China Mieville – The Last Days of New Paris (2016) BOOK REVIEW

This alternative history/fantasy novella is set in Paris in the year 1950, in which WW2 is still ongoing, and in which Surrealist artworks or ‘manifs’ (short for ‘manifestations’) have come to life and are reaping havoc across the capital. As if that wasn’t enough the Nazis have also managed to summon a demonic horde using Aleister Crowley’s occult magic. So as demons and artworks stalk the city streets it is down to Thibaut – a member of the intellectual resistance, the ‘main a plume’, and one of only a few veterans learned in the ways of Surrealist doctrine – to find a way to stop them. Whilst the premise is daring, original and wicked fun, this novella is let down by an underdeveloped plot and characters, but perhaps most glaringly, by the bustling pit of empty Surrealist allusions. Whilst it is somewhat enjoyable for the first dozen or so pages to try and identify the various artworks from Mieville’s descriptions without using the notes/art appendix/answers at the back of the book, this enthusiasm quickly ebbs as you become conscious of the fact that you are missing countless references which are coming at you rapidly and from all directions. As a student who specialises in surrealism and other art movements in post-war literature I can tell you, the references in here are not in any way accessible to the everyday reader, and unless you have a significantly above average knowledge of surrealist art you will find yourself frequently flitting to the appendix for help (or you could do what I did and open up the handy ‘graphic annotations’ guide by Nicky Martin of medium.com).

Hardback cover edition of the book featuring one of Breton’s most famous ‘exquisite corpse’ images.  This ‘figure’ also stars as the protagonist’s unlikely sidekick.

One redeeming aspect of this novella however is that it does induce you to track down these incredible artworks, to find the source material for the manifs, many of which were new to me (I’ve included some of my favourite allusions intermittently throughout this review). The main problem however is that these artworks are utterly leeched of any of their original intent; the surrealists were concerned with a kind of redemption of the psyche, and empowering the spectator in a world where unconscious manipulation is rife, and so it seems antithetical to the movement that these artworks are emptied of all their significance as such.

p. 17 – ‘sagelands, smoothed alpine topographies like sagging drapes’ – we are told in the notes that this description alludes to the painting “Danger, Construction Ahead” by Kay Sage (1940)

The Afterword however, I liked (too little too late?). The Afterword is a kind of metanarrative  wherein Mieville presents us with a choice. He reveals that the entire narrative was originally told to him by a mysterious friend of a friend, an elderly war veteran who claimed to be the real-life Thibaut (the central character). This real-life Thibaut is said to have told the entire story to Mieville, who acted as nothing more than what we might call his literary vessel. So we must consider the crucial question as to whether this mysterious unseen narrator is indeed fictitious or not? If we choose to view this ‘final scene’ as a part of the internalised narrative then we must therefore view Mieville as a character. But if we choose to view the text as having been told to Mieville by a real-life Thibaut then we are being asked to view the story as metaphor or perhaps more intriguingly as a coping mechanism for Thibaut’s traumatic experiences during the war. In such a reading the demons become perhaps emblematic of his religious beliefs, whilst the surrealist artworks becomes manifestations of the torments of war on his unconscious mind; phantasms brought about through the horrors of Nazi Germany. Now we’re in true Surrealist territory. Viewed in this respect, it is hard not to be reminded of Yann Martel’s Life of Pi, and the similar revelation that Pi’s zoological story could in fact be a fantasy rendering of a truly harrowing tragedy which he has formulated as a means to cope with the horrors of reality (though again, this is left ambiguous). On the whole, whilst there were sparks of satisfaction in reading this story, I expected more, and this just doesn’t size up to the likes of Perdido Street Station, The Scar and Embassytown which are hugely entertaining and original reads.

Below are a few more allusions in the book and their coinciding artworks:

Ernst’s Celebes stomps through the streets of Paris. “The Elephant Celebes” by Max Ernst (1921)
‘Smoke figures wafting in and out of presence’ (p. 58), these figures are said to imitate “Grand Fumage” by Wolfgang Paalen (1930s)

 

‘the Surrealists had drawn new suits, a cartographic rebellion’ (p. 88). The characters featured are said to wander Paris, characters which echo the Marseille face cards, by various artists (1943)
‘A man in a coat watches eyelessly from a chessboard head’ (p. 125). This man is in fact “René Magritte with a Chessboard Over His Face” by Paul Nougé (1937)

NB: featured image sourced from here.

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7 thoughts on “China Mieville – The Last Days of New Paris (2016) BOOK REVIEW

    1. yeah I was hoping for so much more from it! I think there could potentially be a great short film made of it though.. maybe even an animated one like Destino (fingers crossed someone does it)

      Liked by 1 person

    1. Yeah it’s definitely worth a go just to see how he describes the art. I’ll probably come back to it some day and try again 😃

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  1. Great review and I have to agree… I was excited about this and the first ten pages promised so much but it lacked something . I was going to review myself but as I was decidedly lukewarm I left it alone.

    Liked by 1 person

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