Imagine, if you will, life on the open sea. Back in the whaling days. Days before enlightenment really took hold. Transpose that thought onto railroads. In a day of huge moles and other underground creatures. Days when no one can imagine where the rails end. That might give you the slightest glimpse of China Miéville’s Railsea. I haven’t read too much of Miéville’s fiction, but I have read enough to know to expect a reality distorting romp through very interesting places. In this take on Herman Melville’s Moby Dick, Miéville takes some noteworthy risks in providing his characters with a native religion. Fiction authors sometimes find religion a constraining topic. Consider Salman Rushdie. More often the restraint appears to be a lack of imagination on the writer’s part—although we can’t define religion very well, we all know what it is and what it’s supposed to look like. Miéville, although in backstory, provides a new religious world where the gods are called Stonefaces and everybody believes in angels, and the explanation of where the railways came from is “theology.” Even our erstwhile Captain Ahab is chasing after her “philosophy” in the form of a giant mole that seems to have taken her arm.
With a sensitivity I’ve rarely found (the fault could well be entirely mine), Miéville utilizes religion, particularly Christianity, to construct an alternate universe. The gospel therefore appears as godsquabble, and to suggest there is anything beyond the sea of rails is literally heresy. Our protagonist Shamus ap Soorap on his voyage of discovery ends up riding to heaven on the rails only to find that there is yet even more beyond. Although religion itself is not central to the story its adjuncts are, creating an entire mythos of life on the railroad. It this world it is clear that wood and trees are related, but no one quite knows how; some suppose an evil god planted false evidence to deceive them. There’s even a healthy dose of the Odyssey thrown in, with the Medes having to pass through a mountain dwelling monster, the siller, and the Kribbis Hole.
But aren’t we really on the ark once more? For surely the bedeviled Pequod was a shadow of the same. In Miéville’s fantasy world, the open ground unpopulated by islands is dangerous. All kinds of innocuous creatures burrow out and will eat the traveler who is not safely ensconced on a train. As if to underscore the Noahic connection, Sham ends up on an actual boat on an actual endless sea. I’m pretty sure Homer never read Genesis, but the parallels between Greek mythology and the Hebrew Bible were long ago recognized by Cyrus Gordon and his colleagues. Miéville continues the tradition. Stranded on an island, Sham tries walking on the rails (read walking on the water and you’ll get the picture) until his faith fades. There are many who declare that religion has outlived its usefulness, but if an author can bring Melville, Homer, and the Bible into an intensely creative story, I think I’ll have to beg to differ.
