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Iron Council [Anglais] [Belle reliure]

China Mieville
3.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Description de l'ouvrage

29 mai 2008
Following Perdido Street Station and The Scar, acclaimed author China Miéville returns with his hugely anticipated Del Rey hardcover debut. With a fresh and fantastical band of characters, he carries us back to the decadent squalor of New Crobuzon—this time, decades later.

It is a time of wars and revolutions, conflict and intrigue. New Crobuzon is being ripped apart from without and within. War with the shadowy city-state of Tesh and rioting on the streets at home are pushing the teeming city to the brink. A mysterious masked figure spurs strange rebellion, while treachery and violence incubate in unexpected places.
In desperation, a small group of renegades escapes from the city and crosses strange and alien continents in the search for a lost hope.
In the blood and violence of New Crobuzon’s most dangerous hour, there are whispers. It is the time of the iron council. . . .

The bold originality that broke Miéville out as a new force of the genre is here once more in Iron Council: the voluminous, lyrical novel that is destined to seal his reputation as perhaps the edgiest mythmaker of the day.


From the Hardcover edition.
--Ce texte fait référence à l'édition Broché .

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Descriptions du produit

Extrait

Chapter One

A man runs. Pushes through thin bark-and-leaf walls, through the purposeless rooms of Rudewood. The trees crowd him. This far in the forest there are aboriginal noises. The canopy rocks. The man is heavy-burdened, and sweated by the unseen sun. He is trying to follow a trail.

Just before dark he found his place. Dim hotchi paths led him to a basin ringed by roots and stone-packed soil. Trees gave out. The earth was tramped down and stained with scorching and blood. The man spread out his pack and blanket, a few books and clothes. He laid down something well-wrapped and heavy among loam and centipedes.

Rudewood was cold. The man built a fire, and with it so close the darkness shut him quite out, but he stared into it as if he might see something emergent. Things came close. There were constant bits of sound like the bronchial call of a nightbird or the breath and shucking of some unseen predator. The man was wary. He had pistol and rifle, and one at least was always in his hand.

By flamelight he saw hours pass. Sleep took him and led him away again in little gusts. Each time he woke he breathed as if coming out of water. He was stricken. Sadness and anger went across his face.

“I’ll come find you,” he said.

He did not notice the moment of dawn, only that time skidded again and he could see the edges of the clearing. He moved like he was made of twigs, as if he had stored up the night’s damp cold. Chewing on dry meat, he listened to the forest’s shuffling and paced the dirt depression.

When finally he heard voices he flattened against the bank and looked out between the trunks. Three people approached on the paths of leaf-mould and forest debris. The man watched them, his rifle steadied. When they trudged into thicker shanks of light, he saw them clearly and let his rifle fall.

“Here,” he shouted. They dropped foolishly and looked for him. He raised his hand above the earth rise.

They were a woman and two men, dressed in clothes more ill-suited to Rudewood than his own. They stood before him in the arena and smiled. “Cutter.” They gripped arms and slapped his back.

“I heard you for yards. What if you was followed? Who else is coming?”

They did not know. “We got your message,” the smaller man said. He spoke fast and looked about him. “I went and seen. We were arguing. The others were saying, you know, we should stay. You know what they said.”

“Yeah, Drey. Said I’m mad.”

“Not you.”

They did not look at him. The woman sat, her skirt filling with air. She was breathing fast with anxiety. She bit her nails.

“Thank you. For coming.” They nodded or shook Cutter’s gratitude off: it sounded strange to him, and he was sure to them too. He tried not to make it sound like his sardonic norm. “It means a lot.” * * * They waited in the sunken ground, scratched motifs in the earth or carved figures from dead wood. There was too much to say.

“So they told you not to come?”

The woman, Elsie, told him no, not so much, not in those words, but the Caucus had been dismissive of Cutter’s call. She looked up at him and down quickly as she spoke. He nodded, and did not criticise.

“Are you sure about this?” he said, and would not accept their desultory nods. “Godsdammit are you sure? Turn your back on the Caucus? You ready to do that? For him? It’s a long way we’ve got to go.”

“We already come miles in Rudewood,” said Pomeroy.

“There’s hundreds more. Hundreds. It’ll be bastard hard. A long time. I can’t swear we’ll come back.”

I can’t swear we’ll come back.

Pomeroy said, “Only tell me again your message was true. Tell me again he’s gone, and where he’s gone and what for. Tell me that’s true.” The big man glowered and waited, and at Cutter’s brief nod and closed eyes, he said, “Well then.”

