I’ve polished off the final 9 stories of Three Moments of an Explosion sooner than I thought I would. The creativity on display throughout this collection has kept me coming back for more. So now it’s time of the final part of my story-by-story thoughts, and at the end of the post, my overall review of the collection. Be sure you’ve read parts one and two before you delve into these last stories!
Read on for short descriptions and thoughts about each individual story. Don’t worry, I won’t spoil any endings. (NB: page counts are for the UK hardback edition)
(39 pages) This lengthy story concerns a curious kind of apocalypse: circular moats begin to appear spontaneously around people who stay still too long. Even stranger, there are reports of sounds from within the moats. It makes for gripping reading, following the crumble of civilisation due to the moats. There may also be a metaphor somewhere in there about the human need to distance oneself from others. Once again though, Miéville chooses to end the tale on a premature climax, favouring a poignant-but-perplexing final image over an actual resolution. It’s beginning to become a problem with stories in this book.
“A Second Slice Manifesto”
(4 pages) This is an exceptionally clever little piece, which describes a strange new art movement just plausible enough to exist. Artists take existing paintings and produce new works that act as “slices” through the scene: producing anatomical cross-sections of the people therein, in the manner of CT scans (search for such scans in Google Images and you’ll immediately know what I mean). Not satisfied, Miéville takes this concept and adds a really creepy twist. I won’t be able to look at certain paintings in the same way again.