Fictional Place Quotes

There's a time and place for everything, and I believe it’s called 'fan fiction'.

This world would be a pleasant place if people didn’t inhabit it.

When someone cries so hard that it hurts their throat, it is out of frustration or knowing that no matter what you can do or attempt to do can change the situation. When you feel like you need to cry, when you want to just get it out, relieve some of the pressure from the inside - that is true pain. Because no matter how hard you try or how bad you want to, you can't. That pain just stays in place. Then, if you are lucky, one small tear may escape from those eyes that water constantly. That one tear, that tiny, salty, droplet of moisture is a means of escape. Although it's just a small tear, it is the heaviest thing in the world. And it doesn't do a damn thing to fix anything.

Fiction is one of the few experiences where loneliness can be both confronted and relieved. Drugs, movies where stuff blows up, loud parties -- all these chase away loneliness by making me forget my name's Dave and I live in a one-by-one box of bone no other party can penetrate or know. Fiction, poetry, music, really deep serious sex, and, in various ways, religion -- these are the places (for me) where loneliness is countenanced, stared down, transfigured, treated.

It's not my fault I can't be like you, okay? I don't get up in the morning thinking the world is one big, shiny, happy place, okay? That's just not how I work. I don't think I can be fixed.

Two hours of writing fiction leaves this writer completely drained. For those two hours he has been in a different place with totally different people.

Where’s my uncle?” she asked. “I don’t know who your uncle is, but if it as the guy who owned this place before I bought it, then he’s pushing up daisies.” “But it can’t be, he’s still young.

I created the OASIS because I never felt at home in the real world. I didn't know how to connect with the people there. I was afraid, for all of my life, right up until I knew it was ending. That was when I realized, as terrifying and painful as reality can be, it's also the only place where you can find true happiness. Because reality is real.

Here's one of the things I learned that morning: if you cross a line and nothing happens, the line loses meaning. It's like that old riddle about a tree falling in a forest, and whether it makes a sound if there's no one around to hear it. You keep drawing a line farther and farther away, crossing it every time. That's how people end up stepping off the edge of the earth. You'd be surprised at how easy it is to bust out of orbit, to spin out to a place where no one can touch you. To lose yourself--to get lost. Or maybe you wouldn't be surprised. Maybe some of you already know. To those people, I can only say: I'm sorry.

Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.

Just now he was on a mind-blowing adventure and it was rapidly spiralling out of control, and this is what he needed to concentrate his mind on. How could he squeeze Daley to get the book back; that’s if Daley had it in his possession in the first place? The next few days were going to be crucial.

Fiction should be a place of lollipops and escape. Real life is depressing enough--I, for one, don't want to read about make believe misery, too.

Is where you're from the place you're leaving or where you have roots?

I walked past Malison, up Lower Main to Main and across the road. I didn’t need to look to know he was behind me. I entered Royal Wood, went a short way along a path and waited. It was cool and dim beneath the trees. When Malison entered the Wood, I continued eastward.  I wanted to place his body in hallowed ground. He was born a Mearan. The least I could do was send him to Loric. The distance between us closed until he was on my heels. He chose to come, I told myself, as if that lessened the crime I planned. He chose what I have to offer. We were almost to the cemetery before he asked where we were going. I answered with another question. “Do you like living in the High Lord’s kitchens?” He, of course, replied, “No.” “Well, we’re going to a better place.” When we reached the edge of the Wood, I pushed aside a branch to see the Temple of Loric and Calec’s cottage. No smoke was coming from the chimney, and I assumed the old man was yet abed. His pony was grazing in the field of graves. The sun hid behind a bank of clouds. Malison moved beside me. “It’s a graveyard.” “Are you afraid of ghosts?” I asked. “My father’s a ghost,” he whispered. I asked if he wanted to learn how to throw a knife. He said, “Yes,” as I knew he would.  He untucked his shirt, withdrew the knife he had stolen and gave it to me. It was a thick-bladed, single-edged knife, better suited for dicing celery than slitting a young throat. But it would serve my purpose. That I also knew. I’d spent all night projecting how the morning would unfold and, except for indulging in the tea, it had happened as I had imagined.  Damut kissed her son farewell. Malison followed me of his own free will. Without fear, he placed the instrument of his death into my hand. We were at the appointed place, at the appointed time. The stolen knife was warm from the heat of his body. I had only to use it. Yet I hesitated, and again prayed for Sythene to show me a different path. “Aren’t you going to show me?” Malison prompted, as if to echo my prayer.

