Fantasy Authors

"Lyra, I'm going to give you something, and you must promise to keep it private. Will you swear to that?" "Yes," Lyra said. He crossed to the desk and took from a drawer a small package wrapped in black velvet. When he unfolded the cloth, Lyra saw something like a large watch or a small clock: a thick disk of gold and crystal. It might have been a compass or something of the sort. "What is it?" she said. "It's an alethiometer. It's one of only six that were ever made. Lyra, I urge you again: keep it private. It would be better if Mrs. Coulter didn't know about it. Your uncle — " "But what does it do?" "It tells you the truth. As for how to read it, you'll have to learn by yourself. Now go — it's getting lighter — hurry back to your room before anyone sees you."

"“That’s the duty of the old,” said the Librarian, “to be anxious on behalf of the young. And the duty of the young is to scorn the anxiety of the old.”"

"Lyra has a part to play in all this, and a major one. The irony is that she must do it all without realizing what she's doing. She can be helped, though, and if my plan with the Tokay had succeeded, she would have been safe for a little longer. I would have liked to spare her a journey to the North."

"As I understand it, the Holy Church teaches that there are two worlds: the world of everything we can see and hear and touch, and another world, the spiritual world of heaven and hell. Barnard and Stokes were two — how shall I put it — renegade theologians who postulated the existence of numerous other worlds like this one, neither heaven nor hell, but material and sinful. They are there, close by, but invisible and unreachable."

""That light," said the Chaplain, "is it going up or coming down?" "It's coming down," said Lord Asriel, "but it isn't light. It's Dust." Something in the way he said it made Lyra imagine dust with a capital letter, as if this wasn't ordinary dust. The reaction of the Scholars confirmed her feeling, because Lord Asriel's words caused a sudden collective silence, followed by gasps of incredulity."

"How can I just go and sit in the library or somewhere and twiddle my thumbs, knowing what's going to happen? I don't intend to do that, I promise you."

"Her dæmon's name was Pantalaimon, and he was currently in the form of a moth, a dark brown one so as not to show up in the darkness of the hall."

"Lyra and her dæmon moved through the darkening hall, taking care to keep to one side, out of sight of the kitchen."

"His (C. S. Lewis's) work is not frivolous in the way that Tolkien is frivolous, though it seems odd to call a novel of great intricacy and enormous popularity frivolous. I just don’t like the conclusions Lewis comes to, after all that analysis, the way he shuts children out from heaven, or whatever it is, on the grounds that the one girl is interested in boys. She’s a teenager! Ah, it’s terrible: Sex — can’t have that. And yet I respect Lewis more than I do Tolkien."

"They’re often bracketed together, Tolkien and Lewis, which I suppose is fair because they were great friends — both Oxford writers and scholars, both Christians. Tolkien’s work has very little of interest in it to a reader of literature, in my opinion. When I think of literature — Dickens, George Eliot, Joseph Conrad — the great novelists found their subject matter in human nature, emotion, in the ways we relate to each other. If that’s what Tolkien’s up to, he’s left out half of it. The books are wholly male-oriented. The entire question of sexual relationships is omitted."

"On an unseasonably, uncomfortably, unnaturally warm day in mid-October I sit here trying not to think about global warming. But it's difficult. Is this fear going to pass away like the other fears I remember — nuclear war, overpopulation leading to mass starvation, the hole in the ozone layer, acid rain? Well, those problems haven't gone away exactly. The new one just seems bigger than all the rest."

"I knew I was telling a story that would be gripping enough to take readers with it, and I have a high enough opinion of my readers to expect them to take a little difficulty in their stride. My readers are intelligent: I don't write for stupid people. Now mark this carefully, because otherwise I shall be misquoted and vilified again — we are all stupid, and we are all intelligent. The line dividing the stupid from the intelligent goes right down the middle of our heads. Others may find their readership on the stupid side: I don't. I pay my readers the compliment of assuming that they are intellectually adventurous."

"I'm trying to write a book about what it means to be human, to grow up, to suffer and learn. My quarrel with much (not all) fantasy is it has this marvellous toolbox and does nothing with it except construct shoot-em-up games. Why shouldn't a work of fantasy be as truthful and profound about becoming an adult human being as the work of George Eliot or Jane Austen? Well, there are a few fantasies that are. One of them is Paradise Lost."

