Academics From The United Kingdom

"“There’s three ways not to see what you don’t want to,” she told me. “One is the coward’s way and too painful. The other is to close your eyes forever, which is the same as the first, when it comes to it. The third is the hardest and the best: you have to make sure only the things you can afford to see come before you.”"

"You make what you see into a window, and you see what you want through it. You make what you see a sort of a door."

"In a newsagent’s he picked up a copy of the Standard, and hesitated by the chocolate, looking at the low-fat version he had trained himself to pretend he liked but suddenly hungry for a real bar, which with guilty devil-may-care he took and paid for."

"I see echoes with lots of books in all my books, some deliberate, some unconscious until later, and as long as that is respectful I think that's great - writing on the shoulders of other writers is a privilege."

"Although we revolutionary socialists are always accused of being Utopian, nothing strikes me as more Utopian than the reformist belief that with a bit of tinkering and some good faith, we can systematically improve the world. You have to ask how many decades of broken promises and failed schemes it will take to disprove that hope. Marxism isn’t about saying you’ll get a perfect world: it’s about saying we can get a better world than this one, and it’s hard to imagine, no matter how many mistakes we make, that it could be much worse than the mass starvation, war, oppression, and exploitation we have now. In a world where 30,000 to 40,000 children die of malnutrition daily while grain ships are designed to dump food into the sea if the price dips too low, it’s worth the risk."

"Socialism and SF are the two most fundamental influences in my life."

"It’s the first principle, isn’t it? Whoever’s arguing fiercest for violence is the cop."

"I refuse to play the wink-wink-nudge-nudge game with readers. I don’t like whimsy because it doesn’t treat the fantastic seriously, and treating the fantastic seriously is one of the best ways of celebrating dialectical human consciousness there is. The one-sided celebration of the ego-driven contextually constrained instrumentally rational (as opposed to rational in a broader sense) is bureaucratic: the one-sided celebration of the subconscious, desire/fantasy driven is at best utopian, at worst sociopathic. The best fantasies—which include sf and horror—are constructed with a careful dialectic between conscious and subconscious."

"New Weird—along with the other mo(ve)ments of which it’s some kind of cousin, the Ratbastards, the Interstitial Arts, the New Space Opera and others—reflected a major cultural shake-up. Soon, though, if not already, those groups will have their epigones, and will probably be the very fantasy mainstream they were railing against. At which point, doubtless, some new punkass radicals will come along and subvert us all, by writing about hobbits."

"But it's a prize that... if you're into science-fiction and fantasy you grow up reading books with "Hugo [Award-winner]" on the cover. And this is very, very moving, to be in that position oneself. It's an odd situation [too], because, as you say, it was a tie, which is very rare with the Hugo, which has happened, like three times over sixty years, or something. But I prefer to think of it as a quantum Hugo and that Paolo Bacigalupi and I oscillate between between Hugo particle and wave form, this year. So it's properly science-fictional."

"The other, more nebulous, but very strong influence of RPGs was the weird fetish for systematization, the way everything is reduced to “game stats.” If you take something like Cthulhu in Lovecraft, for example, it is completely incomprehensible and beyond all human categorization. But in the game Call of Cthulhu, you see Cthulhu’s “strength,” “dexterity,” and so on, carefully expressed numerically. There’s something superheroically banalifying about that approach to the fantastic. On one level it misses the point entirely, but I must admit it appeals to me in its application of some weirdly misplaced rigor onto the fantastic: it’s a kind of exaggeratedly precise approach to secondary world creation."

"That’s the trouble with trying to counter clichés—the counterclichés cliché quicker than shit off a shovel, and with that comes domestication. Either you lose any subversive gloss at all—the hip-hop which now sells us jeans and cheese once fought the power—or, what’s perhaps worse, a horrible zombie gloss of radicalism is retained while you shuffle into the corridors of establishment, rotting."

"This was not the time for rage but for politics and strategy."

"The reason that I like SF and fantasy and horror is that to me it's the pulp wing of surrealism."

"The thing about good pulp is that you trust the reader and you know that the mind is a machine to process metaphors so of course all those connections will be there. But you've also granted the fantastic its own dynamic and allowed that awe. There's no contradiction. So I want to have monsters as a metaphor but I also want monsters because monsters are cool. There's no contradiction."

"There’s simultaneously something rigorous and something playful in genre. It’s about the positing of something impossible—whether not-yet-possible or never-possible—and then taking that impossibility and granting it its own terms and systematicity. It’s carnivalesque in its impossibility and overturning of reality, but it’s rationalist in that it pretends it is real. And it’s that second element which I think those who dip their toes in the SF pond so often forget. They think sf is “about” analogies, and metaphors, and so on. I refute that—I think that those are inevitable components, but it’s the surrendering to the impossible, the weird, that characterizes genre. Those flirting with SF don’t surrender to it; they distance themselves from it, and have a neon sub-text saying, “It’s okay, this isn’t really about spaceships or aliens, it’s about real life,” not understanding that it can be both, and would do the latter better if it was serious about the former."

"I am often asked is [my work] science fiction or fantasy and my answer is usually ‘Yes’."

"You didn’t know, but not knowing is no excuse."

