A Wall of Walls

[Image: River valley outside Kamdesh, Afghanistan, where the “Battle of Kamdesh” occurred, an assault that loosely serves as the basis for part of John Renehan’s novel, The Valley].

While we’re on the subject of books, an interesting novel I read earlier this year is The Valley by John Renehan. It’s a kind of police procedural set on a remote U.S. military base in the mountains of Afghanistan, fusing elements of investigative noir, a missing-person mystery, and, to a certain extent, a post-9/11 geopolitical thriller, all in one.

Architecturally speaking, the book’s includes a noteworthy scene quite late in the book—please look away now if you’d like to avoid a minor spoiler—in which the main character attempts to learn why a particularly isolated valley on the border between Afghanistan and Pakistan seems so unusually congested with insurgent fighters and other emergent sources of local conflict.

He thus hikes his way up through heavily guarded opium fields to what feels like the edge of the known world, as the valley he’s tracking steadily narrows ever upward until “there were no more river sounds. He’d gotten above the springs and runoff that fed it.” In the context of the novel, this scene feels as if the man has stepped off-stage, ascending to a world of solitude, clouds, and mountain silence.

[Image: Photo courtesy U.S. Army, taken by Staff Sergeant Adam Mancini].

What he sees there, however, is that the entire valley, in effect, has been quarantined. A baffling and massive concrete wall has been constructed by the U.S. military across the entire pass, severing the connection between two neighboring countries and forming an absolute barrier to insurgent troop movements. The wall has also decimated—or, at least, substantially harmed—the local economy.

Attempts to blow it up have left visible scars on its flanks, resulting in a blackened super-wall that is so far away from regional villages that many people don’t even know it’s there; they only know its side-effects.

“It was an impressive construction,” Renehan writes. “There was no way they got vehicles all the way up here. It must have been heavy-lift helicopters laying in all the pieces and equipment.”

[Image: U.S. military helicopter in Afghanistan, courtesy U.S. Army, taken by by Staff Sgt. Marcus J. Quarterman].

It was a titanic undertaking, “a wall of walls,” in his words, an improvised barrier like something out of Mad Max:

Concrete blast barriers lined up twenty feet high, one against another on the slanting ground, shingled all across the gap, with another layer of shorter walls piled haphazardly atop, and more shoring up the gaps at the bottom. There must have been another complete set of walls built behind the one he could see, because the whole hulking thing had been filled with cement. It had oozed and dried like frosting at the seams, puddling through the gaps at the bottom.

The man puts his hand on the concrete, knowing now that the whole valley had simply been sealed off. It “was closed.”

There are many things that interest me here. One is this notion that a distant megastructure, something of which few people are aware, nonetheless exhibits direct and tangible effects in their everyday lives; you might not even know such a structure exists, in other words, but your life has been profoundly shaped by it.

The metaphoric possibilities here are obvious.

[Image: Photo courtesy U.S. Army, taken by Spc. Ken Scar, 7th MPAD].

But I was also reminded of another famous military wall constructed in a remote mountain landscape to keep a daunting adversary at bay, the so-called “Alexander’s Gates,” a monumental—and entirely mythic—architectural project allegedly built by Alexander the Great in the Caucasus region to keep monsters out of Europe. This myth was the Pacific Rim of its day, we might say.

I first encountered the story of Alexander’s Gates in Stephen T. Asma’s book, On Monsters.

Alexander supposedly chased his foreign enemies through a mountain pass in the Caucasus region and then enclosed them behind unbreachable iron gates. The details and the symbolic significance of the story changed slightly in every medieval retelling, and it was retold often, especially in the age of exploration. (…) The maps of the time, the mappaemundi, almost always include the gates, though their placement is not consistent. Most maps and narratives of the later medieval period agree that this prison territory, created proximately by Alexander but ultimately by God, houses the savage tribes of Gog and Magog, who are referred to with great ambiguity throughout the Bible, and sometimes as individual monsters, sometimes as nations, sometimes as places.

On the other side of Alexander’s Gates was what Asma memorably calls a “monster zone.”

[Image: Photo courtesy U.S. Army, taken by U.S. Army Pfc. Andrya Hill, 4th Brigade Combat Team].

In any case, you can learn a bit more about the gates in this earlier post on BLDGBLOG, but it instantly came to mind while reading The Valley.

Renehan’s bulging “wall of walls,” constructed by U.S. military helicopters in a hostile landscape so remote it is all but over the edge of the world, purely with the goal of sealing off an entire mountain valley, is a kind of 21st-century update to Alexander’s Gates.

In fact, it makes me wonder what sorts of megastructures exist in contemporary global military mythology—what urban legends soldiers tell themselves and each other about their own forces or those of their adversaries—from underground super-bunkers to unbreachable desert walls. What are the Alexander’s Gates of today?

In Case You Missed Them

There are a few books I wanted to mention here at the height of the holiday season, not because they’re new or even necessarily recent but because, selfishly, I simply wish more people had read them. If you’re looking for an extra gift, or just a last-minute surprise, for anyone with an interest in architecture, landscape, archaeology, acoustics, geopolitics, history, and more, here are eight titles to consider.

(1) The Strait Gate: Thresholds and Power in Western History by Daniel Jütte (Yale University Press)—This is an academic work, in both tone and approach, but of the ideal kind: nearly every page had something I wanted to underline, write down, or scramble to look up elsewhere. Put simply, The Strait Gate is a history of the door, but, as Jütte shows, this ultra-quotidian architectural detail—the dividing line between inside and outside—has political, psychological, Constitutional, philosophical, mythological, narrative, cultural, and even material implications that are easy to overlook. Whether it’s a controversial order that “all door handles and knobs be removed from homes and shops” so that the metal could be melted down for war materiel, divine gateways as described in the Book of Revelation, or the resonant phenomenon of Torschlusspanik—“panic of gate closure,” aka a fear of being locked out—Jütte’s book is a superb example of how we can still look at architecture afresh.

(2) The First Fossil Hunters: Dinosaurs, Mammoths, and Myth in Greek and Roman Times by Adrienne Mayor (Princeton University Press)—What did cultures without the benefit of modern scientific knowledge think of the monstrous skeletons and fossilized bones they occasionally unearthed? Quite a lot, as it happens. It turns out that huge chunks of human mythology, including the existence of dragons and the idea of an extinct race of titanic super-human ancestors, can all be traced back to misinterpretations of paleontology. Mayor’s writing is casually engaging—even quite funny, at times—and the book’s many examples of ancient human societies encountering monstrous, inexplicable, and possibly otherworldly things hidden in the earth stuck with me long after reading it.

(3) The Sound Book: The Science of the Sonic Wonders of the World by Trevor Cox (W.W. Norton)—If you have even a passing interest in sound, this is the book to read. Trevor Cox, an acoustic engineer, introduces readers to sonic phenomena around the world, both naturally occurring and artificially induced, from the frozen surface of Russia’s Lake Baikal to Stone Age tombs in rural England. There are examples of sound art, acoustic science, and even landscape-scale auditory effects that easily justify the subtitle, “sonic wonders of the world.” This would pair well with David Toop’s Ocean of Sound, for those of you interested not just in acoustics but in avant-garde composition and ambient music, as well.

(4) The Tomb of Agamemnon by Cathy Gere (Harvard University Press)—This slim book, part of classicist Mary Beard’s excellent (but, sadly, now hibernating) “Wonders of the World” series for Harvard University Press, hit so many sweet spots for me. Author Cathy Gere convincingly shows how Mediterranean archaeological discoveries over the course of the 19th century helped to shape an emerging European mythos of the glories of war and historical empire. These same emphases lent themselves extremely well, however, to tragic and grotesque distortions that soon fed into the twin ideologies of Nazism and 20th-century fascism. Along the way, Gere writes, Classical discoveries misinterpreted by modern biases helped to justify British involvement in World War I. Gere’s book includes a brief, beautiful, and monumentally sad description of young, Homer-quoting scholars being shipped off to war to fight a rising evil from the East—only to be annihilated in the sodden trenches of the Somme. The Tomb of Agamemnon is probably one of my favorite ten books of the past decade; no other book I’ve read in that time conveys the true political stakes of archaeological research and the clear and obvious risks in distorting history for ideological ends.

