Literature

"The hardest theme in science fiction is that of the alien. The simplest solution of all is in fact quite profound — that the real difficulty lies not in understanding what is alien, but in understanding what is self. We are all aliens to each other, all different and divided. We are even aliens to ourselves at different stages of our lives. Do any of us remember precisely what it was like to be a baby?"

"Two centuries. Two hundred years. That’s how long we’ve had science fiction. From the birth of Frankenstein, to the death of Ursula K. Le Guin. Two hundred years. Why aren’t there more? Maybe because science fiction, particularly in the golden age years, was just seen as something men did. Maybe because the boys’ club atmosphere put women off. Maybe women weren’t welcome. The first edition of Frankenstein was published anonymously. In 1967, a new science fiction author came on to the scene, James Tiptree Jr. It was at least a decade before the author of dozens of thoughtful, intelligent and often subversive short stories was revealed to be a woman called Alice Sheldon. In an interview with Isaac Asimov’s Science Fiction magazine in 1983 she said of her pseudonymous career: “A male name seemed like good camouflage. I had the feeling that a man would slip by less observed. I’ve had too many experiences in my life of being the first woman in some damned occupation.” Women write science fiction. Women have always written science fiction. But often, they have been ignored, or sidelined, or simply slid under the radar. If they’re very good at writing science fiction, they can get co-opted out of the genre and into “literary fiction”. Take, for example, Margaret Atwood, whose work is out and-out science fiction, from The Handmaid's Tale to Oryx and Crake. Atwood once infamously said her work wasn’t science fiction at all, because that was all about “talking squids in outer space” But remember this: Mary Shelley was originally tasked to write a ghost story. Instead she invented science fiction with a novel that spoke of horrors yet pierced the heart of humanity."

"If you start putting very large numbers of human brain cells into primates, suddenly you might transform primates into something that has some of the capacities that we regard as distinctively human – speech or other ways of being able to manipulate or relate to a human. These possibilities, at the moment, are largely being explored in fiction but we need to start thinking about them now."

"The rockets that have made spaceflight possible are an advance that, more than any other technological victory of the twentieth century, was grounded in science fiction… . One thing that no science fiction writer visualized, however, as far as I know, was that the landings on the Moon would be watched by people on Earth by way of television."

"Science fiction always bases its future visions on changes in the levels of science and technology. And the reason for that consistency is simply that—in reality—all other changes throughout history have been irrelevant and trivial."

"I don't know of any science fiction writer who really attempts to be a prophet. Such authors accomplish their tasks not by being correct in their predictions, necessarily, but merely by hammering home—in story after story—the notion that life is going to be different."

"Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today — but the core of science fiction, its essence, the concept around which it revolves, has become crucial to our salvation if we are to be saved at all."

"Science fiction is that branch of literature that deals with human responses to changes in the level of science and technology."

"Science fiction is the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mould."

"Science fiction is no more written for scientists than ghost stories are written for ghosts."

"Nonetheless, the crosscurrents flowing between representations of alien encounters and the politics of colonialism remain an enduring subject of interest for scholars as evidenced by the many articles examining the films, District 9 and Avatar, as allegories of colonial encounters. Indeed, Neill Blomkamp’s District 9 is arguably the work that first revealed the extent to which it was possible to bring together science fiction and the problematic of postcoloniality for those scholars of African literature and cinema who had not previously given any thought to science fiction as a viable genre for African writers or filmmakers. Since then, scholarly discussions of District 9 have proliferated, but not necessarily in tandem with references to the wider context for African science fiction."

"John Rieder notes, for example, that the rising thirst for exploration of alien worlds in fiction starting in the nineteenth century, cannot be detached from growing awareness of an impending disappearance of a certain kind of exploration. He remarks: If the Victorian vogue for adventure fiction in general seems to ride the rising tide of imperial expansion, particularly into Africa and the Pacific, the increasing popularity of journeys into outer space or under the ground in the late nineteenth and early twentieth centuries probably reflects the near exhaustion of the actual unexplored areas of the globe…. Having no place on Earth left for the radical exoticism of unexplored territory, the writers invent places elsewhere."