"As far as I'm concerned, some of the best literature of the last hundred years has come out of the genre tradition and of course the best of it challenges expectations just as the best of literary fiction challenges those expectations. But it's not that genre fiction is any more a constraint than mimetic fiction. So I see myself very much as a genre writer. I love the fantastic genres. I see what I'm doing as a development of them but very much a part of them. I never feel that I'm leaving them behind. I try and be as experimental and avant-garde and stretching as I can be but I don't see that as turning my back on the genre at all. Genre has always been able to encompass that."

"What if the chosen one misunderstands what he’s been chosen for?"

"Across the globe, in dark places of the earth, secret lairs were rarely caves of monsters or marvels but markets. Shops. The worst-kept secret in circulation was that certain activities invested items in their proximity with certain affects, effects, and powers, and made them hugely valuable. And that thus it was imperative that they be sold. That, certainly, had been the case for as long as there had been people and things, but there were always fluctuations. The occult economies of charged items were always jostling."

"Lists make magic, the rhythm of itemized words: you do not list ten techniques, numbered and chantable, in austere prose appropriate for some early-millennium rebooted Book of Thoth, and not know that you have written an incantation."

"Abomination from one perspective, it was advertising copy from another."

"It is not the motive, properly speaking, that determines the working of the will; but it is the will that imparts strength to the motive. As Coleridge says: " It is the man that makes the motive, and not the motive the man.""

"I hold that we have a very imperfect knowledge of the works of nature till we view them as works of God,— not only as works of mechanism, but works of intelligence, not only as under laws, but under a Lawgiver, wise and good."

"Pride looks back upon its past deeds, and calculating with nicety what it has done, it commits itself to rest; whereas humility looks to that which is before, and discovering how much ground remains to be trodden, it is active and vigilant. Having gained one height, pride looks down with complacency on that which is beneath it; humility looks up to a higher and yet higher elevation. The one keeps us on this earth, which is congenial to its nature; the other directs our eye, and tends to lift us up to heaven."

"True humility is a Christian grace and one of the fruits of the Spirit, originating in a deep consciousness of sin past and present, and leading us to discover our nothingness in the view of God, our insufficiency for any thing that is good, and prompting us, as we feel our infirmities, to strive after higher and yet higher attainments."

"Our Lord's miracles were all essential parts of His one consistent life. They were wrought as evidences not only of His power, but of His mercy. They were throughout moral in their character, and spiritual in the ends contemplated by them. They were in fact embodiments of His whole character, exemplars of His whole teaching, emblems of His whole mission."

"When Christianity is received, it stimulates the faculties, and calls forth new ideas, new motives, and new sentiments. It has been the mother of all modern education."

"As ages roll on there is doubtless a progression in human nature. The intellectual comes to rule the physical, and the moral claims to subordinate both. It is no longer strength of body that prevails, but strength of mind; while the law of God proclaims itself superior to both."

"Newton supposed that all matter attracted other matter inversely according to the square of the distance; and the hypothesis was found to account for the whole movements of the heavenly bodies; which all became verifications of what Newton supposed to be the law of the solar system. Adopt the hypothesis that Jesus was what He is represented, and the whole of the books and the history becomes a verification."

"A man so various, that he seemed to be Not one, but all mankind's epitome: Stiff in opinions, always in the wrong; Was everything by starts, and nothing long; But, in the course of one revolving moon, Was chemist, fiddler, statesman, and buffoon. … Beggar'd by fools, whom still he found too late, He had his jest, but they had his estate."

"Buckingham was a sated man of pleasure, who had turned to ambition as a pastime. As he had tried to amuse himself with architecture and music, with writing farces and with seeking for the philosopher's stone, so he now tried to amuse himself with a secret negotiation and a Dutch war."

"The first gentleman of person and wit I think I ever saw."

"He had no principles of religion, virtue, or friendship. Pleasure, frolic, or extravagant diversion, was all that he laid to heart. He was true to nothing, for he was not true to himself."

"Nature's chief masterpiece is writing well."

"A Lady that was drown'd at Sea, and had a wave for her Winding sheet."

"I drink, I huff, I strut, look big and stare; And all this I can do, because I dare."

"Kisses are but like sands of gold and silver, found upon the ground which are not worth much themselves but as they promise a mine near too be dig'd."

"The blackest Ink of Fate, sure, was my Lot, And, when she writ my Name, she made a blot."

"All these threatening storms, which, like impregnate Clouds, hover o'er our heads, will (when they once are grasp'd but by the eye of reason) melt into fruitful showers of blessings on the people."

"What a Devil is the Plot good for, but to bring in fine things?"

"There are few have Dana's fortune, to have God and gold togather."

"Ay, now the Plot thickens very much upon us."

"O! what a prodigal have I been of that most valuable of all possessions — Time!"

"We might well call this short Mock-play of ours A Posie made of Weeds instead of Flowers; Yet such have been presented to your noses, And there are such, I fear, who thought 'em Roses."

"Our Poets make us laugh at Tragœdy, And with their Comoedies they make us cry."

"Methinks, I see the wanton houres flee, And as they passe, turne back and laugh at me."

"A mans fame and hayre grow most after death, and are both equally uselesse."

"She that would raise a noble love must find Ways to beget a passion for her mind; She must be that which she to the world would seem, For all true love is grounded on esteem: Plainness and truth gain more a generous heart Than all the crooked subtleties of art."