Abstract
This essay considers Miéville's debut novel and collected short fiction in relationto recent taxonomical debates about fantasy. Focusing particularly on his depictionof London and his explorations of the concept of metaphor, it argues that, in onesense outlined by Raymond Williams, Miéville is better understood as a realistthan a fantasist. It proposes a move beyond the opposition of linguistic-ontologieswhich dominate theorisations of fantasy so as to better comprehend the role offantasy in the construction of the reality of globalized capital
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