(5) Lawrence in Arabia: War, Deceit, Imperial Folly and the Making of the Modern Middle East by Scott Anderson (Anchor)—It’s a little disingenuous to suggest that this widely publicized book has been overlooked, but Lawrence in Arabia is nonetheless an uncannily well-timed history of the post-World War I Middle East and well worth taking the time to read. I was utterly absorbed by it for nearly a week. Part military adventure, part geopolitical biography of Lawrence of Arabia, part soul-crushing alternative history of a region that could have been—complete with agonizing descriptions of the infamous assault on Gallipoli—this book will make you see the entire 20th century differently, up to and including our own century’s Iraq War and the rise of ISIS.

(6) Map of a Nation: A Biography of the Ordnance Survey by Rachel Hewitt (Granta)—I mentioned this book in a recent post and I would recommend it again. Map of a Nation tells the story of the British Ordnance Survey, the institute’s original geopolitical context, and the experimental cartographic tools it used to make its imperial surveys more accurate. For anyone interested in geography, maps, landscape, or British history, Hewitt’s book is a must-read.

(7) Exploding the Phone by Phil Lapsley (Grove/Atlantic)—You don’t need to be interested in the wonkish details of the telephone system to be amazed by the weirdness of Exploding the Phone, Phil Lapsley’s introduction to so-called phone phreaking. On one level, it’s a story of bored teenagers using synthesized sound and DIY home electronics to hack the global telephone network; on another, it’s a story with hugely metaphoric, almost occult undertones. The phone system’s diffuse and labyrinthine system of “inward operators,” robotic mechanical test numbers, and secret military phone exchanges—to name only a few ingredients—takes on the air of something invented by Alan Moore or Grant Morrison: teens encountering a world of numerological connection and mechanical intelligence through handheld receivers in the long afternoons of the 1960s and 70s. So good.

(8) Sealab: America’s Forgotten Quest to Live and Work on the Ocean Floor by Ben Hellwarth (Simon & Schuster)—The only thing that makes me pause before recommending Ben Hellwarth’s Sealab right now is that a brand new paperback edition is due out in June 2017; but, that aside, I heartily endorse this one. Imagine Archigram teaming up with a secretive branch of the U.S. military to invent an utterly bonkers new version of human civilization on the ocean floor, and you’ve roughly pictured what this book is about. Whether it’s describing what were, in effect, moon bases at the bottom of the sea or bizarre experiments with farm animals, submerged ecological research stations or Cold War espionage in the Sea of Okhotsk, Sealab is as much outsider architectural history as it is a maritime geopolitical thriller. At the very least, preorder the forthcoming paperback if you want to wait before diving in.

Finally, it’s super-obnoxious to end with my own book, but if you’re looking for something to read this winter—or if you need a gift for someone who can be hard to shop for—consider picking up a copy of A Burglar’s Guide to the City. It’s a mix of true crime, architectural theory, and first-person reporting, from a Chicago lock-picking club to flying with the LAPD’s Air Support Division, from an architect who became the most prolific bank robber of the 19th century to fake apartments run by the British police. A Burglar’s Guide includes interviews with a Toronto burglar known for using the city’s fire code to help pick his next target, with renowned architect Bernard Tschumi, with game designers, and with FBI Special Agents, among others, and the whole thing is currently being adapted for TV by CBS Studios. Check it out, if you get the chance and let me know what you think.

The World as a Hieroglyph of Spatial Relationships Yet to be Interpreted

[Image: Courtesy Iris Automation].

In an interview published on the blog here a few years ago, novelist Zachary Mason, author of The Lost Books Of The Odyssey, pointed out something very interesting about the nearly limitless, three-dimensional space of the Earth’s atmosphere and how it relates to artificial intelligence.

“One of the problems with A.I.,” Mason explained back in 2010, “is that interacting with the world is really tough. Both sensing the world and manipulating it via robotics are very hard problems, and [these are] solved only for highly stripped-down special cases. Unmanned aerial vehicles, for instance, work well because maneuvering in a big, empty, three-dimensional void is easy—your GPS tells you exactly where you are, and there’s nothing to bump into except the odd migratory bird. Walking across a desert, though—or, heaven help us, negotiating one’s way through a room full of furniture in changing lighting conditions—is vastly more difficult.”

Another way of thinking about Mason’s comment—although Mason himself might disagree with the following statement—is that it is precisely the sky’s ease of navigation that makes it ideal for the emergence and testing of artificial intelligence. The Earth’s atmosphere, in other words—specifically because it is an unchallenging three-dimensional environment—is the perfect space for machine-vision algorithms and other forms of computational proto-intelligence to work out their most basic bugs.

Once they master the sky, then, autonomous machines can move on to more complicated environments, such as roads, mountains, forests. Cities.

In any case, I was thinking about Mason’s interview again earlier today when I read that drones are close to achieving “situational awareness”—albeit through visual, not artificially intelligent, means. In other words, it’s not AI—at least not yet—that will give unmanned aerial vehicles their much-needed ability to avoid colliding with other flying objects. Rather, it is a sufficiently advanced visual processing system that can identify and, more importantly, avoid potential obstacles.

Exactly such a system, TechCrunch claims, has been built by a Canadian firm called Iris Automation. Their system is able “to process visual data in real time, so it can see structures that suddenly appear, like a plane, flock of birds or another drone—not just static objects and waypoints that might be mapped using older technologies like GPS.” The company refers to this as “industrial drone collision avoidance,” which suggests a kind of on-board traffic management system for the sky. Air traffic control will be internal.

Now connect a drone’s “situational awareness” to sufficient processing power, and you could help steward into existence a computationally interesting form of autonomous intelligence.

To return to Zachary Mason’s computationally-inflected rewriting of The Odyssey, it would be AI as Athena, springing fully formed into the world from an empty sky.

Directions Might Not Terminate

Katherine Ye has posted short descriptions of “twenty tiny cities,” an homage to Italo Calvino, and some of them are so good. Clockwork City: “Buildings are constantly sliding, turning, merging, separating. Directions: ‘Your destination will arrive in 1.5 hours.’” Fractal City: “Directions are given recursively. ‘Go to the middle triangle, then to its top triangle. Repeat until you arrive.’ Directions might not terminate.” Desire Path City: “They covered the city with meadows of grass, then after a year, built roads where foot traffic had worn grass to dirt.” Nondeterministic City: “Every time you reach an intersection, you take all of them at once. There are few maps of the city, because you’ll always find what you’re looking for.” (Spotted via @katierosepipkin).

Secret Tunnels of England

The London Fortean Society, of all people, will be hosting a talk called “Secret Tunnels of England: Folklore and Fact” by Antony Clayton, author of the fascinating book Subterranean City: Beneath the Streets of London, on March 9. “So-called secret tunnels are a subject of perennial interest,” we read. “Are there really labyrinths of hidden passageways under our ancient buildings, towns and cities, or are these tunnel tales another seam of England’s rich folklore?” See, for example, BLDGBLOG’s earlier look at the Peterborough tunnels. There is still time to get on a waiting list for tickets. For what it’s worth, I also referred to Clayton’s book in my recent essay for The Daily Beast about the Hatton Garden heist. (Event originally spotted via @urbigenous).

Burial Grounds

Blogger Andrew Ray of Some Landscapes recently re-read The Wind in the Willows to his son, stumbling on “an intriguing passage that I’d forgotten all about, concerning Badger’s large underground home.” It is a scene where “the idea of the city has been literally buried,” where, “civilisations decline but nature endures,” an underground world of ruined architecture and vaulted halls disguised as forests.