At Tara in this fateful hour, I place all Heaven with its power, And the sun with its brightness, And the snow with its whiteness, And the fire with all the strength it hath, And the lightning with its rapid wrath, And the winds with their swiftness along their path, And the sea with its deepness, And the rocks with their steepness, And the earth with its starkness: All these I place, By God's almighty help and grace Between myself and the powers of darkness!

Oskar Scultetus said, “Two of my men have been ordered to cut two of the guy wires holding the transmission tower in place, and they are already doing so  using  oxy-acetylene torches. When they have done it, the tower will fall!

Freedom is not defined by safety. Freedom is defined by the ability of citizens to live without government interference. Government cannot create a world without risks, nor would we really wish to live in such a fictional place. Only a totalitarian society would even claim absolute safety as a worthy ideal, because it would require total state control over its citizens’ lives. Liberty has meaning only if we still believe in it when terrible things happen and a false government security blanket beckons.

If people cannot be flawed in fiction there's no place left for us to be human.

It’s the opportunity of a lifetime,” said Ito finally, who had been keeping very quiet
up to this point.
“Indeed. How much will it cost?” asked Brown
“About twenty million Interplanetary Credits,” said Demba. “A modest investment for
a man of your means.”
“Indeed,” said Brown again. That was all the money he had, which started to strike
him as strange, when his thoughts were interrupted.
“We’ll arrange a visit to the mine,” said Ito. “Show you the place itself.”
“Indeed,” said Brown. Or had he said that? The strange waking memory he had fallen
into started to become repetitive. Reality started to flow back in.
Diamonds, thought Brown. All those diamonds in that mine.

Places are never just places in a piece of writing. If they are, the author has failed. Setting is not inert. It is activated by point of view.

Life is, in fact, a battle. Evil is insolent and strong; beauty enchanting, but rare; goodness very apt to be weak; folly very apt to be defiant; wickedness to carry the day; imbeciles to be in great places, people of sense in small, and mankind generally unhappy. But the world as it stands is no narrow illusion, no phantasm, no evil dream of the night; we wake up to it, forever and ever; and we can neither forget it nor deny it nor dispense with it.

Written twenty years after she held office, this abridged biography is being released now, prior to taking place. Maybe we can learn from history before it happens.

I listened as the words became sentences and the sentences became pages and the pages became feelings and voices and places and people.

It occurs to me that the peculiarity of most things we think of as fragile is how tough they truly are. There were tricks we did with eggs, as children, to show how they were, in reality, tiny load-bearing marble halls; while the beat of the wings of a butterfly in the right place, we are told, can create a hurricane across an ocean. Hearts may break, but hearts are the toughest of muscles, able to pump for a lifetime, seventy times a minute, and scarcely falter along the way. Even dreams, the most delicate and intangible of things, can prove remarkable difficult to kill.

It's not irrelevant, those moments of connection, those places where fiction saves your life. It's the most important thing there is.

Home was the one place he wanted to forget, the place from which he’d run away but never could escape. And, yes, home was the place he’d been instructed to leave—the place where the trouble began and the trouble would end.

He grabbed at Rupert’s earphones and gave his colleague a very serious look. ‘What do you know about share dealing?’ Rupert placed a finger on his chin and mulled over the question with a studious look. ‘Now you come to mention it,’ he said, ‘I know absolutely nothing.’ Norman grabbed his arm and began dragging his bewildered companion to the nearest lift. ‘Then we need to find out, and find out fast.

I wonder, Are fictions safe places? And then I ask myself, Should they be safe places?

What’s broken is broken—and I’d rather remember it as it was at its best than mend it and see the broken places as long as I live…I’m too old to believe in such sentimentalities as clean slates and starting all over.

