And here is the dilemma we face as a civilization. We march collectively toward self-annihilation. Corporate capitalism, if left unchecked, will kill us. Yet we refuse, because we cannot think and no longer listen to those who do think, to see what is about to happen to us. We have created entertaining mechanisms to obscure and silence the harsh truths, from climate change to the collapse of globalization to our enslavement to corporate power, that will mean our self-destruction. If we can do nothing else we must, even as individuals, nurture the private dialogue and the solitude that make thought possible. It is better to be an outcast, a stranger in one’s own country, than an outcast from one’s self. It is better to see what is about to befall us and to resist than to retreat into the fantasies embraced by a nation of the blind.
The problem with escapism is that when you read or write a book society is in the chair with you. You can’t escape your history or your culture. So the idea that because fantasy books aren’t about the real world they therefore ‘escape’ is ridiculous. Fantasy is still written and read through the filters of social reality. That’s why some fantasies (like Swift’s Gulliver’s Travels) are so directly allegorical—but even the most surreal and bizarre fantasy can’t help but reverberate around the reader’s awareness of their own reality, even if in a confusing and unclear way.
China Miéville, interviewed about how his fantasy writing interacts with his politics in Issue 88 of International Socialism Journal (2000).