Occult Infrastructure and the “Funerary Teleportation Grid” of Greater London

Speaking of cracks in space-time, an urban legend I love is the one about a tomb in Brompton Cemetery, London, allegedly designed by Egyptologist Joseph Bonomi and rumored to be a time machine.

[Image: Via The Clerkenwell Kid].

A sadly now-defunct blog called The Clerkenwell Kid is a great resource for this. There, we read that Bonomi “traded as an archaeological artist but is thought to have been a tomb raider”:

He is also generally considered to have been the designer of the Egyptian styled “Courtoy” tomb in Brompton cemetery which was ostensibly intended to be the final resting place of “three spinsters”. An interesting legend has grown up around this mausoleum because it is the only one in the cemetery for which there is no record of construction. This, together with Bonomi’s obsession with the afterlife (reflected in the hieroglyphs on the tomb), have been held by some to be evidence that it is not a tomb at all but a time machine and that the three spinsters, if they existed at all, were in fact his time travelling sponsors.

The correct question to ask here is not: is this true? Is this tomb really a time machine? The correct question to ask here is: how freaking cool is this?

The Clerkenwell Kid then goes one better, however, claiming that this urban legend is wrong—because it isn’t ambitious enough.

In fact, we’re told, the tomb was actually one of five such chambers, designed and constructed by Bonomi in an occult conspiracy with his colleague, Samuel Alfred Warner.

[Image: An otherwise unrelated photo of the Egyptian Book of the Dead, courtesy of the British Museum].

“Amongst several other inventions,” the Kid tells us, “Warner claimed to have developed a mysterious missile capable of destroying ships from a distance”:

The Royal Navy were convinced enough by his demonstrations to pay him to develop this new weaponry but proved unable to reproduce his results independently. This was because what Warner had allegedly discovered (with the help of ancient knowledge gained by Bonomi in Egypt) was an occult way of “teleporting” a bomb a short distance—I suppose you could call it a “psychic torpedo.”

Again, the interest for me here is not whether or not people actually were teleporting themselves—let alone submarine torpedoes!—back and forth through time using Egyptological monuments hidden in London cemeteries.

The interest for me, instead, is at least two-fold: one, how awesome a story this is, and how much I want to tell everyone about it, and, two, how urban infrastructure always seems to inspire, catalyze, or emblematically come to represent these sorts of unexpected narrative investments.

We could say it’s the paranoia of infrastructure: the belief that there is always a bigger story we don’t know, or that someone deliberately isn’t telling us, about how our cities came to be the way they are today. We see this in everything from the water-theft politics of Chinatown to the high-speed rail conspiracies of True Detective Season 2, to this teleportation chamber disguised in plain sight in Brompton Cemetery.

The fact that this story has an atmosphere of the occult only makes literal the notion that the real histories of our cities, the true tales of backstage deals, hidden interests, and untold corruption that made them what they are, have been purposefully obscured from us—they have been occulted—by mysterious figures who prefer we don’t know.

It’s as if narrative paranoia is the default note of infrastructural investigation.

[Image: An otherwise unrelated photo of a “Stela fragment of Horiaa,” courtesy of the British Museum].

In any case, The Clerkenwell Kid keeps upping the ante. Remember those five teleportation chambers? Well, there were actually seven!

In dark collaboration, this legend goes, Bonomi and Warner set about constructing “a transportation grid around London” that would “reduce the time taken to travel the large distances of the vast, congested metropolis. To this end they built seven Egyptian teleportation chambers in the most suitable places they could find—in each of the seven new cemeteries that had been built in the capital from 1839.”

The Kid has a great phrase for this, referring to it as “the London funerary teleportation grid.” Surrounding the city like a seven-pointed star, these tombs formed a kind of mortuarial diagram—an urban-scale morbid force-field—that could zap people back and forth through Greenwich space-time.

I’s worth pointing out, however, that the rumors continue, leaking beyond the borders of Old Blighty, to suggest that there is yet another such transportation monument—but it’s over the English Channel, in Paris.

Even within the complicated mythology of these urban legends, this Parisian tomb is an outlier, but it brings with it an interesting plot development. That is, under the cover of developing something like a primitive military radar system that could protect the English Channel from foreign invasion, occult architects and Egyptologists were actually bilking the defense establishment to amass funds and construct this teleportation grid, scattered throughout the war-shadowed cemeteries of western Europe.

[Image: An otherwise unrelated photo of the “Coffin of Tpaeus,” courtesy of the British Museum].

Now all we need to do is uncover an undocumented Egyptian tomb somewhere in a rainy Swiss mountain churchyard or in the fog-shrouded hills outside Turin, perhaps designed by a bastard child of Bonomi, and we can help keep this urban legend alive…

Until then, for more information check out these three posts over at The Clerkenwell Kid.

Typographic Forestry and Other Landscapes of Translation

[Image: The cover for About Trees, edited by Katie Holten].

Artist Katie Holten—who participated in “Landscapes of Quarantine” a few years back—has just published an interesting book called About Trees.

It is essentially an edited compilation of texts about, yes, trees, but also about forests, landscapes of the anthropocene, unkempt wildness, altered ecosystems, and, more broadly speaking, the idea of nature itself.

It ranges from short texts by Robert Macfarlane—recently discussed here—to James Gleick, and from Amy Franceschini to Natalie Jeremijenko. These join a swath of older work by Jorge Luis Borges, with even Radiohead (“Fake Plastic Trees”) thrown in for good measure.

It’s an impressively nuanced selection, one that veers between the encyclopedic and the folkloric, and it has been given a great and memorable graphic twist by the fact that Holten, working with designer Katie Brown, generated a new font using nothing less than the silhouettes of trees.

Every letter of the alphabet corresponds to a specific species of tree.

[Image: The tree typeface from About Trees, edited by Katie Holten].

This has been put to good use, re-setting the existing texts using this new font—with the delightful effect of seeing the work of Jorge Luis Borges transcribed, in effect, into trees.

This has the awesome implication that someone could actually plant this: a typographic forestry of Borges translations.

[Image: Borges, translated into trees, from About Trees].

Speculative short stories realized as ornamental thickets in the backyards of arboreally inclined landowners.

Given all the urban parks, hedge mazes, and scientifically accurate themed gardens of the world—two of my favorites being the exquisite Silver Garden at Longwood Gardens and the scifi otherworldliness of the Desert Garden at the Huntington—surely there is room for a kind of translation landscape?

Stories and fables—koans, slogans, poems, wisecracks—planted as cryptoforests, literary labyrinths you could somehow, impossibly, read provided you know what each species is meant to signify.

Just take Holten’s typeface as a new kind of planting guide, and see what landscapes might result.

[Image: From About Trees].

Holten’s About Trees is available for purchase, of course, if you want to check it out; in the meantime, I’ll keep my fingers crossed that someone actually implements a typographic grove somewhere, a planted language of texts flipped into readable tree-signs, sequenced using the font from About Trees.

In fact, recall the myth of Odin discovering the Nordic runes: hanging upside-down from a tree and mistaking, in the especially complicated carpet of roots sprawled out beneath him, the beginnings of a new typeface, an arboreal symbol system that could be written down and shared with others. Runes came from roots—and, as Holten implies, every tree contains a library.

Greek Gods, Moles, and Robot Oceans

[Image: The Very Low Frequency antenna field at Cutler, Maine, a facility for communicating with at-sea submarine crews].

There have been about a million stories over the past few weeks that I’ve been dying to write about, but I’ll just have to clear through a bunch here in one go.

1) First up is a fascinating request for proposals from the Defense Advanced Research Projects Agency, or DARPA, who is looking to build a “Positioning System for Deep Ocean Navigation.” It has the handy acronym of POSYDON.

POSYDON will be “an undersea system that provides omnipresent, robust positioning” in the deep ocean either for crewed submarines or for autonomous seacraft. “DARPA envisions that the POSYDON program will distribute a small number of acoustic sources, analogous to GPS satellites, around an ocean basin,” but I imagine there is some room for creative maneuvering there.

