Science Fiction Authors From The United States

"“But Dad... what if I just beat people up with my baton? Wouldn’t they have to do whatever I say?” Pitar laughed. “That’s been tried. It never works out well.”"

"Maybe we were forced to conform to that tradition, for the sake of futurity. But the truth is, fatherhood was good to me. Today, there’s a boy, eight years old, who depends on me for guidance in this world. So now I realise: life can’t be all about me. Me, and my own favourite things: interaction design, aesthetics, robotics, metaphysics... When you and I built a child, that forced me to realise how much this life matters!"

"Clearly, Mother de Gupta dearly loved motherhood – mostly, for the chance that it offered her to boss around small, helpless people."

"Working seriously, improving your taste and perception and understanding, knowing what you are and where you came from, not only improves your work in the present, but gives you a chance of influencing the future and links you to the best work of the past. It gives you a place to take a solid stand."

"You can get a hell of a lot done in a popular medium just by knocking it off with the bullshit."

"Don't become a well-rounded person. Well rounded people are smooth and dull. Become a thoroughly spiky person. Grow spikes from every angle. Stick in their throats like a pufferfish."

"Don't aim to be civilized. Don't hope that straight people will keep you on as some kind of pet. To hell with them...Get weird. Get way weird. Get dangerously weird. Get sophisticatedly, thoroughly weird and don't do it halfway, put every ounce of horsepower you have behind it."

"Follow your weird, ladies and gentlemen. Forget trying to pass for normal. Follow your geekdom. Embrace your nerditude."

"Ladies and gentlemen to hell with the marvellous power of storytelling. If the audience for science fiction wanted storytelling, they wouldn't read goddamned science fiction, they'd read Harpers and Redbook and Argosy... We're not into science fiction because it's "good literature," we're into it because it's weird."

"Science fiction is a pop medium and a very obsolescent medium...science fiction has a hard time wrapping itself in the traditional mantle of literary excellence... we try to do this sometimes, but generally we have to be really drunk first."

"Believe me there are few things deader or more obsolescent than a science fiction novel that predicts the future when the future has passed it by."

"Mortality is one good reason why I'm writing books in the first place. For God's sake don't make me keep pace with the hardware, because I'm not really in the business of keeping pace, I'm really in the business of marking place."

"For God's sake don't put my books into the Thomas Edison kinetoscope... don't tie my words and my thoughts to the fate of a piece of hardware, because hardware is even more mortal than I am, and I'm a hell of a lot more mortal than I care to be."

"This [deconstruction] is a way for modern literateurs to handle this vast legacy of the past without actually getting any of the sticky stuff on you. It's like it's dead. It's like the next best thing to not having literature at all."

"When you're deconstructing a book it's like you're psychoanalyzing it, you're not studying it for what it says, you're studying it for the assumptions it makes and the cultural reasons for its assemblage.... What this essentially means is that you're not letting it touch you, you're very careful not to let it get its message through or affect you deeply or emotionally in any way."

"I don't think that as a culture today we're very interested in tradition or continuity. No, we're a lot more interested in being a New Age and a revolutionary epoch, we long to reinvent ourselves every morning before breakfast and never grow old."

"I'm sure you could play some kind of computer game with very intelligent, very small, invisible computers...You could have some entertaining way to play with them, or more likely they would have some entertaining way to play with you."

"Emily Dickinson didn't even publish books, she just wrote these demented little poems with a quill pen and hid them in her desk, but they still fought their way into the world, and lasted on and on and on. It's damned hard to get rid of Emily Dickinson, she hangs on like a tick in a dog's ear."

"The real advantage of CDs is that they allow you to forget all your vinyl records. You think you love this record collection that you've amassed over the years. But really the sheer choice, the volume, the load of memory there is secretly weighing you down. You're never going to play those Alice Cooper albums again, but you can't just throw them away, because you're a culture nut."

"My art, science fiction writing, is pretty new as literary arts go, but it labors under the curse of three thousand years of literacy. In some weird sense I'm in direct competition with Homer and Euripides."

