Fantasy Authors

"That was a salvo of something against something."

"We know the axes on which we should judge, and age has never been one."

"You were sick of sentimentality, of the moralism, maneuvering, and malice that comes with it."

"“Do you even know why you’re angry with me?” Simone shouted. “Oh, I’ll figure something out,” Tova said."

"She knows most of this, to some extent, and she knows she’s depressed, but if knowing the problem was the solution, most patients wouldn’t need us at all."

"Annalise’s fantasies involve disappearance. She catastrophizes all the time, and makes things worse than they need to be by doing so."

"Joanna took Mel to Dresden, to the Frauenkirche. The timed their visit to coincide with a monthly English evensong. “Firebombs not enough?” Mel whispered. “Now we inflict Anglicanism on them?”"

"The priest was nodding as he sang. I remembered his anger. I remembered when his companion said, “Bastards,” and I realized I didn’t know if she meant the godnappers, or the gods who’d let themselves be taken, who’d let everyone down."

"Koning’s skills were adequate, her calculations plausible enough, that the plans were hubristic but not quite mad."

"Metamorphosis is death. Inside a pupa larval flesh breaks down utterly, as if in chemical spill. Eyes do not become other eyes nor mouthparts mouths. All parts are lost in a reconfiguring slop, as absolutely formless as a salted slug, that ex liquid nihilo self-organizes into a quite other animal. A cocoon is not a transformation pod but an execution chamber, one that doubles as a birthplace, and is parsimonious with matter."

"Koning was a self-made expert. She snuggled what she’d bought in the nest she had made of shredded grimoires and scrunched-up rules of engagement. She watched it. It did nothing."

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

"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."

"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."

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

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

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

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

"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."

"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."

"“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.”"

"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."

"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."

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

"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."

"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."

"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."

"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."

"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."

"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."

"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."

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

"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."

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

"I have yet to see any problem, however complicated, which, when you looked at it in the right way, did not become still more complicated."

"So much American science fiction is parochial -- not as true now as it was years ago, but the assumption is one culture in the future, more or less like ours, and with the same ideals, the same notions of how to do things, just bigger and flashier technology. Well, you know darn well it doesn't work that way..."

"In Harvest of Stars, there is this notion, not original with me of course, that it will become possible to download at least the basic aspects of a human personality into a machine program..."

"I wrote the first book, Harvest of Stars, and as I was writing it, I saw that certain implications had barely been touched on... It's perfectly obvious that two completely revolutionary things are going on, with cybernetics, and biological science."

"All those agonizing philosophical-theological conundrums amount to "Ask a silly question, get a silly answer.""

"Anybody can find infinite Mandelbrot figures in his navel."

"Light fills the air, wind is aglow, drink of it, breathe of it, make leafing. Rainfall sows itself, it grows down through soil to the secret places where stones abide; it brings the strength of them up rootward. Lie still, molder away, then be again grass."

"I've heard assorted rhapsodies about humankind going to the stars, of course. Who hasn't? Each of them founders on the practical problems." "The fish that first ventured ashore had considerable practical problems."

"The universe held as many surprises as it did stars. No, more. That was its glory. But someday one of them was bound to kill you."

"What’s the point of our living all these centuries if we haven’t grown up even a little?"

"Before the spirit could seek into it, the mind must. She studied the tensor equations as once she studied the sutras, she meditated upon the koans of science, and at last she began to feel her oneness with all that was, and in the vision find peace."

"I don’t pretend to understand what the physicists mean by time, but for people, it isn’t so-and-so many measured units; it’s events, experiences. A man who crowds his life and dies young has lived longer than one who got old sitting in tame sameness."

"“We do need something to lift us out of ourselves. It’s wrong to carry our pettinesses along to the stars.” “We will, though,” he said. “We can’t help it. How do you escape being what you are?”"

"Are you happy? Your question is meaningless. I am occupied. I participate in operations, I am one with the accomplishments."

"Absolute proof of absolute knowledge is impossible."

"We Russians have learned to fear anarchy above all else. We would rather have tyranny than it. Hanno, you do wrong to look on people’s republics, strong governments of every kind, as always evil. Freedom is perhaps better, but chaos is worse."