Others arrived then. First another woman, Ihona; and then as they welcomed her they heard stick-litter being destroyed in heavy leaps, and a vodyanoi came through the brush. He squatted in the froggish way of his race and raised webbed hands. When he jumped from the bank, his body—head and trunk all one fat sac—rippled with impact. Fejhechrillen was besmirched and tired, his motion ill-suited to woodland.

They were anxious, not knowing how long they should wait, if any others would come. Cutter kept asking how they had heard his message. He made them unhappy. They did not want to consider their decision to join him: they knew there were many who would think it a betrayal.

“He’ll be grateful,” Cutter said. “He’s a funny bugger and might be he’ll not show it, but this’ll mean a lot, to me and to him.”

After silence Elsie said: “You don’t know that. He didn’t ask us, Cutter. He just got some message, you said. He might be angry that we’ve come.”

Cutter could not tell her she was wrong. Instead he said: “I don’t see you leaving, though. We’re here for us, maybe, as well as for him.”

He began to tell them what might be ahead, emphasising dangers. It seemed as if he wanted to dissuade them though they knew he did not. Drey argued with him in a rapid and nervy voice. He assured Cutter they understood. Cutter saw him persuading himself, and was silent. Drey said repeatedly that his mind was made up.

“We best move,” said Elsie, when noon went. “We can’t wait forever. Anyone else is coming, they’ve obviously got lost. They’ll have to go back to the Caucus, do what’s needed in the city.” Someone gave a little cry and the company turned.

At the hollow’s edge a hotchi rider was watching them, astride his gallus. The big war-cockerel plumped its breastfeathers and raised one spurred claw-foot in curious pose. The hotchi, squat and tough hedgehog man, stroked his mount’s red comb.

“Militia coming.” His accent was strong and snarling. “Two men militia coming, a minute, two.” He sat forward in the ornate saddle and turned his bird around. With very little sound, with no metal to jangle on wood-and-leather straps and stirrups, it picked away high-clawed and belligerent, and was hidden by the forest.

“Was that—?” “What—?” “Did you fucking—?”

But Cutter and his companions were shushed by the sound of approach. They looked in unsaid panic, too late to hide.

Two men came stepping over fungused stumps into view. They were masked and uniformed in the militia’s dark grey. Each had a mirrored shield and ungainly pepperpot revolver slack at his side. As they came into the clearing they faltered and were still, taking in the men and women waiting for them.

There was a dragged-out second when no one moved, when befuddled and silent conference was held—are you, are they, what, should we, should we—?—till someone shot. Then there were a spate of sounds, screams and the percussion of shots. People fell. Cutter could not follow who was where and was gut-terrified that he had been hit and not yet felt it. When the guns’ heinous syncopation stopped, he unclenched his jaw.

Someone was calling Oh gods oh fucking gods. It was a militiaman, sitting bleeding from a belly-wound beside his dead friend and trying to hold his heavy pistol up. Cutter heard the curt torn-cloth sound of archery and the militia man lay back with an arrow in him and stopped his noise.

Again a beat of silence then “Jabber—” “Are you, is everyone—?” “Drey? Pomeroy?”

First Cutter thought none of his own were hit. Then he saw how Drey was white and held his shoulder, and that blood dyed his palsying hands.

“Sweet Jabber, man.” Cutter made Drey sit (Is it all right? the little man kept saying.) Bullet had taken muscle. Cutter tore strips from Drey’s shirt, and wound those cleanest around the hole. The pain made Drey fight, and Pomeroy and Fejh had to hold him. They gave him a thumb-thick branch to bite while they bandaged him.

“They must’ve fucking followed you, you halfwit bastards.” Cutter was raging while he worked. “I told you to be fucking careful—”

“We were,” Pomeroy shouted, jabbing his finger at Cutter.

“Didn’t follow them.” The hotchi reappeared, its rooster picking. “Them patrol the pits. You been here long time, a day nearly.” It dismounted and walked the rim of the arena. “You been too long.”

It showed the teeth in its snout in some opaque expression. Lower than Cutter’s chest but rotundly muscular, it strutted like a bigger man. By the militia it stopped and sniffed. It sat up the one killed by its arrow and began to push the missile through the body.

“When them don’t come back, them send more,” it said. “Them come after you. Maybe now.” It steered the arrow past bones through the dead chest. It gripped the shaft when it came out the corpse’s back, and pulled the fletch through with a wet sound. The hotchi tucked it bloody into his belt, picked the revolving pistol from the militiaman’s stiffening fingers and fired it against the hole.

Birds rose up again at the shot. The hotchi snarled with the unfamiliar recoil and shook its hand. The arrow’s fingerthick burrow had become a cavity.