I am Ubik. Before the universe was, I am. I made the suns. I made the worlds. I created the lives and the places they inhabit; I move them here, I put them there. They go as I say, then do as I tell them. I am the word and my name is never spoken, the name which no one knows. I am called Ubik, but that is not my name. I am. I shall always be.

A brief whiff of her mother had come through a cracked window that opened to a weed-infested courtyard. It was a fragrance that almost spoke to her, saying, 'Yes, it was an unjust end to the life of a good man.' A man who had accepted gratitude in the place of love, and who knew Magdalena's heart would always remain with Ales's father.

And now I realize Lindsay's not fearless. She's terrified. She's terrified that people will find out she's faking, bullshitting her way through life, pretending to have everything together when really she's just floundering like the rest of us. Lindsay, who will bite at you if you even look in her direction the wrong way, like on of those tiny attack dogs that are always barking and snapping in the air before they're jerked backward on the chains that keep them in one place.

There was a girl, and her uncle sold her. Put like that it seems so simple. No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique. Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children? We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives. A life that is, like any other, unlike any other. And the simple truth is this: There was a girl, and her uncle sold her.

There's only one of him, she thought, and he's right here. He knows I'll like a song before I've heard it. He laughs before I even get to the punch line. There's a place on his chest, just below his throat, that makes me want to let him open doors for me. There's only one of him.

Non fiction? Non fiction?! Listen, reality is what got me into this mess in the first place.

Everybody should read fiction… I don’t think serious fiction is written for a few people. I think we live in a stupid culture that won’t educate its people to read these things. It would be a much more interesting place if it would. And it’s not just that mechanics and plumbers don’t read literary fiction, it’s that doctors and lawyers don’t read literary fiction. It has nothing to do with class, it has to do with an anti-intellectual culture that doesn’t trust art.

The biggest problem I have is I know why he has changed. What took place last night convinced me. I believe he’s been hypnotized to conduct espionage.

My room is the safest place my body has. My mind doesn’t really have a safe place.

We walk in dark places no others will enter. We stand on the bridge and no one may pass. We live for the One. We die for the One. -- the Ranger oath

Oh, uh-uh," Shaundelle said. "I'm not gonna be no place where no ghost is gonna be knockin' nobody upside the head. I'm outta here. I'm not going to take any chances that some ghost is gonna mess up this pretty face.

Time is the worst place, so to speak, to get lost in, as Arthur Dent could testify, having been lost in both time and space a good deal. At least being lost in space kept you busy.

Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different. And while we're on the subject, I'd like to say a few words about escapism. I hear the term bandied about as if it's a bad thing. As if "escapist" fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in. If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real. As JRR Tolkien reminded us, the only people who inveigh against escape are jailers.

Chase looked like a drowning man without a life preserver, and by the look in his eyes, he was going under for the third time. “I knew you would be like the waters of the South Pacific Ocean.” “I beg your pardon?” “I liken people to different bodies of water,” he quickly explained. “You what?” “Each ocean has a different personality,” he said to clarify. “The Pacific Ocean is warmer and inviting, but the color is muddied in places. The Arctic Ocean is cold and very uninviting, one might even say that it is not very appealing, but it’s full of life. Then there is the South Pacific Ocean, warm, inviting, and crystal clear. It has this purity to it. Why, the coloring of the water is some of the brightest blue I’ve ever seen in my entire life. There are even places that you can see thirty meters down.

Aha, Yury, I wonder if they are getting more US military. I am very anxious to get the recording. We want to know what is taking place between these Americans and Iraqis.

Jerking her blindfold back into place, he yelled, “Giddy-up!”                                      “They only say that in cartoons, you moron.

The reader may ask how to tell fact from fiction. A rough guide: anything that seems particularly unlikely is probably true.

Thank you,” I whisper. Words I never thought I would say to her. They unsettle us both.” “You want to thank me, Barrow?” she mutters, kicking away the last of my bindings. “Then keep your word. And let this fucking place burn.” (300)

Gods, I love this place," Locke said, drumming his fingers against his thighs. "Sometimes I think this whole city was put here simply because the gods must adore crime. Pickpockets rob the common folk, merchants rob anyone they can dupe, Capa Barsavi robs the robbers and the common folk, the lesser nobles rob nearly everyone, and Duke Nicovante occasionally runs off with his army and robs the shit out of Tal Verarr or Jerem, not to mention what he does to his own nobles and his common folk.