"I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms. I deal with matters that might normally be encountered in works of realism, such as adolescence, sexuality, and so on; and they are the main subject matter of the story — the fantasy (which, of course, is there: no-one but a fool would think I meant there is no fantasy in the books at all) is there to support and embody them, not for its own sake."

"When struck by a thunderbolt it is unnecessary to consult the Book of Dates as to the precise meaning of the omen."

"Bramah's books fall into two very unequal categories. Some, fortunately the smaller part, record the adventures of the blind detective, Max Carrados. These are competent, mediocre books. The rest are parodic in nature: they pass themselves off as translations from the Chinese, and their boundless perfection achieved the unconditional praise of Hilaire Belloc in 1922. Their names: The Wallet of Kai Lung (1900), Kai Lung's Golden Hours (1922), Kai Lung Unrolls His Mat (1928), The Mirror of Kong Ho (1931), The Moon of Much Gladness (1936)."

"Ernest Bramah's China, then, is the fantastic bogus China of convention, not the real historical thing at all. He wrote of it in a prose so perfectly conceived that it becomes a miracle of style. As Hilaire Belloc once observed, the sly humor and philosophy of Bramah's stories is a trick he achieves by pretending to adapt the flavor of Chinese literary conventions into the English. But the thing I love most about the tales is their irony and the brilliance of their wit."

"When an alluring woman comes in at the door," warningly traced the austere Kien-fi on the margin of his well-known essay, "discretion may be found up the chimney". It is incredible that beneath this ever-timely reminder an obscure disciple should have added the words: "The wiser the sage, the more profound the folly."

"Better a dish of husks to the accompaniment of a muted lute than to be satiated with stewed shark's fin and rich spiced wine of which the cost is frequently mentioned by the provider."

"One may ride upon a tiger's back but it is fatal to dismount."

"Eat in the dark the bargain that you purchased in the dusk."

"He is capable of any crime, from reviling the Classics to diverting water courses."

"He who has failed three times sets up as an instructor."

"Excellence," besought Kai Lung, not without misgivings,"how many warriors, each having some actual existence, are there in your never-failing band?" "For all purposes save those of attack and defence there are fifteen score of the best and bravest, as their pay-sheets well attest," was the confident response. "In a strictly literal sense, however, there are no more than can be seen on a mist-enshrouded day with a resolutely closed eye."

"However deep you dig a well it affords no refuge in the time of flood."

"One learns to itch where one can scratch."

"However entrancing it is to wander unchecked through a garden of bright images, are we not enticing your mind from another subject of almost equal importance?"

"There are few situations in life that cannot be honourably settled, and without loss of time, either by suicide, a bag of gold, or by thrusting a despised antagonist over the edge of a precipice upon a dark night."

"The one-legged never stumble."

"After secretly observing the unstudied grace of her movements, the most celebrated picture-maker of the province burned the implements of his craft, and began life anew as a trainer of performing elephants."

"Do not adjust your sandals while passing through a melon-field, nor yet arrange your hat beneath an orange-tree."

"It is well said: 'He who lacks a single tael sees many bargains,'" replied Sun Wei, a refined bitterness weighing the import of his words. "Truly this person's friends in the Upper Air are a never-failing lantern behind his back."

"At this display the elder and less attractive of the maidens fled, uttering loud and continuous cries of apprehension in order to conceal the direction of her flight."

"Alas! It is well written, "The road to eminence lies through the cheap and exceedingly uninviting eating-houses.""

"At the mention of the name and offence of this degraded being a great sound went up from the entire multitude – a universal cry of execration, not greatly dissimilar from that which may be frequently heard in the crowded Temple of Impartiality when the one whose duty it is to take up, at a venture, the folded papers, announces that the sublime Emperor, or some mandarin of exalted rank, has been so fortunate as to hold the winning number in the Annual State Lottery."

"It is a mark of insincerity of purpose to spend one's time in looking for the sacred Emperor in the low-class tea-shops."

"Should a person on returning from the city discover his house to be in flames, let him examine well the change which he has received from the chair-carrier before it is too late; for evil never travels alone."