Pomeroy said: “Godspit . . . who in hell are you?”

“Hotchi man. Cock-fighting man. Alectryomach. Help you.”

“Your tribe . . .” said Cutter. “They’re with us? On our side? Some of the... --Ce texte fait référence à l'édition Broché .

Revue de presse

“Miéville moves effortlessly into the first division of those who use the tools and weapons of the fantastic to define and create the fiction of the coming century.”
—NEIL GAIMAN

“Continuously fascinating . . . Miéville creates a world of outrageous inventiveness.”
The Denver Post



From the Hardcover edition. --Ce texte fait référence à l'édition Broché .

Détails sur le produit

  • Belle reliure: 564 pages
  • Langue : Anglais
  • ISBN-10: 1435293290
  • ISBN-13: 978-1435293298
  • Dimensions du produit: 24,1 x 15,9 x 3,2 cm
  • Moyenne des commentaires client : 3.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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1 internautes sur 1 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Déception née d'un trop grand espoir 8 août 2008
Par Kallisthène TOP 500 COMMENTATEURS
Format:Broché
La plus grande, l'immense qualité de China Mièville, c'est l'incroyable imagination qu'il met dans ses créations. Et comme il n'écrit pas un roman d'horreur, celles qui parsèment régulièrement son livre n'en ont que plus de force. Et combien de magies différentes a-t-il inventé ? J'ai particulièrement apprécié ici l'histoire de ces moines adeptes du Moment of the Hidden and Lost, capable de trouver n'importe quoi, au prix d'un souvenir leur appartenant. Et pourtant, le plus grand constructeur d'univers aujourd'hui démontre que la richesse de l'univers n'est rien sans une narration captivante. Hélas oui, c'est cela Iron Council, pas d'énigme fascinante, pas de personnalité flamboyante ou étonnante. C'est bien fait, mais on s'ennuie ...
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Amazon.com: 3.5 étoiles sur 5  90 commentaires
93 internautes sur 104 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Another engaging, challenging read from a remarkable talent 17 août 2004
Par J. N. Mohlman - Publié sur Amazon.com
Format:Relié
First off, for those of you new to China Mieville, I would recommend that you begin with "Perdido Street Station" (or "King Rat"), followed up by "The Scar", and only then tackle "Iron Council". While the three books don't form a trilogy in the traditional sense, they nonetheless draw on shared themes and a common setting and history. As such, while "Iron Council" can certainly be read and appreciated by a newcomer to Mieville's writing, there are numerous small references and commonalities that will be missed.

Fans of Mieville, however, will find in "Iron Council" perhaps his most nuanced and sophisticated writing to date. As usual, the author defies genres, and has produced what would best be described (if one was forced to use labels) as a gothic-western-political-thriller. At the same time, he continues to subvert traditional fantasy elements as well as co-opting elements from other traditions and grounding them in his reality. However, Mieville has also tackled a more challenging structural approach in this novel, as he uses three different voices and two time periods that, while connected by plot threads are separated by decades. Furthermore, the chronologically earlier section comes 130 pages into the book, which in the hands of a less gifted writer would be horribly jarring, but which Mieville pulls of with style.

The primary story (which is elaborated upon by the flashback) is set some twenty years after the events of Perdido Street Station, and finds New Crobuzon at war with distant Tesh, with discontent at home mounting as the casualties mount and the economy falters. It is a time of turmoil and political dissent bordering on civil war; as options are weighed, one man, Judah Low, goes in search of a near mythical construct whose time may be at hand, Iron Council. To say more would risk severe spoilers, but the real joy of "Iron Council" is that the plot is served so deftly by the underlying themes, and vice versa.

And those themes are legion, the most obvious one being New Crobuzon's war with Tesh as a parallel with the Iraq war. Likewise, there are economic factors that are akin to the bursting of the .com bubble of the late 1990's. However, Mieville has made it abundantly clear in numerous interviews that he has no interest in spreading his political views (he is a Socialist who has run for Parliament) through his writing, and that holds true here. Rather, these elements serve to ground the story in a believable reality, which allows the reader to accept at face value the fantastic elements. Moreover, even as he subverts everything that is a "norm" of fantasy, Mieville also casts his own views in a realisitic light. For example, the political activists (with whom he obviously sympathizes) frequently make capricious, even brutal decisions, and display very un-liberal traits such as disdain for homosexuals.