Home isn't a safe place where everything stays the same; it's a place where you are safe and loved despite nothing staying the same.

Pistols went under the front seats, and she placed a diplomat certificate on the dashboard. They waited until the men went into the entrance, then trailed.

My brain dissolved into a puddle as I watched Lachlan. Instead of discussing the latest trends in brazen minimalism, all I could think of was placing my hand underneath that faded T-shirt and sliding my fingers over those hard pecs.

In the mantra of shared hatred and placing the blame on Israel, our cowardice to face the barbarity of our heads of states was replaced with a divine purpose. Contemplating the manifestation of the eradication of hatred I often concluded, the entirety of the Middle East’s theocracies and dictatorships would be replaced by total anarchy. We would be left with nothing, as our brotherhood of hatred was the only bond known to us. Enculturated in the malarkey of that demagoguery, forces beyond our control and comprehension seem to deceive us into a less harmful and satisfactory logic as opposed to placing some blame on ourselves and thus, having to act to reverse that state of affairs.

But a shift has occurred since I stepped up to take Prim’s place, and now it seems I have become someone precious. At first one, then another, then almost every member of the crowd touches the three middle fingers of their left hand to their lips and holds it out to me. It is an old and rarely used gesture of our district, occasionally seen at funerals. It means thanks, it means admiration, it means good-bye to someone you love.

I live in a peculiar world," she said, "in a place where reality ends and a fiction begins. Maybe that's why I love you.

Fiona grabbed Rick in her arms and sobbed, “Oh Rick, this song drives me crazy. I can’t stop myself when you’re around me. I’m losing control of myself. Rick, please tell them to stop, otherwise I don’t know what I will do.” Saying this, Fiona placed her lips on Rick’s lips. Now Rick was no longer in a position to speak so that he could ask the DJ to change the song. He only needed to signal the DJ to do that. But after tasting the moisture on Fiona’s lips, which was like dewdrops on rose petals, he realized that this endeavour would have required a lot of courage, which he most certainly lacked at the time.

You can only go to places that you will let yourself go.

To be free means always leaving...or returning to a place where leaves never fall.

It seemed as though he would never pull free, until he awoke one morning feeling kind of awkward, as though his hands had been lopped off by some Arabian sword during a routine druggie blackout, and in their place, pale and membranous hands that had been fit to his wrists by aliens that took him up while he slept and then brought him back down – all of it in an effort to help him move up to where he belonged in society.

The car was waiting for him, and in twenty minutes, he passed under the Broken Heart sign that used to read Tender Oak. Edward found it ironic that it was March. The harvest would begin soon. He’d first arrived at this place seventy-five years ago at the age of ten, in March, just before the harvest.

I think that pretty much every form of fiction (I’d include fantasy, obviously) can actually be a real escape from places where you feel bad, and from bad places. It can be a safe place you go, like going on holiday, and it can be somewhere that, while you’ve escaped, actually teaches you things you need to know when you go back, that gives you knowledge and armour and tools to change the bad place you were in. So no, they’re not escapist. They’re escape.

I envisaged a perfect detective’s assistant. She’d have long, wavy blonde hair, a short skirt, and curves in all the right places. She’d have a genius IQ, know how to hack and code, and be available at all hours. Now, make her into a robot. Sadly, I mentally removed her body, leaving a phone app.

I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.

Reality is incredibly larger, infinitely more exciting, than the flesh and blood vehicle we travel in here. If you read science fiction, the more you read it the more you realize that you and the universe are part of the same thing. Science knows still practically nothing about the real nature of matter, energy, dimension, or time; and even less about those remarkable things called life and thought. But whatever the meaning and purpose of this universe, you are a legitimate part of it. And since you are part of the all that is, part of its purpose, there is more to you than just this brief speck of existence. You are just a visitor here in this time and this place, a traveler through it.