The idea of an acoustic deep-sea positioning system that operates similar to GPS is pretty interesting to imagine, especially considering the strange transformations sound undergoes as it is transmitted through water. To establish accurately that a U.S. submarine has, in fact, heard an acoustic beacon and that its apparent distance from that point is not being distorted by intervening water temperature, ocean currents, or even the large-scale presence of marine life is obviously quite an extraordinary challenge.

As DARPA points out, without such a system in place, “undersea vehicles must regularly surface to receive GPS signals and fix their position, and this presents a risk of detection.” The ultimate goal, then, would be to launch ultra-longterm undersea missions, even establish permanently submerged robotic networks that have no need to breach the ocean’s surface. Cthulhoid, they will forever roam the deep.

[Image: An unmanned underwater vehicle; U.S. Navy photo by S. L. Standifird].

If you think you’ve got what it takes, click over to DARPA and sign up.

2) A while back, I downloaded a free academic copy of a fascinating book called Space-Time Reference Systems by Michael Soffel and Ralf Langhans.

Their book “presents an introduction to the problem of astronomical–geodetical space–time reference systems,” or radically offworld navigation reference points for when a craft is, in effect, well beyond any known or recognizable landmarks in space. Think of it as a kind of new longitude problem.

The book is filled with atomic clocks, quasars potentially repurposed as deep-space orientation beacons, the long-term shifting of “astronomical reference frames,” and page after page of complex math I make no claim to understand.

However, I mention this here because the POSYDON program is almost the becoming-cosmic of the ocean: that is, the depths of the sea reimagined as a vast and undifferentiated space within which mostly robotic craft will have to orient themselves on long missions. For a robotic submarine, the ocean is its universe.

3) The POSYDON program is just one part of a much larger militarization of the deep seas. Consider the fact that the U.S. Office of Naval Research is hoping to construct permanent “hubs” on the seafloor for recharging robot submarines.

These “hubs” would be “unmanned, underwater pods where robots can recharge undetected—and securely upload the intelligence they’ve gathered to Navy networks.” Hubs will be places where “unmanned underwater vehicles (UUVs) can dock, recharge, upload data and download new orders, and then be on their way.”

“You could keep this continuous swarm of UUVs [Unmanned Underwater Vehicles] wherever you wanted to put them… basically indefinitely, as long as you’re rotating (some) out periodically for mechanical issues,” a Naval war theorist explained to Breaking Defense.

The ultimate vision is a kind of planet-spanning robot constellation: “The era of lone-wolf submarines is giving away [sic] to underwater networks of manned subs, UUVs combined with seafloor infrastructure such as hidden missile launchers—all connected to each other and to the rest of the force on the surface of the water, in the air, in space, and on land.” This would include, for example, the “upward falling payloads” program described on BLDGBLOG a few years back.

Even better, from a military communications perspective, these hubs would also act as underwater relay points for broadcasting information through the water—or what we might call the ocean as telecommunications medium—something that currently relies on ultra-low frequency radio.

There is much more detail on this over at Breaking Defense.

4) Last summer, my wife and I took a quick trip up to Maine where we decided to follow a slight detour after hiking Mount Katahdin to drive by the huge antenna field at Cutler, a Naval communications station found way out on a tiny peninsula nearly on the border with Canada.

[Image: The antenna field at Cutler, Maine].

We talked to the security guard for a while about life out there on this little peninsula, but we were unable to get a tour of the actual facility, sadly. He mostly joked that the locals have a lot of conspiracy theories about what the towers are actually up to, including their potential health effects—which isn’t entirely surprising, to be honest, considering the massive amounts of energy used there and the frankly otherworldly profile these antennas have on the horizon—but you can find a lot of information about the facility online.

So what does this thing do? “The Navy’s very-low-frequency (VLF) station at Cutler, Maine, provides communication to the United States strategic submarine forces,” a January 1998 white paper called “Technical Report 1761” explains. It is basically an east coast version of the so-called Project Sanguine, a U.S. Navy program from the 1980s that “would have involved 41 percent of Wisconsin,” turning the Cheese State into a giant military antenna.

Cutler’s role in communicating with submarines may or may not have come to an end, making it more of a research facility today, but the idea that, even if this came to an end with the Cold War, isolated radio technicians on a foggy peninsula in Maine were up there broadcasting silent messages into the ocean that were meant to be heard only by U.S. submarine crews pinging around in the deepest canyons of the Atlantic is both poetic and eerie.

[Image: A diagram of the antennas, from the aforementioned January 1998 research paper].

The towers themselves are truly massive, and you can easily see them from nearby roads, if you happen to be anywhere near Cutler, Maine.

In any case, I mention all this because behemoth facilities such as these could be made altogether redundant by autonomous underwater communication hubs, such as those described by Breaking Defense.

5) “The robots are winning!” Daniel Mendelsohn wrote in The New York Review of Books earlier this month. The opening paragraphs of his essay are is awesome, and I wish I could just republish the whole thing:

We have been dreaming of robots since Homer. In Book 18 of the Iliad, Achilles’ mother, the nymph Thetis, wants to order a new suit of armor for her son, and so she pays a visit to the Olympian atelier of the blacksmith-god Hephaestus, whom she finds hard at work on a series of automata:

…He was crafting twenty tripods
to stand along the walls of his well-built manse,
affixing golden wheels to the bottom of each one
so they might wheel down on their own [automatoi] to the gods’ assembly
and then return to his house anon: an amazing sight to see.

These are not the only animate household objects to appear in the Homeric epics. In Book 5 of the Iliad we hear that the gates of Olympus swivel on their hinges of their own accord, automatai, to let gods in their chariots in or out, thus anticipating by nearly thirty centuries the automatic garage door. In Book 7 of the Odyssey, Odysseus finds himself the guest of a fabulously wealthy king whose palace includes such conveniences as gold and silver watchdogs, ever alert, never aging. To this class of lifelike but intellectually inert household helpers we might ascribe other automata in the classical tradition. In the Argonautica of Apollonius of Rhodes, a third-century-BC epic about Jason and the Argonauts, a bronze giant called Talos runs three times around the island of Crete each day, protecting Zeus’s beloved Europa: a primitive home alarm system.

Mendelsohn goes on to discuss “the fantasy of mindless, self-propelled helpers that relieve their masters of toil,” and it seems incredibly interesting to read it in the context of DARPA’s now even more aptly named POSYDON program and the permanent undersea hubs of the Office of Naval Research. Click over to The New York Review of Books for the whole thing.

6) If the oceanic is the new cosmic, then perhaps the terrestrial is the new oceanic.

The Independent reported last month that magnetically powered underground robot “moles”—effectively subterranean drones—could potentially be used to ferry objects around beneath the city. They are this generation’s pneumatic tubes.

The idea would be to use “a vast underground network of pipes in a bid to bypass the UK’s ever more congested roads.” The company’s name? What else but Mole Solutions, who refer to their own speculative infrastructure as a network of “freight pipelines.”

[Image: Courtesy of Mole Solutions].

Taking a page from the Office of Naval Research and DARPA, though, perhaps these subterranean robot constellations could be given “hubs” and terrestrial beacons with which to orient themselves; combine with the bizarre “self-burying robot” from 2013, and declare endless war on the surface of the world from below.

See more at the Independent.

7) Finally, in terms of this specific flurry of links, Denise Garcia looks at the future of robot warfare and the dangerous “secrecy of emerging weaponry” that can act without human intervention over at Foreign Affairs.

She suggests that “nuclear weapons and future lethal autonomous technologies will imperil humanity if governed poorly. They will doom civilization if they’re not governed at all.” On the other hand, as Daniel Mendelsohn points out, we have, in a sense, been dealing with the threat of a robot apocalypse since someone first came up with the myth of Hephaestus.

