Fantasy Authors

"A kiss is a contact, a union, an exchange. It is unknown to certain races and tribes, while others know it and consider it with disgust. They all suffer a loss. A kiss can be a cold formula, or a token of familial relationship or a prelude to the act of love. It can also be a revelation in an unspoken, secret language of feelings that have never been expressed in words."

"Without being too clinical, let’s say his brain was affected."

"What finally decided me was what happened in that village in Tibet; we had airdropped in during the night to get between the Indians and the Chinese. I had never seen poverty or disease like that and I wondered why guns were the only thing we could bring them."

"How large was mankind’s sense of obligation? The caveman first had this feeling for his mate, then for his family. It grew until men fought and died for the abstract ideas of cities and nations, then for whole planets. Would the time ever come when men might realize that the obligation should be to the largest and most encompassing reality of all—mankind? And beyond that to life of all kinds."

"Their personal policy has become their planetary policy—and that’s never a very smart thing."

"The final product is a man-plant-animal symbiote that is admirably adapted for survival on this disaster world. No emotions to cause complications or desires that might interfere with pure survival. Complete ruthlessness—mankind has always been strong on this anyway, so it didn’t take much of a push.”"

"There are far too many people there for comfort. Birth control came late and is still being fought—if you can possibly imagine that. There are just too many of the archaic religions still around, as well as crackbrained ideas that have been long entrenched in custom. The world’s overcrowded. Men, women, children, a boiling mob wherever you look."

"You must realize that living organisms will do anything to survive. Castaways at sea will drink their own urine in their need for water. Disgust at this is only the attitude of the overprotected who have never experienced extreme thirst or hunger."

"I have done more in one day than you all have done since you arrived. I have accomplished this because I am better at my work than the rest of you. That is all the information any of you are going to receive. You are dismissed."

"The crossbows twanged like harps of death."

"Just because you know a thing is true in theory, doesn't make it true in fact. The barbaric religions of primitive worlds hold not a germ of scientific fact, though they claim to explain all. Yet if one of these savages has all the logical ground for his beliefs taken away — he doesn't stop believing. He then calls his mistaken beliefs 'faith' because he knows they are right. And he knows they are right because he has faith. This is an unbreakable circle of false logic that can't be touched. In reality, it is plain mental inertia. A case of thinking 'what always was' will also 'always be.' And not wanting to blast the thinking patterns out of the old rut."

"What about it, Meta?" he snapped. "No doubts? Do you think that destruction is the only way to end this war?" "I don't know," she said. "I can't be sure. For the first time in my life I find myself with more than one answer to the same question." "Congratulations," he said. "It's a sign of growing up."

"Harrison was an extremely popular figure in the SF world, renowned for being amiable, outspoken and endlessly amusing. His quickfire, machine-gun delivery of words was a delight to hear, and a reward to unravel: he was funny and self-aware, he enjoyed reporting the follies of others, he distrusted generals, prime ministers and tax officials with sardonic and cruel wit, and above all he made plain his acute intelligence and astonishing range of moral, ethical and literary sensibilities."

"The principles we live by, in business and in social life, are the most important part of happiness."

"We must be as stealthy as rats in the wainscoting of their society. It was easier in the old days, of course, and society had more rats when the rules were looser, just as old wooden buildings have more rats than concrete buildings. But there are rats in the building now as well. Now that society is all ferrocrete and stainless steel there are fewer gaps in the joints. It takes a very smart rat indeed to find these openings. Only a stainless steel rat can be at home in this environment."

"Like all women, she was a true pragmatist."

"I sat down with a filled glass in front of a glass-eyed instrument called a TV. As I had guessed, my accent in the local language left a lot to be desired, and I wanted to listen to someone who spoke a better form of it. This was not easy to find. To begin with, it was hard to tell which were the educational channels and which were there for entertainment. I found what appeared to be a morality play in historical form where all the men wore wide-brimmed hats and rode on horses. But the total vocabulary used could not have been more than 100 words, and most of the characters were killed by shooting before I could discover what it was all about. Guns seemed to play an important role in most of the dramas I watched, though this was varied with sadism and assorted kinds of mayhem. All this violence and hurtling from one place to another in various conveyances did not leave the people much time for intersexual activity; a brief kiss was the only manifestation of affection or libido that I saw. Most of the dramas were also difficult to follow since they kept being interrupted by brief playlets and illustrated lectures about the purchase of various consumer goods."