We wrap up our violent and mysterious world in a pretense of understanding. We paper over the voids of our comprehension with science and religion, and make believe that order has been imposed. And, for the most of it, the fiction works. We skim across the surfaces, heedless of the depths below. Dragonflies flitting over a lake, miles deep, pursuing erratic paths to pointless ends. Until that moment when something from the cold unknown reaches up to take us. The biggest lies we save for ourselves. We play a game in which we are gods, in which we make choices, and the current follows in our wake. We pretend a separation from the wild. Pretend that a man’s control runs deep, that civilization is more than a veneer, that reason will be our companion in dark places.

If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then the next day you probably do much the same again—if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time.... [T]he proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us." —"The Carrier Bag Theory of Fiction

We have inhabited both the actual and the imaginary realms for a long time. But we don't live in either place the way our parents or ancestors did. Enchantment alters with age, and with the age. We know a dozen Arthurs now, all of them true. The Shire changed irrevocably even in Bilbo's lifetime. Don Quixote went riding out to Argentina and met Jorge Luis Borges there. Plus c'est la même chose, plus ça change.

Sometimes I think that truth is a place. In my mind, it is like a city: there can be a hundred roads, a thousand paths, that will all take you, eventually, to the same place. It does not matter where you come from. If you walk toward the truth, you will reach it, whatever path you take.” Calum

Common citizens pretty much all want the same thing and generally agree with what’s considered right and wrong. Instead of agreeing with each other and working together to make the world a better place, they argue over made-up labels. They argue with each other instead of addressing and dealing with the powerful individuals who are dumping and dispersing their waste into nature, or the many other actions being done that are creating disharmony.

Unlike any other creature on this planet, human beings can learn and understand without having experienced. They can think themselves into other peoples’ places. Of course, this is a power like my brand of fictional magic that is morally neutral. One might use such a power to manipulate or control, just as much as to understand or sympathize. And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or peer inside cages. They can close their hearts and minds to any suffering that does not touch them personally. They can refuse to know. I might be tempted to envy people who can live that way, except that I do not think that they have any fewer nightmares than I do.

In itself, every idea is neutral, or should be; but man animates ideas, projects his flames and flaws into them; impure, transformed into beliefs, ideas take their place in time, take shape as events: the trajectory is complete, from logic to epilepsy . . . whence the birth of ideologies, doctrines, deadly games. Idolaters by instinct, we convert the objects of our dreams and our interests into the Unconditional. History is nothing but a procession of false Absolutes, a series of temples raised to pretexts, a degradation of the mind before the Improbable. Even when he turns from religion, man remains subject to it; depleting himself to create fake gods, he feverishly adopts them: his need for fiction, for mythology triumphs over evidence and absurdity alike.

I’ve watched hundreds of deed transfers take place right here on the steps of the Registry,” Michele mused. “At those moments of transfer, I’ve seen in the eyes of desperate sellers an emotional reconciliation of irrevocably relinquishing a homestead, a treasured dominion, willingly or otherwise. Perhaps all these deeds, Mr. Geoffrey…perhaps they, too, have their own soul, a predilection that would tell me more than what they say if only I had the capacity to ask.

Dearie, I’m not going to speak for other people.” Megan manoeuvred her lips into a smile, but her eyes stayed cold. “Now. What else would you like to see me about?” “Do you think things will go backwards if the Rowlands push for change?” “It’s not my place to judge that, but I’ll tell you this for nothing. The Rowlands aren’t the only ones with a vested interest in everything around here. They might own it on paper, but folks make their living here, and if the Rowlands threaten that, they’ll get more than they bargained for.” Something in Megan’s tone caused Saskia to tense. The smile that Megan continued to hold on her lips seemed now an image of threat.

Karṇa walks, his back is straight, he is lit up by his divine earings; yet his feet drag. He turns into an alley. His head droops and falls to his chest. He stops. Mist swirls around him, becomes motionless, parts. From between his ribs steps a young woman. Her eyes and face and tongue are brown like old blood and she is decked in old things and she wears upon her wrists two burnt black bracelets. She places the point of a knife under Karṇa’s chest plate and cuts, a gentle sawing motion, the blade moving beneath the skin, a slicing of the quick: nerves, blood vessels, sinews. I feel his pain; not a stab; it is insistent, enduring, but sharp nonetheless, as with any loss.

