China Mieville on Tolkien and Epic/High Fantasy

re

But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies?

I am beginning to feel the main reason I don't see his point is because I game. Gamer's have been reading or participating in "radical fantasy" for years. The number of monsters and fantastic worlds created by people in the gaming industry probably puts most published author's to shame.

If China wants to read "radical fantasy", then he should game and read about gaming. I'm spoiled by the fact that I come here to En World and read all kinds of creative uses of traditional and non-traditional fantasy and science fiction.
I've played so many games with different, creative backstories that I don't even know what traditional fantasy is anymore.

I thought fantasy/sci fi books had moved in the same direction as gaming since many game designers draw their ideas from fantasy/sci literature.
 

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Hi again,

Posted by wortworm:
The rest of Runewind's post was well stated but that above is one hell of an 'ad hominum' attack (attacking the person instead of the argument).

That paragraph isn't really an argument or debate of the sort that might contain ad hominem or other logical fallacies - heck, I flatly agree with his premise in the opening statement :). It's just speculation on why he'd bother writing such an article, that happens to express some less-than-complimentary opinions of certain SF fans and aspects of Mieville's attitudes.

Posted by Olive:
To argue that the Shire had no heirarchies demonstrates a somewhat cursory reading in and of itself. Interesting point about Gondor, but with the wizards (which I've slipped for space) I think that there are heirarchies that aren't based on domination, but that can still be seen as bad if you are uncomfortable with heriarchy.

The Shire had a Mayor, who gave speeches, ran the postal system, and supervised the Shirrifs. It had a Thain, which was a vague title, and more or less honorary by the time of the events in LotR. It had wealthy families who owned a lot of land. This is a hierarchy? Simple elements of traditional polite deference in friendly business relationships (the Frodo-Sam "master-servant" thing) don't constitute a "hierarchy" to me.

"Hierarchies not based on domination" sounds a bit oxymoronic to me. Perhaps you mean Denethor-type insane rantings about Gandalf standing behind all thrones. But domination is still domination even if it is kept secret, and I think it would have changed the books considerably if Gandalf were really willing to do that.

Posted by Olive:
The other side of this coin is that Tolkein, who was involved in WW2, was to personally involved to have had any real emotional distance form it and therefore lacks the ability to make any kind of rational comment on it, unlike Meilville, who in case it matters, is as highly educated as Tolkein was.

It was the Great War (World War I) in which Tolkien served in the trenches, though he may have lost a son in World War II, and may have been in England during the Blitz. As to education - well, Mieville's writing is well-executed technically, but I don't think I'd consider any modern liberal-arts education comparable to what you could get from Oxford in its glory days, which is what Tolkien had. Nor is the young Mieville's education yet leavened by the years of life experience Tolkien had before writing LotR.

Posted by Olive:
'trendy poseur' isn't a particulalry helpful line for anything expect exposing your bias. It doesn't really mean anything as a term of analysis. That goes for the epithets used in the last paragraph too.

If by "exposing your bias" you mean "expressing my opinion" of how he stands in comparison to Tolkien, then yes, that is what those words were meant to do. They are not an argument in themselves.

Posted by Olive (quoting Moorcock):
What I found lacking in Tolkien which I had found in, for instance, the Elder Edda, was a sense of tragedy, of reality, of mankind's impermanence.

Man, I'd have expected more perception from him.

"Do you not see now wherefore your coming is to us as the footstep of Doom? For if you fail, then we are laid bare to the enemy. Yet if you succeed, then our power is diminished, and Lothlórien will fade, and the tides of Time will sweep it away. We must depart into the West, or dwindle to a rustic folk of dell and cave, slowly to forget and be forgotten."

"The love of the elves for their land and their works is deeper than the deeps of the sea, and their regret is undying and cannot ever wholly be assuaged. Yet they will cast all away rather than submit to Sauron: for they know him now."

"'Yet also I should be sad,' said Theodén. 'For however the fortune of war may go, may it not so end that much that was fair and wonderful shall pass for ever out of Middle-earth?'

'It may,' said Gandalf. 'The evil of Sauron cannot be wholly cured, nor made as if it had not been. But to such days we are doomed. Let us now go on with the journey we have begun!'"


"But I have been too deeply hurt, Sam. I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them."

Posted by Fast Learner:
All good stories have a message, imo.

As the old saying goes, "Art with a message is not art - it is propaganda." There's a reason MGM's logo contains the words ars gratia artis - art for art's sake.

Posted by Mark:
Is that available somewhere in print? Online, perhaps? If so, can you dig up a link?

It's right in the Forward to LotR.