However, as I said, these groundings are mere jumping off points for a much more intriguing exploration, for at its heart "Iron Council" is an exploration of change/history. The groundwork for this is laid in Judah's ability to create golems, which Mieville describes as an intervention, a decision to change the un-living to living. Once the reader recognizes this metaphor, Mieville's intent becomes clear as he considers industry, politics and war (among other things) as interventions into the status quo, as forces for change. In so doing, Mieville quite rightly takes a long view of history in which right and wrong become blurred by the law of unintended consequences. There is a symmetry in his world, almost karmic in its nature, in which actions in the past rebound in unexpected ways in the present. The driving force of history for Mieville is the individual, but as such, he recognizes the fundamental instability this introduces into his novel. People change, there motivations change, and as such, tipping points can never be quite predicted, and will often radically diverge from the expected path.

Which brings me to one of the most intriguing structures in the book, that of the quest. In traditional fantasy, characters will generally band together for a come purpose, and face adversity from outside of the group. Their internal dynamic is largely fixed, and their motivations are common. Mieville, on the other hand, has described two quests in which each character's motivations are different, are often hidden, and sometimes at odds within the group. This far more realistic approach allows him not only to paint a more reasonable view of historical change as described above, but also to consider the power of "truth" as a motivation for said change. Mieville argues that sometimes a myth or a symbol can be more powerful than the truth. However, there is a danger in myths because they can be twisted to mask one's real motivations. Movements for revolutionary change, and one need look no further than the French Revolution, often become dressing for personal vendettas.

Finally, Mieville takes these two intertwined threads, intervention and truth, to ask an ultimate question: can one work for change even as one despises the mechanism of said change. For example, is murder acceptable if it serves a greater good? Or does change always pervert the purest motivations and draw them closer to that which is being rebelled against, in form if not in ideology? Does hating war mean wanting your country to lose?

In conclusion, if I have created the impression that "Iron Council" is nothing by dry philosophizing, I must apologize as nothing could be further from truth. First and foremost, "Iron Council" is an adventure story set in a world that for all it's bizarre and beautifully realized detail is nonetheless disturbingly familiar. However, Mieville is such a gifted writer, who pours so many ideas into his work, even the most literal reader will find themselves drawn into the undercurrents which suffuse the novel. "Iron Council" is another brilliant contribution from a remarkable talent, and I strongly recommend reveling in it.

Jake Mohlman
57 internautes sur 66 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Terrific, a worthy Bas-Lag book 27 juillet 2004
Par Ian Mccullough - Publié sur Amazon.com
Format:Relié
The Iron Council is not quite as good as The Scar or Perdido Street Station. There, it's been said. But that is a fairly meaningless statement due to the colossal heights Mieville's first two Bas-Lag books climbed. The Iron Council is a marvelous book, with all the imagination, the rich social commentary, the wildly creative monsters, and the textured characters we've come to expect. The plot rips along at high speed, with converging storylines and the "I wonder what happens next?" anticipation that really good, really fun books share in common. The Iron Council is probably the best structured of the three Bas-Lag novels, and there is a real confidence in the writing. Is familiarity breeding contempt for me with Mieville? It must be, because I think he's a better writer and storyteller than Tolkein, who I like. Only time will tell if Mieville is as great a world builder and fantasy architect as Tolkien. But it's time we start thinking of Mieville in terms of how great he is among all fantasy writers in history, not just how good is this or that book.

So with this adulatory review, what is wrong? Nothing really, it is just not quite as amazing as his first two in this world. I'm willing to write this off to knowing Bas-Lag and not being blown away by the sheer audacity as I had before. Some readers will be annoyed by Mieville's overt socialism, but that's a matter of personal taste. Personally I enjoy the change from - well, every other fantasy book I read. There are great ideas (smokestone, the whispersmith), creatures (Inchmen, Handlingers) and characters (Toro, Cutter), but Bas-Lag is becoming an eccentric old friend, rather than that wild guy you had a blast with once at a party. But no matter how wild Mieville got, I was expecting him to top himself at every corner, and he did. Maybe it's the comfort of knowing the book is going to be fantastic that was a slight let down. With Perdido Street Station, I kept thinking "I can't believe how good this is, he can't keep this up." With The Scar it was "Oh my God! It's actually better than Perdido Street Station!" Since I was expecting perfection, there could be no match to my hopes, but I adore this book. There are rich veins of fantasy storytelling here and you would be foolish to pass up reading The Iron Council. I guarantee nothing in your "to read" pile is as good.