"In his countenance this person read an expression of no-encouragement towards his venture."

"Before hastening to secure a possible reward of five taels by dragging an unobservant person away from a falling building, examine well his features lest you find, when too late, that it is one to whom you are indebted for double that amount."

"When Ling was communicating to any person the signs by which messengers might find him, he was compelled to add, "the neighbourhood in which this contemptible person resides is that officially known as 'the mean quarter favoured by the lower class of those who murder by treachery'," and for this reason he was not always treated with the regard to which his attainments entitled him, or which he would have unquestionably received had he been able to describe himself as of "the partly-drained and uninfected area reserved to Mandarins and their friends.""

"Although there exist many thousand subjects for elegant conversation, there are persons who cannot meet a cripple without talking about feet."

"Steph thinks you can wear makeup and still find Narnia. Well, so do I, but why make things harder?"

"No matter what you may have heard elsewhere or however you may have romanticized the life of working writers, know this: it is, with very, very few exceptions, a brutal, ugly, and unrelentingly difficult existence. It is a grind, no matter how much you may love to write or feel driven to tell stories. Personal demons aside, you will encounter at almost every turn no shortage of idiots and shitheels upon whom you must depend to get your work to readers. Occasionally, there will be a fortunate aberration: a wonderful, brilliant editor, or a copyeditor who doesn't try to express herhimitself vicariously by attempting to rewrite your work, or an agent who busts hisherits ass for you. You may even be so fortunate as to encounter a publisher who cares more about herhisits authors than the bottom line. Those things do happen. But don't ever fucking count on it. If you come to this life, and if you "make it" and can actually eek out some sort of living writing, you will likely learn these things for yourselves. Plenty of people will tell you I'm full of shit on this account. And you are certainly free to listen to whomever you please. But after fourteen years as a full-time writer, during which time I have had great successes and profound failures, seen modest fortune and considerable poverty and everything in-between, been appreciated and reviled, awarded and ignored, helped and hindered — one thing remains true. It's a tough row to hoe, as my Grandfather Ramey would have said. And you do yourself and all working authors a disservice if you dare believe otherwise."

"A writer who does not write is nothing. One may as well be a fisherman who doesn't fish, a stripper who doesn't strip, or a beggar who doesn't beg."

"The world wants oatmeal. It is not my job to give the world oatmeal. It is my job not to be a hack. It is my job to try to make the world chew, lest its lazy jaw muscles atrophy and its collective mandible withers and all its teeth fall out. It is my job, as a writer, to give the world toffee and peanut brittle and tough steak and celery. I write peanut butter sandwiches, not oatmeal. And every time some dolt whines, "I'm confused" or "I don't understand" or "This doesn't make any sense," I should smile and know that I'm doing my job. Not because it is my job to be opaque, but because it is not my job to be transparent."

"I was thinking, earlier, how there's this stigma attached to "writing for money" and how odd that is, as though writing is akin to sex (another "creative" act?) and writing for money is akin to prostitution in the minds of so many people. Whoring with adjectives, so to speak. Do I give good prose? Look up the definition of "hack." So, there must be the perception that writing, like the priesthood, comes with some higher purpose in tow. Getting paid well somehow sullies the purer cause. I've heard writers dismiss something or another that they've written by explaining, "Oh, yes, I know that sucked, but I only wrote it because they paid me so much money." And then we might even forgive them a piece of crap, because we have a sensible explanation. That wasn't a real orgasm. I was only faking the plot. Dorothy Parker and F. Scott Fitzgerald and William Faulkner in Hollywood."

"And speaking of Massachusetts, I just heard on CNN that the first human cloning has been successfully performed there. I'm not inherently opposed to the idea of cloning humans (or anything else), but I have to question the need for any technology that produces more of us. Making babies is about the only thing for which our species seems to display a more or less universal talent. We hardly need any help."

"The divine is always abominable."

"I sincerely hope I'm not as big a fool as that. Whatever else I may be, I like to think that I'm not an idiot."

"Orpheus' mistake wasn't that he turned and looked back towards Eurydice and Hell, but that he ever thought he could escape. Same with Lot's wife. Averting our eyes does not change the fact that we are marked."