"Of all the varied forms of crime, bank robbery is the most satisfactory to both the individual and to society. The individual of course gets a lot of money, that goes without saying, and he benefits society by putting large amounts of cash back into circulation. The economy is stimulated, small businessmen prosper, people read about the crime with great interest, and the police have a chance to exercise their various skills. Good for all. Though I have heard foolish people complain that it hurts the bank. This is arrant nonsense. All banks are insured, so they lose nothing, while the sums involved are minuscule in the overall operation of the insuring firm, where the most that might happen is that a microscopically smaller dividend will be paid at the end of the year. Little enough price to pay for all the good caused. It was as a benefactor of mankind, not a thief, that I passed the echo sounder over the wall."

"I turned to my wife. “I assume you brought the usual equipment with you? The sort of thing we had on our honeymoon.” “Bombs, grenades, explosives, gas charges, of course.” “Good girl. With you for a wife I have a growing sense of security.”"

"He had been raised never to question, to believe God had created Cliaand a bit better than all the other planets, and that they were therefore ordained to take care of the inferior races. It is amazing the things people will believe if you catch them early enough."

"Who but a madman can enjoy the prospect of approaching war?"

"Cold-blooded killing is just not my thing. I've killed in self-defense, I'll not deny that, but I still maintain an exaggerated respect for life in all forms. Now that we know that the only thing on the other side of the sky is more sky, the idea of an afterlife has finally been slid into the history books alongside the rest of the quaint and forgotten religions. With heaven and hell gone we are faced with the necessity of making a heaven or hell right here. What with societics and metatechnology and allied disciplines we have come a long way and life on the civilized worlds is better than it was during the black days of superstition. But with the improving of here and now comes the stark realization that here and now is all we have. Each of us has only this one brief experience with the bright light of consciousness in that endless dark night of eternity and must make the most of it. Doing this means we must respect the existence of everyone else and the most criminal act imaginable is the terminating of one of these conscious existences."

"Cliaand seemed to have a very low level of crime because almost no precautions appeared to have been taken to prevent the sort of burglary I indulged in. Either the criminal class had all been killed off or they now ran the government."

"Insinuate, penetrate, operate and extirpate."

"Morning sickness and robbery just don’t seem to mix."

"There’s something you are going to have to settle in your own mind before you will be happy. This stupid importance you attach to death. Don’t you realize how completely trivial it is? Two hundred years from now you, I and every person now living in the galaxy will be dead. What does it matter if a few of them are helped along and reach their destination a bit quicker? They’d do the same to you if they had the chance."

"The better you are as a soldier, the worse you are as a human being."

"There is no such thing as fair fighting when you are struggling for your life."

"Any boob can crash a party, in fact usually does, since that is all one seems to meet at this kind of affair."

"My dive into the depths of self-analysis had left a definitely unwholesome taste in my mouth that no amount of liquor could wash away."

"Centuries of research have produced drugs that can simulate any mental condition in the user. Like to be paranoid for a day? Take a pill. You too can go around the bend, friend. It is a matter of record that people have actually tried these concoctions for kicks, but that bored with life I don’t want to be."

"I never think about genre when I work. I've written fantasy, science fiction, supernatural fiction, and am now working on a suspense novel. Genres are mostly useful as a marketing tool, and to help booksellers known where to shelve a book."

"I always thought of muses as sacrificial lambs, tamping down their own unwieldy creative impulses as they offer themselves for delectation by male geniuses. But Elizabeth Hand suggests in a recent essay that the connection is perilous for both parties: "The threat of one being consumed or obliterated by the other is constant. Yet it is precisely this tension, this tango macabre, that underscores the erotic nature of the relationship between artist and muse, suspended as it is between longing and dread, the yearning to possess and the knowledge that capture is so often destructive of the very object of desire." This tango macabre is the core of Mortal Love, Hand's latest novel. … Calling Mortal Love "an imaginary tree with roots in the real world," Hand laces the novel with real historical figures like Algernon Swinburne and Lady Wilde (Oscar's folktale-spinning mother) and drops in amusing literary allusions and references to artists like Brian Jones and Kurt Cobain, who have themselves been scorched by the muse. … The novel succeeds as both a thriller and a meditation on the mysterious nature of inspiration."

"Elizabeth Hand is one of American literature's finest prose poets of the fantastic. Her novels are powerfully lyrical, suffused with visionary agony and dreamlike eroticism; in her hands, myth reattains the nightmare energy of its origins, staining the present and the future with atavistic hues of blood."

"Truth is, often Lesley got the fuzzy end of the lollypop."

"Julian was into black magic. Well, okay—he never called it that. But something to do with the dark arts. “Magick” with a K, that Aleister Crowley bullshit. So fucking pretentious. Most of Crowley’s quote-unquote magick was just a way of getting laid—he was a total con man. If you can read his stuff with a straight face, you’re a stronger woman than me."