In many college English courses the words “myth” and “symbol” are given a tremendous charge of significance. You just ain’t no good unless you can see a symbol hiding, like a scared gerbil, under every page. And in many creative writing course the little beasts multiply, the place swarms with them. What does this Mean? What does that Symbolize? What is the Underlying Mythos? Kids come lurching out of such courses with a brain full of gerbils. And they sit down and write a lot of empty pomposity, under the impression that that’s how Melville did it.

There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.

Love"I'm in love with you," he said quietly. "Augustus,"I said. "I am," he said. He was staring at me, and I could see the corners of his eyes crinkling. "I'm in love with you, and I'm not in the business of denying myself the simple pleasure of saying true things. I'm in love with you, and I know that love is just a shout into the void, and that oblivion is inevitable, and that we're all doomed and that there will come a day when all our labor has been returned to dust, and I know the sun will swallow the only earth we'll ever have, and I am in love with you." "Augustus," I said again, not knowing what else to say. It felt like everything was rising up in me, like I was drowning in this weirdly painful joy, but I couldn't say it back. I couldn't say anything back. I just looked at him and let him look at me until he nodded, lips pursed, and turned away, placing the side of his head against the window.

Why does the third of the three brothers, who shares his food with the old woman in the wood, go on to become king of the country? Why does James Bond manage to disarm the nuclear bomb a few seconds before it goes off rather than, as it were, a few seconds afterwards? Because a universe where that did not happen would be a dark and hostile place. Let there be goblin hordes, let there be terrible environmental threats, let there be giant mutated slugs if you really must, but let there also be hope. It may be a grim, thin hope, an Arthurian sword at sunset, but let us know that we do not live in vain.

Frank Churchill was waiting for her when she arrived. He had now been a convenient sixth with their party on multiple occasions, escorting Jane following the Campbells and Dixons, and it seemed so natural as he greeted them and slipped into place as they entered the hall. “Have a care, you are sparkling tonight,” he murmured under his breath. “Almost as if you had recently become engaged to the love of your life.” Jane did not dare look at him as she smiled. If she did, the entire world would know their secret.

I was a young black man, light-skinned enough so that four out of five people who met me, of whatever race, assumed I was white.... I was a homosexual who now knew he could function heterosexually. And I was a young writer whose early attempts had already gotten him a handful of prizes.... So, I thought, you are neither black nor white. You are neither male nor female. And you are that most ambiguous of citizens, the writer. There was something at once very satisfying and very sad, placing myself at this pivotal suspension. It seemed, in the park at dawn, a kind of revelation--a kind of center, formed of a play of ambiguities, from which I might move in any direction.

I wish this was a love story. A love story about lovers whose mouths meet like two puzzle pieces fitting perfectly into place, about the electric feeling of one person's name on the other's tongue because no one has ever spoken them out loud like that before. About people who spend the night together looking at the stars until entire constellations exist within them. Everyone is perfect in that indistinct way most characters are and every perfectly constructed scene in their fictional lives is somehow more real than anything you've known or lived. Love stories, romances, leave a person secure in the knowledge they'll end Happily Ever After and who wouldn't want a story like that? I wish this was a love story because I know how it goes in one like mine, where the only moments of reprieve are the spaces between its lines.

In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor -- by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man's money dishonestly and no man's insolence without due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks -- that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is the man's adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

It occurred to him that he had not spent his life as he should have done. It occurred to him that his scarcely perceptible attempts to struggle against what was considered good by the most highly placed people, those scarcely noticeable impulses which he had immediately suppressed, might have been the real thing, and all the rest false. And his professional duties and the whole arrangement of his life and of his family, and all his social and official interests, might all have been false.

I cannot recall having believed, even as a child, that the purpose of reading fiction was to learn about the place commonly called the real world. I seem to have sensed from the first that to read fiction was to make available for myself a new kind of space. In that space, a version of myself was free to move among places and personages the distinguishing features of which were the feelings they caused to arise in me rather than their seeming appearance, much less their possible resemblance to places or persons in the world where I sat reading.