"The real war does not resemble the legendary war in its process or its conclusion. If it had inspired or directed the development of the legend, then certainly the Ring would have been seized and used against Sauron; he would not have been annihilated but enslaved, and Barad-dûr would not have been destroyed but occupied. Saruman, failing to get possession of the Ring, would in the confusion and treacheries of the time have found in Mordor the missing links in his own researches into Ring-lore, and before long he would have made a Great Ring of his own with which to challenge the self-styled Ruler of Middle-Earth. In that conflict both sides would have held hobbits in hatred and contempt; they would not long have survived even as slaves."

Posted by Celtavian:
In the case of Tolkien, I don't think he intended for their to be a meaning.

Referring once again to the Forward...

"As for any inner meaning or 'message', it has in the intention of the author none. It is neither allegorical nor topical."

Hope this helps! :)
 

Celtavian said:
I am beginning to feel the main reason I don't see his point is because I game. Gamer's have been reading or participating in "radical fantasy" for years. The number of monsters and fantastic worlds created by people in the gaming industry probably puts most published author's to shame.

The industry may be coming up with some innovative settings, but I'll bet that most of the gamers out there are running campaigns that bear more resemblence to Middle Earth than anything else.
 

Hm. Lots of stuff gone on before I noticed this thread. Let's see...

On the subject of heirarchy and Tolkien, I'll only add that the master-servant heirarchy is maintained through most of the books, but at the end even it is broken - before leaving for the West, Frodo mentions that Sam will likely be mayor. The servant overcomes his low state in the heirarchy to eventually become top dog. Hardly status-quo there.

As to the original thesis:

I think there's something to be said for the idea that Sci-fi and Fantasy are both the same genre, and different genres. Not so much a matter of being wishy-washy as it is a matter of duality.

The genres do have many similarities - fantastic events and abilities being foremost. And, as the old saying goes, sufficiently advanced technology is indistinguishable from magic. However, a genre is typically defined by the conventions it uses, and there the genres do have differences. Some may claim they are not meaningful, but I'd have to go with a practical approach there. The differences are strong enough to lead many people to read one of the genres, but not the other. I cannot see how, to the reader, those differences can be said to be meaningless. In the end, if the readers tend to think they are different genres, then they are different, whether Meiville likes it or not.

Meiville contends that generally there's a correlation - those who tend to separate the genres are also those who pan fantasy. Well, yes. You cannot pan one of the genres without first separating them. It's a logical necessity of the position.

I think Meiville is revealing a strong bias, slant, or lack of perspective. As often as I've seen folks say that fantasy is crap, I've seen other folks say that sci-fi is crap. Even more common is that statement that any genre fiction is crap. As was noted by another poster, 90% of everything is crap. So, while some of what Meiville may be saying is true in some sense, I find it to be only half the story, and thus misleading.

It is true that being widely read outside of fiction will help an author. However, to say that an author should avoid reading within their genre is to say that authors should deny what is taken as a basic truth by most other art forms - one of the best ways to be a great artist is to be a student of art. Great painters are generally students of art history and the techniques of other painters. Same for dance, sculpture, music, what have you. Authors should somehow be different?
 


Dragonblade said:
China being an out and out socialist doesn't surprise me. His ignorance of the mythic tradition built upon by Tolkien and subsequent leftist rant against Tolkien are amusing.
I don't know that Mieville is ignorant of the mythic tradition. For the most part, his complaints about Tolkien don't really address any mythic ideas, he's more about the deeper implied messages of an Edwardian status quo with country gentlemen and their relationship to their lesser neighbors. It's one that completely grates the wrong way against a socialist (as Mieville seems to be in many respects) but doesn't have anything to do with any mythic themes Tolkien has.

To address the quote from the forward that says there is no message, if you read further down in the same document (if I recall correctly), Tolkien specifically states that he doesn't like purposed domination by the author, he prefers applicability to the experiences of the reader. That is, his quote is hardly is to mean that certain themes and broad concepts aren't explored, either on the surface or below, merely that he doesn't put them in your face. Personally, I believe it's impossible to write anything without a message, although certainly you can make your message as innocuous and inconspicuous as possible. But, if you look hard enough, author's -- by default -- are saying something.
 
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Celtavian said:
If China wants to read "radical fantasy", then he should game and read about gaming. I'm spoiled by the fact that I come here to En World and read all kinds of creative uses of traditional and non-traditional fantasy and science fiction.
I've played so many games with different, creative backstories that I don't even know what traditional fantasy is anymore.
Actually, China used to be a gamer, and still follows the gaming industry to some degree and buys books. He talks about it in this interview on RPGnet: http://www.rpg.net/news+reviews/columns/china24apr02.html

For those who don't want to read the whole thing (it's not too long), here is the relevent question & answer:
GMS: You once mentioned to me that you've done some gaming. What sort of stuff did you get into?