"Hollywood groupthink is anathema to the nature of sci fi, which is a cerebral philosophical exploration of humankind and puncturing the limits of our imagination. I think the central concept here is that Hollywood, Cap H, is as terrified of sci fi as it is of an alien invasion. And that’s because the studios, as they have been increasingly corporatized, become absolutely risk averse in a way that they haven’t always been."

"I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why – but we really need to land on that why. That’s what I’ve been exploring in my writing for many years and trying to get better at."

"Interviewer: The book also assembles several scraps of paper, on which you wrote bits of dialogue or character development on the fly. Is that how you operate, scribbling something down whenever an idea pops into your head?"

"This...is why screenwriting pays so well. They don't pay me to write. I'd write for free. They pay me NOT to punch people in the neck."

"Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier Irving Thalberg … said, "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it.""

"The people who make movies are actually desperate for good material. They’re desperate. And honestly if you write a brilliant script they really wouldn’t care if you were a 95-year-old grandmother from Duluth. They really want something that’s brilliant on the page. And it’s actually one of the main reasons that I chose it, is that it’s very subject to elbow grease, subject to hard work."

"In the 80’s and much of the 90’s, [[w:Joe Eszterhas|[Joe] Eszterhas]] was Hollywood’s best-paid screenwriter, sometimes receiving more cash for a script than the film’s director, who would usually find himself in a back-alley brawl with Mr. Eszterhas over their unshared vision. Some of these movies were hits. Some weren’t. One could count on seeing cartons of militantly smoked cigarettes, plenty of on-the-job hanky-panky and, in his late-period panty movies, ruttish lesbians and multiple grand-mal orgasms. “You like to play games, don’t you?” was a line that Mr. Eszterhas wrang out of his Olivetti manual more than once."

"A rule says "You must do it this way". A principle says, "This works... and has through all remembered time." The difference is crucial. Your work needn't be modeled after the well-made play; rather it must be well made within the principles that shape our art. Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form."

"It seems to me it's the hardest thing 'cause you're starting from nothing and creating something. Everybody else is interpreting what you've written. Everybody else is an interpretive artist. Even the best of them. Stanley Kubrick was an interpretive artist. The best actors in the world are interpreting what's on the page, and they use it as a springboard to something else, but if it's not there, there's nothing to spring from. So the writer is the only person who's taking absolutely nothing, and 120 pages of it, and dirtying it up in such a way that it's gonna gross hundreds of millions of dollars and make a lot of people happy."

"Mostly, you write a script and someone’s gonna rewrite you. They get hundreds of—not hundred but they get ten writers to write something. If you have a big budget, you can go and get a lot of people to write on script .... I just actually heard that somebody said, 'Well, your screenplay got bought and now someone like Carrie Fisher will come in and rewrite you.' And I feel terrible, you know, because that’s not what I mean to do. My idea was never to raid something and trash it, you know. ‘Cause that – that’s more work for me!"

"I moved into directing for a couple of reasons. ... Most directors, I discovered, need to be convinced that the screenplay they’re going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it’s all boys. It certainly was when I started as a screenwriter. So I thought, 'I’m just gonna become a director and that’ll make it easier.'"

"[Screenwriting] is no more complicated than old French torture chambers, I think. It's about as simple as that."

"Talking of biography, I said, in writing a life, a man's peculiarities should be mentioned, because they mark his character. JOHNSON. 'Sir, there is no doubt as to peculiarities : the question is, whether a man's vices should be mentioned ...' ... 'If a man is to write A Panegyrick, he may keep vices out of sight ; but if he professes to write A Life, he must represent it really as it was ...'"

"When I read the book, the biography famous, And is this then (said I) what the author calls a man's life? And so will some one when I am dead and gone write my life? (As if any man really knew aught of my life, Why even I myself I often think know little or nothing of my real life, Only a few hints, a few diffused faint clews and indirections I seek for my own use to trace out here.)"