"Agriculture is the oldest and most vicious of humanity’s bio-technologies."

"You know when it really got bad here? When they tried to help. With medicine. And irrigation. They sank deep wells, with sweet, flowing water, and of course the nomads settled there. So instead of moving their herds on, leaving the pastures a chance to recover, they ate everything down to bare rock, for miles around every well. And the eight, nine children that African women have born from time immemorial—they all lived. It wasn’t that the world didn’t care. They struggled heroically, for generations, selflessly and nobly. To achieve an atrocity."

"I’ll grant you good intentions, but intentions don’t count for much. Corruption—that’s what counts."

"The world doesn’t give a shit how noble your motives are—it’ll roll right over you. That’s how it works."

"She’d read somewhere once that 90 percent of the world’s havoc was committed by men between fifteen and twenty-five."

"Where there’s war, there’s whores."

"You know what that is? That’s peasant technology, brother. It’s slash-and-burn agriculture. You know what that might do to what’s left of the planet’s tropical forests? It’ll make every straw-hat Brazilian into Paul Bunyan, that’s what. The most dangerous bio-tech in the world is a guy with a goat and an axe."

"Revolutions. New Orders. For Laura the words had the cobwebby taste of twentieth-century thinking. Visionary mass movements were all over the 1900s, and whenever they broke through, blood followed in buckets."

"When the People march in one direction, it only hurts to ask awkward questions."

"Laura listened to their crude P. R. with sour amusement. They wouldn’t crank out this level of rhetoric unless they were trying to hide a real weakness, she thought."

"Real life was where the baby was."

"Centralized bureaucracies always protect the status quo. They don’t innovate. And it’s innovation that’s the real threat."

"The Net was a lot like television, another former wonder of the age. The Net was a vast glass mirror. It reflected what it was shown. Mostly human banality."

"The autumn sun shone brightly. It was still the same sun and the same clouds. The sun didn’t care about the landscape inside people’s heads."

"These people are setting entire new standards for nightmarish postindustrial anti-chic. Only heavy-duty cosmopolitan San Francisco Bay area performance artists, who double as the Dilberts from Hell, could dress with such miraculous anti-fashion sense. ... Mark Pauline is a creative force first, a human being second, and a nice guy at a very distant tenth."

"There are a lot of times and places where "humanity" is headed in no place in particular. Those scenes interest me. Like, little European cultures with weird minority languages, who are just hanging around in obscure mountain valleys, making clay pots and singing, and knifing each other on Tuesdays... It's not like we all line up and dash like mad for some end-goal called "The Future." There's no victory-condition for being human. The future is just a kind of history that hasn't happened yet."

"Mashups [...] nobody's going to listen to mashups in another ten years. Mashups are novelty music. They're like "The Monster Mash." They have no musical staying power. You're pursuing a phantom there. It's bad music, I mean, it's not bad— it's a pastiche, it's like magazine collage— which can be good for what it is. But to pretend that that's like tremendous creative work— No! It's a tremendous creative power— and it can have a tremendous audience, but it's not tremendously good. And we need a little bit of aesthetic honesty in confronting things like this. Just because it's new, and people with laptops can do it, and get away with it, and find an audience for it, does not make it a real cultural advance. It's an epiphenomenon."

"Interstitialism is very postmodern, in that it calls old definitions into question without bothering to invent plausible new ones."

"Tomorrow composts today."

"As a philosophical problem, it comes down to a better way to engage with the passage of time; and I think we're getting close to one, because the imaginative loss of the future is becoming acute. The most effective political actors on the planet now are people who want to blow themselves up. These are people who really don't want to get out of the bed in the morning and face another unpredictable day."

"“Happiness,” Jubal stated, “lies in being privileged to work hard for long hours in doing whatever you think is worth doing.”"

"Above all, Heinlein taught us to accept his wisdom without becoming followers. He taught us to become, and to remain, individuals. … The Libertarian movement must go far to prove itself, but it may prove to be the one bright spot in an otherwise bleak era. The shadow of two powerful minds cast themselves over everything about that movement, whether we recognize it or not: the minds of Ayn Rand and Robert A. Heinlein. … What Heinlein gave it, no less vital if we’re to effect the changes we aspire to, was heart the guts."