Garcia’s short essay covers a lot of ground previously seen in, for example, Peter Singer’s excellent book Wired For War; that’s not a reason to skip one for the other, of course, but to read both. See more at Foreign Affairs.

(Thanks to Peter Smith for suggesting we visit the antennas at Cutler).

Unsolving the City: An Interview with China Miéville

The work of novelist China Miéville is well-known—and increasingly celebrated—for its urban and architectural imagery.

In his 2000 novel Perdido Street Station, for instance, an old industrial scrapyard on the underside of the city, full of discarded machine parts and used electronic equipment, suddenly bootstraps itself into artificial intelligence, self-rearranging into a tentacular and sentient system. In The Scar, a floating city travels the oceans, lashed together from the hulls of captured ships:

They were built up, topped with structure, styles and materials shoved together from a hundred histories and aesthetics into a compound architecture. Centuries-old pagodas tottered on the decks of ancient oarships, and cement monoliths rose like extra smokestacks on paddlers stolen from southern seas. The streets between the buildings were tight. They passed over the converted vessels on bridges, between mazes and plazas, and what might have been mansions. Parklands crawled across clippers, above armories in deeply hidden decks. Decktop houses were cracked and strained from the boats’ constant motion.

In his story “The Rope of the World,” originally published in Icon, a failed space elevator becomes the next Tintern Abbey, an awe-inspiring Romantic ruin in the sky. In “Reports Of Certain Events In London,” from the collection Looking for Jake, Miéville describes how constellations of temporary roads flash in and out through nighttime London, a shifting vascular geography of trap streets, only cataloged by the most fantastical maps.

And in his 2004 novel Iron Council, Miéville imagines something called “slow sculpture,” a geologically sublime new artform by which huge blocks of sandstone are “carefully prepared: shafts drilled precisely, caustic agents dripped in, for a slight and so-slow dissolution of rock in exact planes, so that over years of weathering, slabs would fall in layers, coming off with the rain, and at very last disclosing their long-planned shapes. Slow-sculptors never disclosed what they had prepared, and their art revealed itself only long after their deaths.”

BLDGBLOG has always been interested in learning how novelists see the city—how spatial descriptions of things like architecture and landscape can have compelling effects, augmenting both plot and emotion in ways that other devices, such as characterization, sometimes cannot. In earlier interviews with such writers as Patrick McGrath, Kim Stanley Robinson, Zachary Mason, Jeff VanderMeer, Tom McCarthy, and Mike Mignola, we have looked at everything from the literary appeal and narrative usefulness of specific buildings and building types to the descriptive influence of classical landscape painting, and we have entertained the idea that the demands of telling a good story often give novelists a more subtle and urgent sense of space even than architects and urban planners.

Over the course of the following long interview, China Miéville discusses the conceptual origins of the divided city featured in his recent, award-winning novel The City and The City; he points out the interpretive limitations of allegory, in a craft better served by metaphor; we take a look at the “squid cults” of Kraken (which arrives in paperback later this month) and maritime science fiction, more broadly; the seductive yet politically misleading appeal of psychogeography; J.G. Ballard and the clichés of suburban perversity; the invigorating necessities of urban travel; and much more.

[Image: China Miéville, photographed by Andrew Testa, courtesy of the New York Times].

• • •

BLDGBLOG: I’d like to start with The City and The City. What was your initial attraction to the idea of a divided city, and how did you devise the specific way in which the city would be split?

China Miéville: I first thought of the divided city as a development from an earlier idea I had for a fantasy story. That idea was more to do with different groups of people who live side-by-side but, because they are different species, relate to the physical environment very, very differently, having different kinds of homes and so on. It was essentially an exaggeration of the way humans and rats live in London, or something similar. But, quite quickly, that shifted, and I began to think about making it simply human.

For a long time, I couldn’t get the narrative. I had the setting reasonably clear in my head and, then, once I got that, a lot of things followed. For example, I knew that I didn’t want to make it narrowly, allegorically reductive, in any kind of lumpen way. I didn’t want to make one city heavy-handedly Eastern and one Western, or one capitalist and one communist, or any kind of nonsense like that. I wanted to make them both feel combined and uneven and real and full-blooded. I spent a long time working on the cities and trying to make them feel plausible and half-remembered, as if they were uneasily not quite familiar rather than radically strange.

I auditioned various narrative shapes for the book and, eventually, after a few months, partly as a present to my Mum, who was a big crime reader, and partly because I was reading a lot of crime at the time and thinking about crime, I started realizing what was very obvious and should have been clear to me much earlier. That’s the way that noir and hard-boiled and crime procedurals, in general, are a kind of mythic urbanology, in a way; they relate very directly to cities.

Once I’d thought of that, exaggerating the trope of the trans-jurisdictional police problem—the cops who end up having to be on each other’s beats—the rest of the novel just followed immediately. In fact, it was difficult to imagine that I hadn’t been able to work it out earlier. That was really the genesis.

I should say, also, that with the whole idea of a divided city there are analogies in the real world, as well as precursors within fantastic fiction. C. J. Cherryh wrote a book that had a divided city like that, in some ways, as did Jack Vance. Now I didn’t know this at the time, but I’m also not getting my knickers in a twist about it. If you think what you’re trying to do is come up with a really original idea—one that absolutely no one has ever had before—you’re just kidding yourself.

You’re inevitably going to tread the ground that the greats have trodden before, and that’s fine. It simply depends on what you’re able to do with it.

BLDGBLOG: Something that struck me very strongly about the book was that you manage to achieve the feel of a fantasy or science fiction story simply through the description of a very convoluted political scenario. The book doesn’t rely on monsters, non-humans, magical technologies, and so on; it’s basically a work of political science fiction.

Miéville: This is impossible to talk about without getting into spoiler territory—which is fine, I don’t mind that—but we should flag that right now for anyone who hasn’t read it and does want to read it.

But, yes, the overtly fantastical element just ebbed and ebbed, becoming more suggestive and uncertain. Although it’s written in such a way that there is still ambiguity—and some readers are very insistent on focusing on that ambiguity and insisting on it—at the same time, I think it’s a book, like all of my books, for which, on the question of the fantastic, you might want to take a kind of Occam’s razor approach. It’s a book that has an almost contrary relation to the fantastic, in a certain sense.

[Image: The marbled intra-national sovereignties of Baarle-Hertog].

BLDGBLOG: In some ways, it’s as if The City and The City simply describes an exaggerated real-life border condition, similar to how people live in Jerusalem or the West Bank, Cold War Berlin or contemporary Belfast—or even in a small town split by the U.S./Canada border, like Stanstead-Derby Line. In a sense, these settlements consist of next-door neighbors who otherwise have very complicated spatial and political relationships to one another. For instance, I think I sent you an email about a year ago about a town located both on and between the Dutch-Belgian border, called Baarle-Hertog.

Miéville: You did!

BLDGBLOG: I’m curious to what extent you were hoping to base your work on these sorts of real-life border conditions.

Miéville: The most extreme example of this was something I saw in an article in the Christian Science Monitor, where a couple of poli-sci guys from the State Department or something similar were proposing a solution to the Arab-Israeli conflict. In the case of Jerusalem, they were proposing basically exactly this kind of system, from The City and The City, in that you would have a single urban space in which different citizens are covered by completely different juridical relations and social relations, and in which you would have two overlapping authorities.

I was amazed when I saw this. I think, in a real world sense, it’s completely demented. I don’t think it would work at all, and I don’t think Israel has the slightest intention of trying it.

My intent with The City and The City was, as you say, to derive something hyperbolic and fictional through an exaggeration of the logic of borders, rather than to invent my own magical logic of how borders could be. It was an extrapolation of really quite everyday, quite quotidian, juridical and social aspects of nation-state borders: I combined that with a politicized social filtering, and extrapolated out and exaggerated further on a sociologically plausible basis, eventually taking it to a ridiculous extreme.