"Though just biographic record will touch the failings of the good and the eminent with tenderness, it ought not to spread over them the veil of suppression."

"I am a biography nut myself, and I think when you're trying to teach the great concepts that work, it helps to tie them into the lives and personalities of the people who developed them."

"The open-ended nature of biography is one of its mysterious attractions. No Life is ever definitive: it draws or rejects from past work, it reflects often unconsciously the concerns and questions of its own age, and it passes on something hidden to the future. Every serious attempt at an historic portrait of the dead will subtly absorb the ' and of its living author, however objective he or she sets out to be. This is precisely the strength, rather than the weakness, of its subjectivity."

"There is no heroic poem in the world but is at bottom a biography, the life of a man; also it may be said, there is no life of a man, faithfully recorded, but is a heroic poem of its sort, rhymed or unrhymed."

"... We talked of biography.—JOHNSON. 'It is rarely well executed. They only who live with a man can write his life with any genuine exactness and discrimination ; and few people who have lived with a man know what to remark about him. The chaplain of a late Bishop, whom I was to assist in writing some memoirs of his Lordship, could tell me scarcely any thing ...'"

"Internet pornography consumption has been increasing due to the widespread use of the internet and become very common practice among people. Today, it has been considered that 46–74% of men and 16–41% of women are active pornography users in modern nations. These data are supported by one of the most popular porn website, PornHub, as reported over 39 billion searches and 42 billion visits during 2019, suggesting 115 million visits and 18,073 terabytes of data transferred per day. the coronavirus continues to spread globally, social distancing, self-isolation/quarantine, and national lockdowns have become the cores to control the pandemic. However, these measures may also lead to increases in social isolation, loneliness, and stress, which can alter the consumption of pornography habits."

"In our multinational, cross-sectional survey of pornography use and sexual response in women, higher frequency of pornography use predicted greater sexual functioning across all outcome variables during masturbation, yet had no deleterious effects on sexual outcomes during partnered activity. Across masturbation and partnered sex, lower levels of educational attainment and the presence of ongoing anxiety or depression were the two most consistent predictors of orgasmic dysfunction in the regression models. Greater sexual relationship satisfaction, in contrast, was associated with more favorable outcomes during partnered sex. Taken together, these findings suggest that the frequency of pornography use per se does not contribute to sexual problems during partnered sex., However, it could well be that a subset of women use erotic materials to compensate for psychosocial factors (e.g., dissatisfaction in one’s sexual relationships, ongoing anxiety or depression) that independently impinge upon sexual responsivity."

"Research pertaining to pornography has traditionally been conducted from three perspectives. First, pornography use has been evaluated in relation to couples’ relationship satisfaction, often under the assumption that greater reliance upon erotic materials during masturbation is associated with poorer relationship outcomes. Second, pornography has been studied from a neurobehavioral perspective to determine whether individuals who report “compulsive” use exhibit neurophysiologic or epigenetic alterations that typify models of addiction. Third, content analyses of pornographic materials have been conducted to examine the extent to which exposure to beneficial/educational (e.g., providing clitoral stimulation during partnered sex), risky (e.g., condom-less sexual activity), or demeaning (e.g., lack of verbal consent during intercourse, sexual aggression, etc.) sexual scripts might increase the preponderance or social acceptability of such behaviors. Despite the insights gained from these approaches, few studies have analyzed putative direct effects of pornography use on the sexual response cycle, including arousal and orgasmic parameters, comparing masturbatory and partnered sexual activities. In stark contrast to prior research findings and public opinion, we did not find strong empirical support for the hypothesis that pornography use is consistently associated with greater sexual dysfunction or relationship dissatisfaction. In all five regression analyses related to masturbation, more frequent pornography use predicted greater ease of becoming aroused and reaching orgasm, longer latencies to orgasm, greater pleasure upon orgasm, and a higher percentage of masturbatory events leading to orgasm. Among the same parameters for partnered sexual activity, more frequent pornography use predicted greater ease becoming aroused and longer latencies, but no significant associations, either positive or negative, were observed for any of the other outcomes in the regression analyses. Overall, women’s use of pornography to enhance orgasmic response and pleasure was strongly supported by our findings, yet pornography use during masturbation appeared to have no deleterious effects on sexual functioning during partnered sex. Indeed, it was actually associated with lower arousal difficulty during partnered sex. Furthermore, no associations were observed between pornography use frequency and general relationship satisfaction or sexual relationship satisfaction with one’s primary partner in the previous 12 months. In these respects, our results highlight the potential positive effects that pornography use might have for women’s enjoyment of sex. Furthermore, to the extent that pornography use might represent greater openness to using less conventional strategies for enhancing their sexual experience, it may reflect one of a number of techniques that differentiate women who use pornography from women who do not."

