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Chapters (68)
  1. Title Page
  2. Dedication
  3. Acknowledgments
  4. Epigraph
  5. Map
  6. Part 1
  7. Chapter 1
  8. Chapter 2
  9. Chapter 3
  10. Chapter 4
  11. Chapter 5
  12. Part 2
  13. Chapter 6
  14. Chapter 7
  15. Chapter 8
  16. Chapter 9
  17. Chapter 10
  18. Chapter 11
  19. Chapter 12
  20. Chapter 13
  21. Chapter 14
  22. Chapter 15
  23. Chapter 16
  24. Chapter 17
  25. Part 3
  26. Chapter 18
  27. Chapter 19
  28. Chapter 20
  29. Chapter 21
  30. Chapter 22
  31. Chapter 23
  32. Chapter 24
  33. Chapter 25
  34. Chapter 26
  35. Part 4
  36. Chapter 27
  37. Chapter 28
  38. Chapter 29
  39. Chapter 30
  40. Chapter 31
  41. Chapter 32
  42. Chapter 33
  43. Part 5
  44. Chapter 34
  45. Chapter 35
  46. Chapter 36
  47. Chapter 37
  48. Chapter 38
  49. Chapter 39
  50. Chapter 40
  51. Chapter 41
  52. Part 6
  53. Chapter 42
  54. Chapter 43
  55. Chapter 44
  56. Chapter 45
  57. Part 7
  58. Chapter 46
  59. Chapter 47
  60. Chapter 48
  61. Chapter 49
  62. Chapter 50
  63. Chapter 51
  64. Part 8
  65. Chapter 52
  66. Other Books by China Miéville
  67. Praise for Perdido Street Station
  68. Copyright

“It’s so . . . predictable. You’re still not looking the right way. At all. It’s a wonder you can create such art. You still see this—” he gesticulated vaguely at his own body with a monkey’s paw “—as pathology. You’re still interested in what was and how it went wrong. This is not error or absence or mutancy: this is image and essence . . .” His voice rang around the rafters.

He calmed a little and lowered his many arms.

“This is totality.”

She nodded to show that she understood, too tired to be intimidated.

“Maybe I’m too hard on you,” Mr. Motley said reflectively. “I mean . . . this piece before us makes it clear that you have a sense of the ruptured moment, even if your question suggests the opposite . . . So maybe,” he continued slowly, “you yourself contain that moment. Part of you understands without recourse to words, even if your higher mind asks questions in a format which renders an answer impossible.”

He looked at her triumphantly.

“You too are the bastard-zone, Ms. Lin! Your art takes place where your understanding and your ignorance blur.”

Fine, she signed as she gathered her things. Whatever. Sorry I asked.

“So was I, but not any more, I think,” he replied.

Lin folded her wooden case around her stained pallet, around the remaining colourberries (she needed more, she saw) and the blocks of paste. Mr. Motley continued with his philosophical ramblings, his ruminations on mongrel theory. Lin was not listening. She tuned her antennae away from him, felt the tiny ructions and rumblings of the house, the weight of the air on the window.

I want a sky above me, she thought, not this ancient dusty brace of beams, this tarred, brittle roof. I’m walking home. Slowly. Through Brock Marsh.

Her resolution increased as her thoughts progressed.

I’ll stop at the lab and nonchalantly ask Isaac to come with me, and I’ll steal him away for a night.

Mr. Motley continued sounding.

Shut up, shut up, you spoilt child, you damn megalomaniac with your crackpot theories, thought Lin.

When she turned to sign goodbye, it was with only the faintest semblance of politeness.

Chapter 11

CHAPTER ELEVEN

A pigeon hung cruciform on an X of darkwood on Isaac’s desk. Its head bobbed frantically from side to side, but despite its terror, it could only emit a bathetic cooing.

Its wings were pinned with thin nails driven through the tight spaces between splayed feathers and bent hard down to pinion the wingtip. The pigeon’s legs were tied to the lower quarters of the little cross. The wood beneath it was spattered with the dirty white and grey of birdshit. It spasmed and tried to shake its wings, but it was held.

Isaac loomed over it brandishing a magnifying glass and a long pen.