But I’m always slightly nervous when people make analogies to things like Palestine because I think there can be a danger of a kind of sympathetic magic: you see two things that are about divided cities and so you think that they must therefore be similar in some way. Whereas, in fact, in a lot of these situations, it seems to me that—and certainly in the question of Palestine—the problem is not one population being unseen, it’s one population being very, very aggressively seen by the armed wing of another population.

In fact, I put those words into Borlu’s mouth in the book, where he says, “This is nothing like Berlin, this is nothing like Jerusalem.” That’s partly just to disavow—because you don’t want to make the book too easy—but it’s also to make a serious point, which is that, obviously, the analogies will occur but sometimes they will obscure as much as they illuminate.

[Image: The international border between the U.S. and Canada passes through the center of a library; photo courtesy of the Center for Land Use Interpretation. “Technically, any time anyone crosses the international line, they are subject to having to report, in person, to a port of entry inspection station for the country they are entering,” CLUI explains. “Visiting someone on the other side of the line, even if the building is next door, means walking around to the inspection station first, or risk being an outlaw. Playing catch on Maple Street/Rue Ball would be an international event, and would break no laws presumably, so long as each time the ball was caught, the recipient marched over to customs to declare the ball.”].

BLDGBLOG: Your books often lend themselves to political readings, on the other hand. Do you write with specific social or political allegories in mind, and, further, how do your settings—as in The City and The City—come to reflect political intentions, spatially?

Miéville: My short answer is that I dislike thinking in terms of allegory—quite a lot. I’ve disagreed with Tolkien about many things over the years, but one of the things I agree with him about is this lovely quote where he talks about having a cordial dislike for allegory.

The reason for that is partly something that Frederic Jameson has written about, which is the notion of having a master code that you can apply to a text and which, in some way, solves that text. At least in my mind, allegory implies a specifically correct reading—a kind of one-to-one reduction of the text.

It amazes me the extent to which this is still a model by which these things are talked about, particularly when it comes to poetry. This is not an original formulation, I know, but one still hears people talking about “what does the text mean?”—and I don’t think text means like that. Texts do things.

I’m always much happier talking in terms of metaphor, because it seems that metaphor is intrinsically more unstable. A metaphor fractures and kicks off more metaphors, which kick off more metaphors, and so on. In any fiction or art at all, but particularly in fantastic or imaginative work, there will inevitably be ramifications, amplifications, resonances, ideas, and riffs that throw out these other ideas. These may well be deliberate; you may well be deliberately trying to think about issues of crime and punishment, for example, or borders, or memory, or whatever it might be. Sometimes they won’t be deliberate.

But the point is, those riffs don’t reduce. There can be perfectly legitimate political readings and perfectly legitimate metaphoric resonances, but that doesn’t end the thing. That doesn’t foreclose it. The text is not in control. Certainly the writer is not in control of what the text can do—but neither, really, is the text itself.

So I’m very unhappy about the idea of allegoric reading, on the whole. Certainly I never intend my own stuff to be allegorical. Allegories, to me, are interesting more to the extent that they fail—to the extent that they spill out of their own bounds. Reading someone like George MacDonald—his books are extraordinary—or Charles Williams. But they’re extraordinary to the extent that they fail or exceed their own intended bounds as Christian allegory.

When Iron Council came out, people would say to me: “Is this book about the Gulf War? Is this book about the Iraq War? You’re making a point about the Iraq War, aren’t you?” And I was always very surprised. I was like, listen: if I want to make a point about the Iraq War, I’ll just say what I think about the Iraq War. I know this because I’ve done it. I write political articles. I’ve written a political book. But insisting on that does not mean for a second that I’m saying—in some kind of unconvincing, “cor-blimey, I’m just a story-teller, guvnor,” type-thing—that these books don’t riff off reality and don’t have things to say about it.

There’s this very strange notion that a writer needs to smuggle these other ideas into the text, but I simply don’t understand why anyone would think that that’s what fiction is for.

BLDGBLOG: There are also very basic historical and referential limits to how someone might interpret a text allegorically. If Iron Council had been written twenty years from now, for instance, during some future war between Taiwan and China, many readers would think it was a fictional exploration of that, and they’d forget about the Iraq War entirely.

Miéville: Sure. And you don’t want to disavow these readings. You may think, at this point in this particular book, I actually do want to make a genuine policy prescription. With my hand on my heart, I don’t think I have ever done that, but, especially if you write with a political texture, you certainly have to take readings like this on the chin.

So, when people say: are you really talking about this? My answer is generally not no—it’s generally yes, but… Or yes, and… Or yes… but not in the way that you mean.

[Image: “The way a cop inhabits the city is doubtless a fascinating thing…” Photo courtesy of the NYPD].

BLDGBLOG: Let’s go back to the idea of the police procedural. It’s intriguing to compare how a police officer and a novelist might look at the city—the sorts of details they both might notice or the narratives they both might pick up on. Broadly speaking, each engages in detection—a kind of hermeneutics of urban space. How did this idea of urban investigation—the “mythic urbanology” you mentioned earlier—shape your writing of The City and The City?

Miéville: On the question of the police procedural and detection, for me, the big touchstones here were detective fiction, not real police. Obviously they are related, but they’re related in a very convoluted, mediated way.

What I wanted to do was write something that had a great deal of fidelity—hopefully not camp fidelity, but absolute rigorous fidelity—to certain generic protocols of policing and criminology. That was the drive, much more than trying to find out how police really do their investigations. The way a cop inhabits the city is doubtless a fascinating thing, but what was much more important to me for this book was the way that the genre of crime, as an aesthetic field, relates to the city.

The whole notion of decoding the city—the notion that, in a crime drama, the city is a text of clues, in a kind of constant, quantum oscillation between possibilities, with the moment of the solution really being a collapse and, in a sense, a kind of tragedy—was really important to me.

Of course, I’m not one of those writers who says I don’t read reviews. I do read reviews. I know that some readers were very dissatisfied with the strict crime drama aspect of it. I can only hold up my hands. It was extremely strict. I don’t mean to do that kind of waffley, unconvincing, writerly, carte blanche, get-out-clause of “that was the whole point.” Because you can have something very particular in mind and still fuck it up.

But, for me, given the nature of the setting, it was very important to play it absolutely straight, so that, having conceived of this interweaving of the cities, the actual narrative itself would remain interesting, and page-turning, and so on and so forth. I wanted it to be a genuine who-dunnit. I wanted it to be a book that a crime reader could read and not have a sense that I had cheated.

By the way, I love that formulation of crime-readers: the idea that a book can cheat is just extraordinary.

BLDGBLOG: Can you explain what you mean, in this context, by being rigorous? You were rigorous specifically to what?

Miéville: The book walks through three different kinds of crime drama. In section one and section two, it goes from the world-weary boss with a young, chippy sidekick to the mismatched partners who end up with grudging respect for each other. Then, in part three, it’s a political conspiracy thriller. I quite consciously tried to inhabit these different iterations of crime writing, as a way to explore the city.

But this has all just been a long-winded way of saying that I would not pretend or presume any kind of real policing knowledge of the way cities work. I suspect, probably, like most things, actual genuine policing is considerably less interesting than it is in its fictionalized version—but I honestly don’t know.

[Images: New York City crime scene photographs].

BLDGBLOG: There’s a book that came out a few years ago called The Meadowlands, by Robert Sullivan. At one point, Sullivan tags along with a retired detective in New Jersey who reveals that, now that he’s retired, he no longer really knows what to do with all the information he’s accumulated about the city over the years. Being retired means he basically knows thousands of things about the region that no longer have any real use for him. He thus comes across as a very melancholy figure, almost as if all of it was supposed to lead up to some sort of narrative epiphany—where he would finally and absolutely understand the city—but then retirement came along and everything went back to being slightly pointless. It was an interpretive comedown, you might say.

Miéville: That kind of specialized knowledge, in any field, can be intoxicating. If you experience a space—say, a museum—with a plumber, you may well come out with a different sense of the strengths and weaknesses of that museum—considering the pipework, as well, of course, as the exhibits—than otherwise. This is one reason I love browsing specialist magazines in fields about which I know nothing.