"On average, women using pornography were younger, and reported more interest in sex. Pornography frequency differed significantly by menopausal status, sexual orientation, anxiety/depression status, number of sexual partners, and origin of data collection. During masturbation, more frequent pornography use predicted lower arousal difficulty and orgasmic difficulty, greater pleasure, and a higher percentage of masturbatory events leading to orgasm. Frequency of pornography use predicted only lower arousal difficulty and longer orgasmic latencies during partnered sex, having no effect on the other outcome variables. Pornography use frequency did not predict overall relationship satisfaction or sexual relationship satisfaction. Overall, more frequent pornography use was generally associated with more favorable sexual response outcomes during masturbation, while not affecting most partnered sex parameters. Several demographic and relationship covariates appear to more consistently and strongly predict orgasmic problems during partnered sexual activity than pornography use."

"The effect of pornography on sexual response is understudied, particularly among women."

"A., the young woman who said she had never seen an image of a penis until she watched porn, resisted the idea that porn was uniformly bad for teenagers. “At least kids are watching porn and not going out and getting pregnant,” she said. But recently, she told me that she’d given up watching it altogether. She disliked looking at women’s expressions now, believing that they probably weren’t experiencing pleasure and might be in pain. When Drew watched porn, he found himself wondering if women were having sex against their will. As another student said with a sigh: “Nicole and Jess ruined porn for us.”"

"Daley went on to detail a 2010 study that coded incidents of aggression in best-selling 2004 and 2005 porn videos. She noted that 88 percent of scenes showed verbal or physical aggression, mostly spanking, slapping and gagging. (A more recent content analysis of more than 6,000 mainstream online heterosexual porn scenes by Bryant Paul and his colleagues defined aggression specifically as any purposeful action appearing to cause physical or psychological harm to another person and found that 33 percent of scenes met that criteria. In each study, women were on the receiving end of the aggression more than 90 percent of the time.)"

"“There’s nowhere else to learn about sex,” the suburban boy told me. “And porn stars know what they are doing.” His words reflect a paradox about sex and pornography in this country. Even as smartphones have made it easier for teenagers to watch porn, sex education in the United States — where abstinence-based sex education remains the norm — is meager."

"Of the roughly half who had seen pornography, 53 percent of boys and 39 percent of girls said it was “realistic.” And in the recent Indiana University national survey, only one in six boys and one in four girls believed that women in online porn were not actually experiencing pleasure: As one suburban high school senior boy told me recently, “I’ve never seen a girl in porn who doesn’t look like she’s having a good time.”"

"The modeling of perceiving consumption of Internet pornography as problematic has already received scientific attention (Grubbs et al., 2019). Gola, Lewczuk, and Skorko (2016) studied the predictors of help-seeking behavior relevant to problematic pornography use. They reported that the quality of symptoms explains a significantly higher proportion of variance than the quantity of consumption of Internet pornography, suggesting that the frequency of use should be less diagnostically weighted to better meet the complexity of patients’ presenting concerns. Although abstinence from pornography might be regarded as a feasible intervention to alleviate any negative symptoms, no experimental investigations (but a few clinical case reports) have been made to date (Fernandez, Tee, & Fernandez, 2017)."

