with a bottle. 'They brought him to me,' he said. He looked around, as if for inspiration on how to speak to me. 'I've called the constables.' He sat me on a stool by my barely breathing friend and held out a glass of cordial to me. I stared at it suspiciously until he drank from it himself, swallowed and showed me he had by sighing with his mouth open. He put the vessel in my hand. I looked at his neck, but I could not see a link. I sipped what he had given me. 'The constables are coming,' he said. 'I heard you playing. I thought it might help him to have a friend with him. You could hold his hand.' I put the glass down and did so. 'You could tell him you're here, tell him he'll be alright.' 'Yohn, it's me, Avice.' After a silence I patted Yohn on the shoulder. 'I'm here. You'll be alright, Yohn.' My concern was quite real. I looked up for more instructions, and the man shook his head and laughed. 'Just hold his hand then,' he said. 'What happened, sir?' I said. 'They found him. He went too far.' Poor Yohn looked very sick. I knew what he'd done. Yohn was the second-best southgoer in our group. He couldn't compete with Simmon, the best of all, but Yohn could write his name on the picket fence several slats further than I. Over some weeks I'd strained to hold my breath longer and longer, and my marks had been creeping closer to his. So he must have been secretly practicing. He'd run too far from the breath of the aeoli. I could imagine him gasping, letting his mouth open and sucking in air with the sour bite of the interzone, trying to go back but stumbling with the toxins, the lack of clean oxygen. He might have been down, unconscious, breathing that nasty stew for minutes. 'They brought him to me,' the man said again. I made a tiny noise as I suddenly noticed that, half-hidden by a huge ficus, something was moving. I don't know how I'd failed to see it. It was a Host. It stepped to the centre of the carpet. I stood immediately, out of the respect I'd been taught and my child's fear. The Host came forward with its swaying grace, in complicated articulation. It looked at me, I think: I think the constellation of forked skin that was its lustreless eyes regarded me. It extended and reclenched a limb. I thought it was reaching for me. 'It's waiting to see the boy's taken,' the man said. 'If he gets better it'll be because of our Host here. You should say thank you.' I did so and the man smiled. He squatted beside me, put his hand on my shoulder. Together we looked up at the strangely moving presence. 'Little egg,' he said, kindly. 'You know it can't hear you? Or, well... that it hears you but only as noise? But you're a good girl, polite.' He gave me some inadequately sweet adult confection from a mantlepiece bowl. I crooned over Yohn, and not only because I was told to. I was scared. My poor friend's skin didn't feel like skin, and his movements were troubling. The Host bobbed on its legs. At its feet shuffled a dog-sized presence, its companion. The man looked up into what must be the Host's face. Staring at it, he might have looked regretful, or I might be saying that because of things I later knew. The Host spoke. Of course I'd seen its like many times. Some lived in the interstice where we dared ourselves to play. We sometimes found ourselves facing them, as they walked with crablike precision on whatever their tasks were, or even running, with a gait that made them look as if they must fall, though they did not. We saw them tending the flesh walls of their nests, or what we thought of as their pets, those whickering companion animal things. We would quieten abruptly down in their presence and move away from them. We mimicked the careful politeness our shiftparents showed them. Our discomfort, like that of the adults we learned it from, outweighed any curiosity at the strange actions we might see the Hosts performing. We would hear them speak to each other in their precise tones, so almost like our voices. Later in our lives a few of us might understand some of what they said, but not yet, and never really me. I'd never been so close to one of the Hosts. My fear for Yohn distracted me from all I'd otherwise feel from this proximity to the thing, but I kept it in my sight, so it could not surprise me, so when it rocked closer to me  I shied away abruptly and broke off whispering to my friend. They were not the only exoterres I'd seen. There were exot inhabitants of Embassytown -- a few Kedis, a handful of Shur'asi and others -- but with those others, while there was strangeness of course there was never that abstraction, that sheer remove one felt from Hosts. One Shur'asi shopkeeper would even joke with us, his accent bizarre but his humour clear. Later I understood that those immigrants were exclusively from species with which we shared conceptual models, according to various measures. The indigens, in whose city we had been graciously allowed to build Embassytown, Hosts were cool, incomprehensible presences. Powers like subaltern gods, that sometimes watched us as if we were interesting, curious dust, that provided our biorigging, and to which the Ambassadors alone spoke. We were reminded often that we owed them courtesy. Pass them in the street and we would show the required respect, then run on giggling. Without my friends though I couldn't camouflage my fear with silliness. 'It's asking if the boy'll be alright,' the man said. He rubbed his mouth. 