"The people of every nation want to make their country cleaner, stronger, and a better place for the next generation. The quality of patriotism in its finer form is seen in every land around the world. As Robert Heinlein often made clear, it should not be confused with imperialism, which is conceptually its opposite, nor with a refusal to listen to criticism. Patriots listen to and evaluate all criticism; but they make up their own minds. This idea, of thoughtful independence and loyalty to one’s own kind (species, nation, town, and family) runs through the corpus of Heinlein writing."

"Heinlein stories also say that there are in this world (and all others) good guys and bad guys, and the good guys will finally win, and the bad guys, driven by greed or vanity or hate or lust for power, should and will finally lose. This is a moral position, and Heinlein’s works never lack morality (which, as he clearly pointed out, has little or nothing to do with the conventional definition of morals, so often preoccupied as they are with the sexual customs of a particular age)."

"The fourth notion drawn in the works of Heinlein, something which again may seem unpopular today, is the idea that competence is good. There’s nothing wrong with being a polymath. You don’t have to be bad at one thing, you can be good at many things. When you read Heinlein, he doesn’t write about idiots, fumbling their inadequate way through the world to achieve nothing. And why should he? Others are doing that. Too many novels today have as their message: “Let me take you in this book from the squalid, dull, and meaningless life that you live, to the squalid, dull, and meaningless life that I live. Heinlein would have none of that. He believed that there is nothing wrong with being competent."

"He pronounces himself dismayed not only by political events of the last few decades, but by the terrifying decay of education and growth of irrationalism in America."

"If you mean he believes the wise should rule the foolish and the competent rule the incompetent, again I plead guilty to the same offense. Somebody’s got to drive—should it not be the best driver?"

"Free speech gives people the right to knock who and what I love; it also gives me the right to rebut."

"I found Robert A. Heinlein in back issues of Astounding, and also in The Saturday Evening Post, and I read everything of his I could find. I was completely hooked on his "juveniles": Space Cadet. Red Planet. Starman Jones. Between Planets. Farmer in the Sky. Wonderful stories, and the only thing "juvenile" about them was that he took the trouble to explain what was happening. Robert once told me that young people want to know how things work, and you can tell them more in a "juvenile" than you can in an adult novel. In any event I devoured everything of his I could find, through high school, the army, college, and I couldn’t have cared less that many were "juveniles". They were wonderful. I met Robert Heinlein years later, and through some kind of rare magic we became instant friends. We corresponded for a decade. In those days I was an engineering psychologist, operations research specialist, and systems engineer in aerospace. Most of my work was military aerospace, but I did get to work on Mercury, Gemini, and Apollo. We were helping to make the dream come true! I went from there to a professorship, and then into political management and city government. Robert visited me when I was working for Mayor Sam Yorty. "You probably don’t know this," he said, "but my political career ended when Yorty beat me for the Democratic nomination to the State Assembly." When I finally decided to get out of politics, academia, and the aerospace industry and try my hand at writing, Mr. Heinlein was enormously helpful. Years later, when I was an established writer, I asked him how I could pay him back. "You can’t," he said. "You don’t pay back, you pay forward." I never forgot that, just as I never forgot the wonderful things his ‘juvenile’ stories did for me."

"Heinlein presents us, in terms of his sources and influences with a rope of many strands and the strength of the whole is in the multiplicity of the strands. To lift one strand out and examine it has two immediate effects: it magnifies the relative importance out of proportion to its place in the whole; and it weakens the whole. For all the good and interesting use Heinlein made of his encounter with Cabell, he was not a disciple or even a "Cabell minor." Rather, he used Cabellian materials to make his own figure in the world, and in so doing he has given the Biography of the Life of Manuel a Life of its own, flowing into literary history. Imitation may be the sincerest form of flattery — but in literature, transformation is the only form of progeny."