She pulled open the reception area door, bright sunshine causing her to pause, momentarily blinding her. Her eyes adjusted and she saw Josh, Peta and Daryl in deep conversation at an outdoor table. Saskia retreated, holding the door open. She saw Daryl lunge out of his bench, reach across the table, grab the front of Josh’s shirt and haul him close. Daryl’s mouth worked in angry lines and Josh’s head bowed, shaking back and forth slowly. Peta glanced nervously over her shoulder and towards the door of the administration building. She laid a hand on Daryl’s arm, leaning towards him. Daryl let Josh loose, sinking back into his seat. Josh also sat back, tugging his shirt into place.

You are not you--you have no body, no blood, no bones, you are but a thought. I myself have no existence; I am but a dream--your dream, a creature of your imagination. In a moment you will have realized this, then you will banish me from your visions and I shall dissolve into the nothingness out of which you made me. I am perishing already, I am failing, I am passing away. In a little while you will be alone in shoreless space, to wander its limitless solitudes without friend or comrade forever—for you will remain a thought, the only existent thought, and by your nature inextinguishable, indestructible. But I, your poor servant, have revealed you to yourself and set you free. Dream other dreams, and better! Strange! that you should not have suspected years ago—centuries, ages, eons, ago!—for you have existed, companionless, through all the eternities. Strange, indeed, that you should not have suspected that your universe and its contents were only dreams, visions, fiction! Strange, because they are so frankly and hysterically insane—like all dreams: a God who could make good children as easily as bad, yet preferred to make bad ones; who could have made every one of them happy, yet never made a single happy one; who made them prize their bitter life, yet stingily cut it short; who gave his angels eternal happiness unearned, yet required his other children to earn it; who gave his angels painless lives, yet cursed his other children with biting miseries and maladies of mind and body; who mouths justice and invented hell—mouths mercy and invented hell—mouths Golden Rules, and forgiveness multiplied by seventy times seven, and invented hell; who mouths morals to other people and has none himself; who frowns upon crimes, yet commits them all; who created man without invitation, then tries to shuffle the responsibility for man's acts upon man, instead of honorably placing it where it belongs, upon himself; and finally, with altogether divine obtuseness, invites this poor, abused slave to worship him! You perceive, now, that these things are all impossible except in a dream. You perceive that they are pure and puerile insanities, the silly creations of an imagination that is not conscious of its freaks—in a word, that they are a dream, and you the maker of it. The dream-marks are all present; you should have recognized them earlier. "It is true, that which I have revealed to you; there is no God, no universe, no human race, no earthly life, no heaven, no hell. It is all a dream—a grotesque and foolish dream. Nothing exists but you. And you are but a thought—a vagrant thought, a useless thought, a homeless thought, wandering forlorn among the empty eternities!

Strange! that you should not have suspected years ago--centuries, ages, eons, ago!--for you have existed, companionless, through all the eternities. Strange, indeed, that you should not have suspected that your universe and its contents were only dreams, visions, fiction! Strange, because they are so frankly and hysterically insane--like all dreams: a God who could make good children as easily as bad, yet preferred to make bad ones; who could have made every one of them happy, yet never made a single happy one; who made them prize their bitter life, yet stingily cut it short; who gave his angels eternal happiness unearned, yet required his other children to earn it; who gave his angels painless lives, yet cursed his other children with biting miseries and maladies of mind and body; who mouths justice and invented hell--mouths mercy and invented hell--mouths Golden Rules, and forgiveness multiplied by seventy times seven, and invented hell; who mouths morals to other people and has none himself; who frowns upon crimes, yet commits them all; who created man without invitation, then tries to shuffle the responsibility for man's acts upon man, instead of honorably placing it where it belongs, upon himself; and finally, with altogether divine obtuseness, invites this poor, abused slave to worship him!

The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.