'Colloquially, something like, will he run later or will he cool? It wants to help. It has helped. It probably thinks me rude.' He sighed. 'Or mentally ill. Because I won't answer it. It can see I'm diminished. If your friend doesn't die it'll be because it brought him here.'      'The Hosts found him.' I could tell the man was trying to speak gently to me. He seemed unpracticed. 'They can come here but they know we can't leave. They know more or less what we need.' He pointed at the Host's pet. 'They had their engines breathe oxygen into him. Yohn'll maybe be fine. The constables'll come soon. Your name's Avice. Where do you live, Avice?' I told him. 'Do you know my name?' I'd heard it of course. I was unsure of the etiquette of speaking it to him. 'Bren,' I said. 'Bren. That isn't right. You understand that? You can't say my name. You might spell it, but you can't say it. But then I can't say my name either. Bren is as good as any of us can do. It …' He looked at the Host, which nodded gravely. 'Now, it can say my name. But that's no good: it and I can't speak any more.' 'Why did they bring him to you, Sir?' His house was close to the interstice, to where Yohn had fallen, but hardly adjacent. 'They know me. They brought your friend to me because though as I say they know me to be lessened in some way they also recognise me. They speak and they must hope I'll answer them. I'm… I must be… very confusing to them.' He smiled. 'It's all foolishness I know. Believe me I do know that. Do you know what I am, Avice?' I nodded. Now, of course, I know that I had no idea what he was, and I'm not sure he did either. The constables at last arrived with a medical team, and Bren's room became an impromptu surgery. Yohn was intubated, drugged, monitored. Bren pulled me gently out of the experts' way. We stood to one side, I, Bren and the Host, its animal tasting my feet with a tongue like a feather. A constable bowed to the Host, which moved its face in response. 'Thanks for helping your friend, Avice. Perhaps he'll be fine. And I'll see you soon, I'm sure. " Turnaround, incline, piggy, sunshine" ?' Bren smiled. While a constable ushered me out at last, Bren stood with the Host. It had wrapped him in a companionable limb. He did not pull away. They stood in polite silence, both looking at me.   At the nursery they fussed over me. Even assured by the officer that I'd done nothing wrong, the staffparents seemed a little suspicious about what I'd got myself into. But they were decent, because they loved us. They could see I was in shock. How could I forget Yohn's shaking figure? More, how could I forget being quite so close up to the Host, the sounds of its voice? I was haunted by what had been, without question, its precise attention on me. 'So somebody had drinks with Staff, today, did they?' my shiftfather teased, as he put me to bed. It was Dad Shemmi, my favourite. Later in the out I took mild interest in all the varieties of ways to be families. I don't remember any particular jealousy I, or most other Embassytown children, felt at those of our shiftsiblings whose blood parents at times visited them: it wasn't in particular our norm there. I never looked into it but I wondered, in later life, whether our shift-and-nursery system continued social practices of Embassytown's founders (Bremen has for a long time been relaxed about including a variety of mores in its sphere of governance), or if it had been thrown up a little later. Perhaps in vague social-evolutionary sympathy with the institutional raising of our Ambassadors. No matter. You heard terrible stories from the nurseries from time to time, yes, but then in the out I heard bad stories too, about people raised by those who'd birthed them. On Embassytown we all had our favourites and those we were more scared of, those whose on-duty weeks we relished and those not, those we'd go to for comfort, those for advice, those we'd steal from, and so on: but our shiftparents were good people. Shemmi I loved the most. 'Why do the people not like Mr Bren living there?' 'Not Mr Bren, darling, just Bren. They, some of them, don't think it's right for him to live like that, in town.' 'What do you think?' He paused. 'I think they're right. I think it's… unseemly. There are places for the cleaved.' I'd heard that word before, from Dad Berdan. 'Retreats just for them, so… It's ugly to see, Avvy. He's a funny one. Grumpy old sod. Poor man. But it isn't good to see. That kind of wound.' It's disgusting, some of my friends later said. They'd learnt this attitude from less liberal shiftparents. Nasty old cripple should go to the sanatorium. Leave him alone, I'd say, he saved Yohn. Yohn recovered. His experience didn't stop our game. I went a little further, a little further over weeks, but I never reached Yohn's marks. The fruits of his dangerous experiment, a last mark, was metres further than any of his others, the initial letter of his name in a terrible hand. 'I fainted there,' he would tell us . 'I nearly died.' After his accident he was never able to go nearly so far again. He remained the second-best because of his history, but I could beat him now. 'How do I spell Bren's name?' I asked Dad Shemmi, and he showed me. ' Bren ,' he said, running his finger along the word. Excerpted from Embassytown by China Miéville All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.