"Boredom is also considered a possible trigger of hypersexual behavior by Kafka. This notion is supported by a psychology research demonstrating that leisure boredom is a significant predictor of pornography use, suggesting that people consume porn more when they are bored. Rothman et al. define the use of pornography as a tool to relieve boredom. Similarly, a recent systemic review evaluating the association between boredom and hypersexuality identified a link between boredom and increased online sexual activity. The rationale behind this boredom effect may be due to the men’s novelty-seeking behaviors to reduce monotony and increase arousal. Another reason for increased porn consuming could be that some people are using sex as a surviving mechanism for coping with their loneliness, depressive symptoms, and even fear of death. In a study, Baltazar et al. reported that people are endorsing porn use to cope with negative affect. Again, in a study, pornography consumption is an important tool for mood management and stress relief. It should be noted that problematic pornography consumption is also considered to cope with negative emotions. As described by Lehmiller, the key idea behind Terror management theory is that “when we are reminded of our own mortality, we subconsciously alter our attitudes and behaviors to help us cope with the ‘terrifying’ prospect of our eventual death.” A research demonstrated that when we are faced with the prospect of our own mortality, this prompts sexual desire and behavior as a coping mechanism."

"Individual difference variables representing personality traits are emerged as motivators of pornography consumption. The elements of individual difference variables associated with pornography consumption are sensation seeking, dispositional sexual affect (erotophobia–erotophilia), and narcissistic traits (entitlement). In addition to individual difference variables of pornography consumption, self-reported reasons can also be considered as factors that drive individuals to use pornography. Studies reported that sexual arousal and sexual enhancement were the predominant motivations for pornography consumption among the self-reported reasons. Aside from the sexual arousal and enhancement, coping and boredom are linked with greater use of pornography as well. Studies showed that higher levels of psychological distress often end up with greater levels of pornography consumption. When people have negative feeling like stress or anxiety, viewing pornography could offer temporary relief from those feelings. Similarly, curiosity and information seeking were the other contributing domains for pornography consumption. However, these reasons are less endorsed reasons for pornography use than hedonic reasons."

"In conjunction with prior literature, we conclude that there is little or no evidence of an association between mere pornography use and ED, consistent evidence of an association between self-reported problematic use and ED cross-sectionally, and no evidence of causal links between any pornography variables and ED."

"Peter Griffin: What's the difference between art and pornography... a government grant!"

"Monks, these two extremes ought not to be practiced by one who has gone forth from the household life. (What are the two?) There is addiction to indulgence of sense-pleasures, which is low, coarse, the way of ordinary people... and there is addiction to self-mortification, which is painful, unworthy, and unprofitable. Avoiding both these extremes, the Tathagata (the Perfect One) has realized the Middle Path; it gives vision, gives knowledge, and leads to calm, to insight, to enlightenment and to Nibbana."

"Everyone knows that child pornography is bad because it's been demonstrated over and over that people who look at that stuff end up acting it out—and really destroy people's lives. That's beyond the unconscionably cruel exploitation of the children involved. Other forms of pornography are harmful for a similarly oft-repeated reason: Pornography makes women into objects of desire rather than real people. We want to have relationships between person and person, not person-to-object."

"Pornography incarnates male supremacy. It is the DNA of male dominance. Every rule of sexual abuse, every nuance of sexual sadism, every highway and byway of sexual exploitation, is encoded in it."

"Pornography is the essential sexuality of male power: of hate, of ownership, of hierarchy; of sadism, of dominance.""

"Men characterize pornography as something mental because their minds, their thoughts, their dreams, their fantasies, are more real to them than women's bodies or lives; in fact, men have used their social power to characterize a $10-billion-a-year trade in women as fantasy."