MIÉVILLE: I used to roleplay quite a lot between the ages of about 11 and about 14. I started out with D&D and AD&D, but pretty quickly got into other stuff. The games I was most interested in were Call of Cthulhu and RuneQuest - though in my time I've also played Bushido, Villains & Vigilantes, MERP, Traveller, Paranoia, Star Frontiers, Boot Hill, TMNT, Toon and some others... I was always most into the Chaosium 'engine', the percentile system, skill-based, not levels.

I've not played for many years, and to be honest don't really have much desire to, but I'm still very interested in the games. Periodically I buy some sourcebook or rulebook or other, to keep a little track of what's going on in the world. I'm interested in the World of Darkness stuff - I thought the source stuff for Wraith was superb - though I don't like the point-allocation for character creation so much (not enough contingency).

I do find the systematicity of the world creation in RPGs quite inspiring in my own work. I think it would be totally cool if someone wanted to set an RPG in the world of Perdido. There's a site where someone's got a PBEM up - but it doesn't look like anyone wants to play!
And in another interview at Strangehorizons.com (http://www.strangehorizons.com/2001/20011001/china.shtml) he has the following to say about gaming:

Cheryl: You mentioned White Dwarf (Games Workshop's house magazine). That indicates a background in role-playing. Has that been an inspiration to you in your writing?
China: It has. I used to play a lot of games, between the ages of about 10 and 13. I haven't played them for about 12 to 13 years and I have no interest in playing them again, but I have a great interest in them as a cultural phenomenon. I quite often buy and read game manuals because I am interested in the way that people design their worlds, and how they decide to delineate them.
 
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Joshua Dyal said:
There's a difference between allegory and having a message or deeper meaning on broad levels.

*nod*. Quite true. In addition, the author's stated, conscious intent is not the end-all be-all in determining what is in the story.

Tolkien was a man of his times. He wasn't particularly happy with where it seemd the world was headed, and mourned the disappearance of some things from the world. That shows in the writing. Whether or not he intended to write a story about an idealized master-servant relationship, it's there on the page. Whether or not he wanted to write a WWI allegory, he wrote about what he knew. Some of his personal opinion and experience with war does seem to be pretty clearly present in the work.
 

My take:

Two untrue things are commonly claimed about fantasy. The first is that fantasy and science fiction are fundamentally different genres. The second is that fantasy is crap.

It's usually those who claim the first who also claim the second. The idea is that where SF is radical, exploratory and intellectually adventurous, fantasy is badly written, clichéd and obsessed with backwards-looking dreams of the past - feudal daydreams of Good Kings and Fair Maidens.

http://www.panmacmillan.com/Features/China/debate.htm

I think Mieville has hit a couple of nails on the head. What I see him trying to do in the piece is to emphasise the stuff that sits in "between" genre archetypes of Hard Science Fiction and Epic Fantasy. I also think his championing of wierd fiction is a very good thing. There's a whole type of fantasy fiction which has been submerged by Tolkien spawned epic fantasy. This is the sort of Lovecraft and Ashton Smith type fantastic literature published in Weird Tales and Robert E. Howard and Moorcock style "Sword and Sorcery" that there isn't that much of. He also brings up the "Surrealist" Gormenghast style stuff. I am in total agreement with this.

He then shoots himself in the foot with a totally misguided attack on Tolkien. I don't think you can justifiably blame Tolkien for what his imitators have inflicted upon the reading public. I also think a lot of what he says about the Lord of the Rings is just wrong. I've recently re-read it after five years and was shocked at just how bleak it is and, how even though I've read much more stuff since, it's still unique. There's a lot of complexity and depth in Tolkien that just isn't in the Tolkien spin-offs. I can see Mieville point about the sheer dominance of second-rate LotR clones. But Tolkein does represent a powerful tradition of Norse/Authurian saga in fantasy, and I don't think ditching it is a good idea.

If you look at what the recent "success stories" in the genre are, you've got Harry Potter, His Dark Materials, A Song of Ice and Fire. There's no Tolkien style elf-opera, I do think the genre is moving away from it and this is a good thing.

nikolai.
 
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re

I think it is impossible to write a story without meaning, but it is easy to write a story without a message.

A message is something entirely different in my opinion than meaning. When an author attemps to send a message, they are purposefully writing about a particular topic with a particular point.

Meaning is more often dependent on an author's or reader's individual experience and education.

I don't believe Tolkien intended to send a message, but the work had a great deal of meaning to him and because of this it will inevitably have meaning to those who read it. I know some people spend countless hours trying to figure out the intentions of the Professor. Given his life, I cannot help but think that just like so many others who live within the confines of human society simple escapism was his goal, for himself and happily for others who have had the joy of reading his work.
 

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