If you like Mieville's other work, you will enjoy The Iron council. If you have not liked Mieville before, then you won't like this either. Perdido Street Station was a wonder, The Scar a miracle and The Iron Council a proclamation that Mieville has arrived as a truly great fantasy writer. His career will be fascinating to track starting about now.
50 internautes sur 59 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 For Jabber's sake, what a disappointment! 26 décembre 2005
Par Swift 36 - Publié sur Amazon.com
Format:Broché
China Mieville's first two novels set in the world of Bas-Lag gave him a well-deserved reputation as the most important young writer working in the sci fi/fantasy genres today. In Perdido Street Station and The Scar, Mieville created a neo-Dickensian milieu of bizarre, terrible, but deeply compelling grotequeries inhabited by complex, often-conflicted characters. Both narratives gained momentum over hundreds of pages, even as each sprawled further into and then away from the teeming city of New Crubozon, and all of it was illuminated by Mieville's powerfully intelligent, pleasingly baroque prose style.

So, what happened with Iron Council? Mieville's third Bas-Lag book is confusing, meandering, and populated by shallow, underdeveloped, highly unlikeable characters. His writing style is choppy throughout and routinely defies the most basic rules of grammar and usage; perhaps he was aiming for profundity (think David Foster Wallace), but he achieved only preciousness at best, and tedium more often. The narrative-such as it was, given his penchant herein for flashbacks, deus ex machinas, and withheld information-had holes in it one could (pardon the pun) drive a train through. The plot progressed as if he didn't know where it was going when he was writing it. Above all, Iron Council was agonizingly dull-I could hardly wait for the book to be over with and finished.

Many have correctly noted that this is Mieville's most explicitly political novel. Since his politics are Euro-socialist in character, perhaps you might think I was put off by that-but no. I am myself that rara avis, an American social-democrat of long standing, and I have little but sympathy for tales of community-level collectives (a la the Paris Commune) or worker oppression (a la the transcontinental railroad)-and both themes and their thinly veiled historical antecedents are prominent in Iron Council. But largely because of Mieville's failure to draw fuller, more sympathetic characters (Cutter is a whiny jackass; Judah Low is a cipher) or to sustain a believable and interesting narrative (the Council itself is an irritating community prone to sudden, inexplicable shifts of opinion as to its raison d'etre-but never mind, as it doesn't finally appear until hundreds of pointless pages have passed following the interminable wanderings of Cutter & Co. and the similarly unlikeable Ori back in New Crobuzon), and with it all undermined by his annoying staccato voice and sometimes incoherent descriptions of events, whatever merits Mieville's radically politicized story may have had get thoroughly lost in the shuffle.

In his previous novels, nothing felt like a "set piece"; everything that happened usually played a crucial role in why subsequent events turned out as they did. In Iron Council, by contrast, one senses more a rote succession of staged novelty acts, as if Mieville were making use of every half-developed idea he'd ever had. (Take the attack of the "inchmen," for one instance.) In a similar vein, the major characters in his earlier Bas-Lag were sometimes morally ambiguous, but that just made them consistently interesting and complicated. As many have commented, the most noteworthy thing about two of the major characters in Iron Council is their homo- or bisexuality, and yet while this is a promising and perhaps vaguely daring premise in the usually hyper-heterosexual world of fantasy fiction, it seems a choice made more for shock effect than anything essential to them or the plot. Their sexuality is clearly intended to be-but is very poorly realized as-vital to these characters' "being-ness," and thus it contributes almost nothing to our understanding of them. In fact, Cutter's passionate possessiveness toward Low makes him seem, more than anything, one-dimensional and frequently grating-hence, Cutter's sexuality becomes more of a negative trait, which seems rather incongruous with Mieville's anti-intolerance politics.

SPOILER ALERT-Just a few plot objections concerning the end of the book (though there were plenty of others throughout): Why wouldn't the militia have destroyed or booby-trapped the tracks just outside of New Crobuzon? Why hadn't they sought out and found their cohorts and the Council in the weeks prior to the train's approach, just as Cutter had? Why can't any of the refugees from the city give the Council a reasonably straight answer as to whether or not the Collective had already been vanquished? (It had.) And most of all, how does the "time golem" manage to continue in existence even after Judah Low has been killed? Finally, and in a completely different vein, why does Mieville use the word "career" as a verb over and over again?

But enough already. I have never before had my expectations so shattered by an author. I am astounded that anyone would think that this book is on a par with-or even better than-Mieville's previous Bas-Lag novels (though the wider consensus seems to be one of disappointment, more or less). Unfortunately, though, Mieville received some of the best and widest mainsteam-media reviews of his career with Iron Council, and if he believes his clippings, I'm afraid we may in for more outings like this. But his earlier works provide a far better indication of his prodigious talents, and so I will fervently hope that he can still return to that form with his next novel.
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