Obviously, then, with something that is explicitly concerned with uncovering and solving, it makes perfect sense that seeing the city through the eyes of a police detective would give you a very self-conscious view of what’s happening out there.

In terms of fiction, though, I think, if anything, the drive is probably the opposite. Novelists have an endless drive to aestheticize and to complicate. I know there’s a very strong tradition—a tradition in which I write, myself—about the decoding of the city. Thomas de Quincey, Michael Moorcock, Alan Moore, Neil Gaiman, Iain Sinclair—that type-thing. The idea that, if you draw the right lines across the city, you’ll find its Kabbalistic heart and so on.

The thing about that is that it’s intoxicating—but it’s also bullshit. It’s bullshit and it’s paranoia—and it’s paranoia in a kind of literal sense, in that it’s a totalizing project. As long as you’re constantly aware of that, at an aesthetic level, then it’s not necessarily a problem; you’re part of a process of urban mythologization, just like James Joyce was, I suppose. But the sense that this notion of uncovering—of taking a scalpel to the city and uncovering the dark truth—is actually real, or that it actually solves anything, and is anything other than an aesthetic sleight of hand, can be quite misleading, and possibly even worse than that. To the extent that those texts do solve anything, they only solve mysteries that they created in the first place, which they scrawled over the map of a mucky contingent mess of history called the city. They scrawled a big question mark over it and then they solved it.

Arthur Machen does this as well. All the great weird fiction city writers do it. Machen explicitly talks about the strength of London, as opposed to Paris, in that London is more chaotic. Although he doesn’t put it in these words, I think what partly draws him to London is this notion that, in the absence of a kind of unifying vision, like Haussmann’s Boulevards, and in a city that’s become much more syncretic and messy over time, you have more room to insert your own aestheticizing vision.

As I say, it’s not in and of itself a sin, but to think of this as a real thing—that it’s a lived political reality or a new historical understanding of the city—is, I think, a misprision.

BLDGBLOG: You can see this, as well, in the rise of psychogeography—or, at least, some popular version of it—as a tool of urban analysis in architecture today. This popularity often fails to recognize that, no matter how fun or poetic an experience it genuinely might be, randomly wandering around Boston with an iPhone, for instance, is not guaranteed to produce useful urban insights.

Miéville: Some really interesting stuff has been done with psychogeography—I’m not going to say it’s without uses other than for making pretty maps. I mean, re-experiencing lived urban reality in ways other than how one is more conventionally supposed to do so can shine a new light on things—but that’s an act of political assertion and will. If you like, it’s a kind of deliberate—and, in certain contexts, radical—misunderstanding. Great, you know—good on you! You’ve productively misunderstood the city. But I think that the bombast of these particular—what are we in now? fourth or fifth generation?—psychogeographers is problematic.

Presumably at some point we’re going to get to a stage, probably reasonably soon, in which someone—maybe even one of the earlier generation of big psychogeographers—will write the great book against psychogeography. Not even that it’s been co-opted—it’s just wheel-spinning.

BLDGBLOG: In an interview with Ballardian, Iain Sinclair once joked that psychogeography, as a term, has effectively lost all meaning. Now, literally any act of walking through the city—walking to work in the morning, walking around your neighborhood, walking out to get a bagel—is referred to as “psychogeography.” It’s as if the experience of being a pedestrian in the city has become so unfamiliar to so many people, that they now think the very act of walking around makes them a kind of psychogeographic avant-garde.

Miéville: It’s no coincidence, presumably, that Sinclair started wandering out of the city and off into fields.

[Image: Art by Vincent Chong for the Subterranean Press edition of Kraken].

BLDGBLOG: This brings us to something I want to talk about from Kraken, which comes out in paperback here in the States next week. In that book, you describe a group of people called the Londonmancers. They’re basically psychogeographers with a very particular, almost parodically mystical understanding of the city. How does Kraken utilize this idea of an occult geography of greater London?

Miéville: Yes, this relates directly to what we were just saying. For various reasons, some cities refract, through aesthetics and through art, with a particular kind of flamboyancy. For whatever reason, London is one of them. I don’t mean to detract from all the other cities in the world that have their own sort of Gnosticism, but it is definitely the case that London has worked particularly well for this. There are a couple of moments in the book of great sentimentality, as well, written, I think, when I was feeling very, very well disposed toward London.

I think, in those terms, that I would locate myself completely in the tradition of London phantasmagoria. I see myself as very much doing that kind of thing. But, at the same time, as the previous answer showed, I’m also rather ambivalent to it and sort of impatient with it—probably with the self-hating zeal of someone who recognizes their own predilections!

Kraken, for me, in a relatively light-hearted and comedic form, is my attempt to have it both ways: to both be very much in that tradition and also to take the piss out of it. Reputedly, throughout Kraken, the very act of psychogeographic enunciation and urban uncovering is both potentially an important plot point and something that does uncover a genuine mystery; but it is also something that is ridiculous and silly, an act of misunderstanding. It’s all to do with what Thomas Pynchon, in Gravity’s Rainbow, called kute korrespondences: “hoping to zero in on the tremendous and secret Function whose name, like the permuted names of God, cannot be spoken.”

The London within Kraken feels, to me, much more dreamlike than the London of something like King Rat. That’s obviously a much earlier book, and I now write very differently; but King Rat, for all its flaws, is a book very much to do with its time. It’s not just to do with London; it’s to do with London in the mid-nineties. It’s a real, particular London, phantasmagorized.

But Kraken is also set in London—and I wanted to indulge all my usual Londonisms and take them to an absurd extreme. The idea, for example, as you say, of this cadre of mages called the Londonmancers: that’s both in homage to parts of that tradition, and also, hopefully, an extension of it to a kind of absurdity—the ne plus ultra, you know?

BLDGBLOG: Kraken also makes some very explicit maritime gestures—the squid, of course, which is very redolent of H.P. Lovecraft, but also details such as the pirate-like duo of Goss and Subby. This maritime thread pops up, as well, in The Scar, with its floating city of linked ships. My question is: how do your interests in urban arcana and myth continue into the sphere of the maritime, and what narrative or symbolic possibilities do maritime themes offer your work?

Miéville: Actually, I think I was very restrained about Lovecraft. I think the book mentions Cthulhu twice—which, for a 140,000 or 150,000-word novel about giant squid cults, is pretty restrained! That’s partly because, as you say, if you write a book about a tentacular monster with a strange cult associated with it, anyone who knows the field is going to be thinking immediately in terms of Lovecraft. And I’m very, very impressed by Lovecraft—he’s a big presence for me—but, partly for that very reason, I think Kraken is one of the least Lovecrafty things I’ve done.

As to the question of maritimism, like a lot of my interests, it’s more to do with how it has been filtered through fiction, rather than how it is in reality. In reality, I have no interest in sailing. I’ve done it, I think, once.

But maritime fiction, from Gulliver’s Travels onward, I absolutely love. I love that it has its own set of traditions; in some ways, it’s a kind of mini-canon. It has its own riffs. There are some lovely teasings of maritime fiction within Gulliver’s Travels where he gets into the pornography of maritime terminology: mainstays and capstans and mizzens and so on, which, again, feature quite prominently in The Scar.

[Image: “An Imaginary View of the Arsenale” by J.M.W. Turner, courtesy of the Tate].

BLDGBLOG: In the context of the maritime, I was speaking to Reza Negarestani recently and he mentioned a Russian novella from the 1970s called “The Crew Of The Mekong,” suggesting that I ask you about your interest in it. Reza, of course, wrote Cyclonopedia, which falls somewhere between, say, H.P. Lovecraft and ExxonMobil, and for which you supplied an enthusiastic endorsement.