"I couldn’t breathe. Couldn’t blink. Couldn’t hear a thing, not them talking or the wind or the truck driving off or bees. Couldn’t scream out to Will to help me or to anyone else, all of them talking and going on as though I wasn’t even there. And that was when I realized: This is what it’s like to be dead. No clouds or lights or bright tunnel, not even darkness: just the world turning and going on without you and you’ll never be part of it again."

"He even taught himself to play the viole de gambols, a true sign of a man with too much time on his hands."

"You read a lot of crap about photographic craftsmanship in those days, and technique; but you didnt hear shit about vision. I knew that I had an eye, a gift for seeing where the ripped edges of the world begin to peel away and something else shows through."

"It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared."

"Several months later I had this dream. I was kneeling in the field where I'd seen the eye. A figure appeared in front of me: a man with green-flecked eyes, his smile mocking and oddly compassionate. As I stared up at him, he extended his hand until his finger touched the center of my forehead. There was a blinding flash. I fell on my face, terrified, woke in bed with my ears ringing. It was the morning of my seventeenth birthday"

"I liked being alone. Once when I was fourteen, walking in the woods, I stepped from the trees into a field where the long grasses had been flattened by sleeping deer. I looked up into the sky and saw a mirror image of the grass, black and yellow-gray whorls making a slow clockwise rotation like a hurricane. As I stared the whorl began to move more quickly, drawing a darkness into its center until it resembled a vast striated eye that was all pupil, contracting upon itself yet never disappearing. I stared at it until a low buzzing began to sound in my ears. Then I ran. I didn't stop until I reached my driveway. When I finally halted and looked back, the eye was still there, turning. I never mentioned it to anyone. No one else ever spoke of seeing it."

"I had from earliest childhood a sense that there was no skin between me and the world. I saw things other people didn't see. Hands that slipped through the gaps in the air like falling leaves; a jagged outline like a branch but there was no branch and no tree. In bed at night I heard a voice repeating my name in a soft, insistent monotone. Cass. Cass. Cass. My father took me to a doctor, who said I'd grow out of it. I never did, really."

"There's always a moment when everything changes. … If you don't see it coming, if you blink or you're drunk or just looking the other way — well everything changes anyway, it's not like things would have been different. But for the rest of your life you're fucked, because you blew it. Maybe no one else knows it, but you do. In my case, it was no secret. Everyone knew I'd blown it. Some people can make do in a situation like that. Me, I've never been good at making do. My life, who could pretend there wasn't a big fucking hole in it."

"Faeries might have been wandering around in Victorian England. I can believe that. But it is a more difficult thing to think that they might be wandering around Camden Town now. It is more of a jump, but I find that more interesting in many ways. The irruption of the supernatural into our world is a much more enticing notion to explore than the same thing happening in some past time, or in a wholly imaginary world."

"I try to maintain a balance between having a vision of the world that many readers do not experience for themselves, trying to give them enough grounding in the world we are all familiar with, so they don't feel that they are completely lost in Faerie."

"I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot. So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift."

"I worked at the Smithsonian for a number of years. I had a very low-level job. I didn't have much responsibility, but I did have a Smithsonian ID badge that gave me access to all of the museums on the mall, and also the National Gallery of Art. In those days, you could go anywhere, which you can't do now. You could get in behind the scenes and wander along these tunnels. There is a scene in "Prince of Flowers" where the characters are in the Paleontology Department of the Museum of Natural History where they really do have this Raiders of the Lost Ark-type vast space filled with all of these unopened cartons. … I was really entranced with the idea of living in a museum. In Winterlong there are two parallel storylines and the one for Raphael takes place among this guild or tribe of curators who live in the ruins of the Smithsonian Institution."

"I'm sure one reason that so many Greek myths deal with terrifying, powerful women — Medea, Electra, the Erinyes, the Bacchae, — is that at some point in the misty past, women held a power that was terrifying — terrifying not because they were women whom men felt threatened by, but because they wielded that power in terrifying rituals that almost certainly involved human sacrifice. This would not be a popular platform on which to base a feminist agenda."

"A lot of the revisionist thinking by feminist mythologisers — people who based their projections of ancient "matristic" cultures on work done by folks like Marija Gimbutas — is based on archaeological and anthropological speculation that in some cases has since been proved wrong. The pretty happy flower children who lived at ancient Knossos, for instance, were the result of wishful thinking by the Victorian explorer Arthur Evans (a man, please note). No one actually knows what these cultures were really like, but it's doubtful that they were free of the same problems of sexual inequality that we have today."