Artwork by Crush
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You should first know two things about China Miéville’s Embassytown. One: it has a pullquote on the front cover from Ursula K. Le Guin branding it as “a fully achieved work of art”. Two: the back cover summary so confused me that I fled to the nearest young adult fiction, which happened at the time to be Railsea, as I was cornered by a small army of Miévilles as if in ultimatum.
Keep those in mind when I say, to talk about the structure of Embassytown is to juggle sand. It’s a wonderful, fascinating, elusive beast, in part because of a thematic richness to which I can’t do justice here, and in part because of its structural metacommentary on left-wing politics in colonial states, to which I can. It’s mainly elusive because of what the end of Embassytown says about the start of Embassytown. And since this is a book interested in describing the breach of a world-shattering status quo change, it’s elusive because in the fuzzy emotional space of newfound self-awareness, my mind four hundred pages ago is estranged to my mind now. Continue reading