Being an important example of the New Weird genre, China Miéville’s Perdido Street Station (2000), criticizes transhumanist discourse and presents the ethical issues and unfortunate results of technology in New Crobuzon. This study argues that Miéville questions the optimistic point of view of transhumanism that technology improves human life. The novel also showcases how technology can be used to oppress people by creating inequality, torturing bodies and creating disorder among public. The discussion begins with the remade who are beings forcefully transformed into horrible beings in which flesh and machinery coexist. The modifications of the remade challenges the idea of voluntary enhancement because they function as tools of punishment or exploitation that removes autonomy and honour, thus transforming their bodies so that they can be labourers, entertainers and weapons. The discussion then explores the character Yagharek, the Garuda trying to regain his ability to fly after losing his wings because of a crime. Although Yagharek’s pursuit is compatible with transhumanist notion of morphological freedom, his dependence on New Crobuzon power relations and the ethical ambiguity of his pursuit poses contradiction. Additionally, Isaac’s unintentional release of consciousness-consuming slake-moths when carrying out flight experiments creates concerns about the uncontrolled use of technology. Ultimately, by inserting the remades’ oppression into the Yagharek’s journey, Perdido Street Station interrogates the optimistic claims of transhumanism. Miéville produces a framework of exploitation and ethical ambiguity which prioritizes the fact who controls the technology and who utilizes or suffers from it. This analysis not only not only discusses the novel’s criticism but also reflects the real-world debates on technological advancements, requiring further assessment of humanity’s future.
Kemal Çapoğlu (Sun,) studied this question.