“This is the story of a bloodstained boy.”

It’s almost a shame that I used up my introduction spiel about trains for a film last year, when it would’ve served me well here. Never mind. Most books that give a prominent role to trains feature just the one. Something magical and impressive that captures the imagination. China Miéville, however, goes a little further than that, and envisions a world entirely populated by trains. Welcome to the Railsea.

Sham Yes ap Soorap is an assistant doctor aboard the Medes, a moletrain. He is new to the Railsea, but is now sure to spend the rest of his life touring the rails, hunting for giant moles, in particular the great southern modlywarpe, and getting to know the other riders of the rails. In this world, there are no oceans, just endless plains laced with endless tracks. Every kind of train patrols them, from huge iron wartrains to wooden trains with sails. There are those made of salvage, those running on steam, and even one-man traincycles that people use to get around the islands.

While on a hunt, Sham and his crew stumble across a wrecked train and set about searching it for salvage. Inside, Sham instead finds a camera. The flatographs it shows, however, reveal something far more interesting than holiday snaps. There are images of children from a distant country, rare salvage, and most bizarrely of all, potential evidence that the Railsea does indeed end. Captivated by the image of a single rail leading out to darkness, Sham convinces Captian Naphi to put aside her hunt for Mocker-Jack, the great white mole, and seek out the people in the flatographs, and then, perhaps, find the edge of the world.

But rumour travels quickly on the rails, and soon Sham is in peril, as salvagers, pirates, monsters and molers all seek him out. What he and his crew discover may change not only his own fate, but that of the entire Railsea.

I’ve read Miéville a few times before, and he’s continually proved himself to have an imagination beyond anything one could reasonable expect from a writer. Aiming to write a novel in every genre, here he turns his attention to the great adventure tales. Indeed, the whole novel can be seen as a parody of, or homage to, Moby-Dick, particularly with the Captain’s obsession with hunting down the ivory-coloured mole that took her arm. This is expanded to be part of the lore, as most captains have what they call their “philosophy” – a particular creature that stole a limb from them, and they commit their lives to finding and killing the beast. Indeed, the creatures of this world are perhaps the most fascinating aspect. With no oceans, lakes or rivers, the ground itself takes up the reins for producing enormous and terrifying beasts. Most everything that we know on Earth to live in the ground lives here, although often far larger and more bloodthirsty than we would remember. Moles grow huge, but so do badgers, naked mole rats, rabbits, earthworms, termites, antlions, burrowing owls and earwigs. These animals have never been so scary.

Miéville also works magic with the setting itself. A world where ships are replaced by trains might seem quite simple, but the level of detail included is wonderful. Trains are limited in their travelling patterns by rails, unlike ships which can steer any which way, but there are still plenty of parallels. Trains are besieged by railgulls, and many of them still have crows nests aboard. The moletrains work mostly like whaling ships, and there are pirates here too, just like in adventure tales set on the open waves. Some job titles change – there is a trainswain rather than a coxswain – and they still sing shanties, although with slightly different lyrics, such as the classic, “What Shall We Do With the Drunken Brakesman?” The world is full and while we still see nothing like all of it, you know that it’s all there.

The book also keeps a level of uncertainty as to when and where the book is set. At first it seems like it might be another world distinct from our own, but there are mentions of the society having been going for a very long time – there is an awful lot of salvage, some of which looks like contemporary technology – and there are obscure references to things that appear to have been passed down through folklore, such as a brief mention of the god Railhater Beeching. It also seems that the planet has been visited by beings from other worlds before now, so if it is Earth, it’s a very distant future one with little water.

Although the book at times chugs along slower than the London to Brighton train on Southern rail, by the end it’s a Japanese bullet train and the ending itself contains a laugh-out-loud moment that makes it all worthwhile. It ends on a note of promise, and I almost wish I could have kept on following Sham on his adventures. It’s not my favourite Miéville story, but it’s still a pretty remarkable read.

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