Miéville: Yes, I was blown away by Reza’s book—partly just because of the excitement of something that seems genuinely unclassifiable. It really is pretty much impossible to say whether you’re reading a work of genre fiction or a philosophical textbook or both of the above. There’s also the slightly crazed pseudo-rigor of it, and the sense that this is philosophy as inspired by schlocky horror movies as much as by Alain Badiou.

There’s a phrase that Kim Newman uses: post-genre horror. It’s a really nice phrase for something which is clearly inflected in a horror way, and clearly emerges out of the generic tradition of horror, but is no longer reducible to it. I think that Reza’s work is a very, very good example of that. As such, Cyclonopedia is one of my favorite books of the last few years.

BLDGBLOG: So Reza pointed me to “The Crew of the Mekong,” a work of Russian maritime scifi. The authors describe it, somewhat baroquely, as “an account of the latest fantastic discoveries, happenings of the eighteenth century, mysteries of matter, and adventures on land and at sea.” What drew you to it?

Miéville: I can’t remember exactly what brought me to it, to be perfectly honest: it was in a secondhand bookshop and I bought it because it looked like an oddity.

It’s very odd in terms of the shape of its narrative; it sort of lurches, with a story within a story, including a long, extended flashback within the larger framing narrative, and it’s all wrapped up in this pulp shell. In terms of the story itself, if I recall, it was actually me who suggested it to Reza because it has loads of stuff in it about oil, plastic resins, and pipelines, and one of the characters works for an institute called the Institute of Surfaces, which deals with the weird physics and uncanny properties of surfaces and topology.

Some of the flashback scenes and some of the background I’ve seen described as proto-steampunk, which I think is highly anachronistic: it’s more of an elective affinity, that, if you like retro-futurity, you might also like this. At a bare minimum, it’s a book worth reading simply because it’s very odd; at a maximum, some of the things going on it are philosophically interesting, although in a bizarre way.

But foreign pulp always has that peculiar kind of feeling to it, because you have a distinct cultural remove. At its worst, that can lead to an awful kind of orientalism, but it’s undeniably fascinating as a reader.

BLDGBLOG: It’s interesting that depictions of maritime journeys can maintain such strong mythic and imaginative resonance, even across wildly different cultures, eras, genres, and artforms—whether it’s “The Crew of the Mekong” or The Scar, Valhalla Rising or Moby Dick.

Miéville: The maritime world in general is an over-determined symbol of pretty much anything you want it to be—just fill in the blank: yearning, manifest destiny, whatever. It’s a very fecund field. My own interest in it comes pretty much through fiction and, to a certain extent, art. I wish I had a bit more money, in fact, because I would buy a lot of those fairly cheap, timeless, uncredited, late 19th-century, early 20th-century seascapes that you see on sale in a lot of thrift shops.

You also mentioned Goss and Subby. Goss and Subby themselves I never thought of as pirates, in fact. They were my go at iterating the much-masticated trope of the freakishly monstrous duo, figures who are, in some way that I suspect is politically meaningful, and that one day I’ll try to parse, generally even worse than their boss. They often speak in a somewhat odd, stilted fashion, like Hazel and Cha-Cha, or Croup and Vandemar, or various others. The magisterial TV Tropes has a whole entry on such duos called “Those Two Bad Guys.” The tweak that I tried to add with Goss and Subby was to integrate an idea from a Serbian fairy-tale called—spoiler!—“BasCelik.” For anyone who knows that story, this is a big give-away.

Again, though, I think you have to ration your own predilections. I have always been very faithful to my own loves: I look at my notebooks or bits of paper from when I was four and, basically, my interests haven’t changed. Left to my own devices, I would probably write about octopuses, monsters, occasionally Tarzan, and that’s really it. From a fairly young age, the maritime yarn was one of those.

But you can’t just give into your own drives, or you simply end up writing the same book again and again.

[Image: Mapping old London].

BLDGBLOG: Along those lines, are there any settings or environments—or even particular cities—that would be a real challenge for you to work with? Put another way, can you imagine giving yourself a deliberate challenge to write a novel set out in the English suburbs, or even in a place like Los Angeles? How might that sort of unfamiliar, seemingly very un-Miéville-like landscape affect your plots and characters?

Miéville: That’s a very interesting question. I really like that approach, in terms of setting yourself challenges that don’t come naturally. It’s almost a kind of Oulipo approach. It’s tricky, though, because you have to find something that doesn’t come naturally, but, obviously, you don’t want to write about something that doesn’t interest you. It has to be something that interests you contradictorally, or contrarily.

To be honest, the suburbs don’t attract me, for a bunch of reasons. I think it’s been done to death. I think anyone who tried to do that after J. G. Ballard would be setting themselves up for failure. As I tried to say when I did my review of the Ballard collection for The Nation, one of the problems is that, with an awful lot of suburban art today, it is pitched as this tremendously outré and radical claim to say that the suburbs are actually hotbeds of perversity—whereas, in fact, that is completely the cliché now. If you wanted to do something interesting, you would have to write about terribly boring suburbs, which would loop all the way back round again, out of interesting, through meta-interesting, and back down again to boring. So I doubt I would do something set in the suburbs.

I am quite interested in wilderness. Iron Council has quite a bit of wilderness, and that was something that I really liked writing and that I’d like to try again.

But, to be honest, it’s different kinds of urban space that appeal to me. If you’re someone who can’t drive, like I can’t, you find a lot of American cities are not just difficult, but really quite strange. I spend a lot of time in Providence, Rhode Island, and it’s a nice town, but it just doesn’t operate like a British town. A lot of American towns don’t. The number of American cities where downtown is essentially dead after seven o’clock, or in which you have these strange little downtowns, and then these quite extensive, sprawling but not quite suburban surroundings that all call themselves separate cities, that segue into each other and often have their own laws—that sort of thing is a very, very strange urban political aesthetic to me.

I’ve been thinking about trying to write a story not just set, for example, in Providence, but in which Providence, or another city that operates in a very non-English—or non-my-English—fashion, is very much part of the structuring power of the story. I’d be interested in trying something like that.

But countries all around the world have their own specificities about the way their urban environments work. I was in India recently, for example. It was a very brief trip, and I’m sure some of this was just wish fulfillment or aesthetic speculation, but I became really obsessed with the way, the moment you touched down at a different airport, you got out and you breathed the air, Mumbai felt different to Delhi, felt different to Kolkata, felt different to Chennai.

Rather than syncretizing a lot of those elements, I’d like to try to be really, really faithful to one or another city, which is not my city, in the hopes that, being an outsider, I might notice certain aspects that otherwise one would not. There’s a certain type of ingenuous everyday inhabiting of a city, which is very pre-theoretical for something like psychogeography, but it brings its own insights, particularly when it doesn’t come naturally or when it goes wrong.

There’s a lovely phrase that I think Algernon Blackwood used to describe someone’s bewilderment: he describes him as being bewildered in the way a man is when he’s looking for a post box in a foreign city. It’s a completely everyday, quotidian thing, and he might walk past it ten times, but he doesn’t—he can’t—recognize it.

That kind of very, very low-level alienation—the uncertainty about how do you hail a taxi, how do you buy food in this place, if somebody yells something from their top window, why does everyone move away from this part of the street and not that part? It’s that kind of very low-level stuff, as opposed to the kind of more obvious, dramatic differences, and I think there might be a way of tapping into that knowledge, knowledge that the locals don’t even think to tell you, that might be an interesting way in.

To that extent, it would be cities that I like but in which I’m very much an outsider that I’d like to try to tap.

• • •

Thanks to China Miéville for finding time to have this conversation, including scheduling a phone call at midnight in order to wrap up the final questions. Thanks, as well, to Nicola Twilley, who transcribed 95% of this interview and offered editorial feedback while it was in process, and to Tim Maly who first told me about the towns of Derby Line–Stanstead.

Miéville’s newest book, Embassytown, comes out in the U.S. in May; show your support for speculative fiction and pre-order a copy soon. If you are new to Miéville’s work, meanwhile, I might suggest starting with The City and The City.