No respect for beauty – that was characteristic of today’s society. The works of the great masters were at most employed as ironic references, or used in advertising. Michelangelo’s ‘The Creation of Adam’, where you see a pair of jeans in place of the spark. The whole point of the picture, at least as he saw it, was that these two monumental bodies each came to an end in two index fingers that almost, but not quite, touched. There was a space between them a millimetre or so wide. And in this space – life. The sculptural size and richness of detail of this picture was simply a frame, a backdrop, to emphasise the crucial void in its centre. The point of emptiness that contained everything. And in its place a person had superimposed a pair of jeans.

Should he give free reign to his desires, the bibliomaniac can ruin his life along with the lives of his loved ones. He'll often take better care of his books than of his own health; he'll spend more on fiction than he does on food; he'll be more interested in his library than in his relationships, and, since few people are prepared to live in a place where every available surface is covered with piles of books, he'll often find himself alone, perhaps in the company of a neglected and malnourished cat. When he dies, all but forgotten, his body might fester for days before a curious neighbor grows concerned about the smell.

Saskia groaned again. She threw back her bed covers, the last vestiges of sleep leaving her. It would be evening in Lyon. Clarissa would be expecting to hear from her. A call-in at least once every 24 hours was part of several protocols Clarissa had established. The instruction at the end of the conversation, “Give the dogs a pat for me”, reassured Clarissa that all was well. Leave the words out, replace any one of the words in the sentence with another or not place a call in a 24-hour period, and Clarissa would alert authorities. In her younger years, Clarissa had served in the British army. Her experiences in those years had caused the trauma she now lived with, though she used her expertise by teaching her three partners basic self-defence, how to operate firearms and how to wield weapons. She also programmed their watches and phones to enable her to constantly track their whereabouts, explaining, “I want to know that my three charges are safe”. Another protocol was to always check accommodation venues for listening devices. Saskia did this before calling Clarissa. “Clarissa. Ça va?” “What have you to report?

I'm going to go out on a limb here. I've thought a lot about this one, as a feminist, and as an author. How should traditional roles be portrayed? In fantasy literature there is a school of thought that holds that women must be treated precisely like men. Only the traditional male sphere of power and means of wielding power count. If a woman is shown in a traditionally female role, then she must be being shown as inferior. After a lot of thought, and some real-life stabs at those traditional roles, I've come to firmly disagree with this idea. For an author to show that only traditional male power and place matter is to discount and belittle the hard and complex lives of our peers and our ancestresses.

I thought I was going to die. I wanted to die. And I thought if I was going to die I would die with you. Someone like you, young as I am, I saw so many dying near me in the last year. I didn’t feel scared. I certainly wasn’t brave just now. I thought to myself, We have this villa this grass, we should have lain down together, you in my arms, before we died. I wanted to touch that bone at your neck, collarbone, it’s like a small hard wing under your skin. I wanted to place my fingers against it. I’ve always liked flesh the colour of rivers and rocks or like the brown eye of a Susan, do you know what that flower is? Have you seen them? I am so tired, Kip, I want to sleep. I want to sleep under this tree, put my eye against your collarbone I just want to close my eyes without thinking of others, want to find the crook of a tree and climb into it and sleep. What a careful mind! To know which wire to cut. How did you know? You kept saying I don’t know I don’t know, but you did. Right? Don’t shake, you have to be a still bed for me, let me curl up as if you were a good grandfather I could hug, I love the word ‘curl,’ such a slow word, you can’t rush it...

Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'.

At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional.

Anyone and everyone taking a writing class knows that the secret of good writing is to cut it back, pare it down, winnow, chop, hack, prune, and trim, remove every superfluous word, compress, compress, compress... Actually, when you think about it, not many novels in the Spare tradition are terribly cheerful. Jokes you can usually pluck out whole, by the roots, so if you're doing some heavy-duty prose-weeding, they're the first to go. And there's some stuff about the whole winnowing process I just don't get. Why does it always stop when the work in question has been reduced to sixty or seventy thousand words--entirely coincidentally, I'm sure, the minimum length for a publishable novel? I'm sure you could get it down to twenty or thirty if you tried hard enough. In fact, why stop at twenty or thirty? Why write at all? Why not just jot the plot and a couple of themes down on the back of an envelope and leave it at that? The truth is, there's nothing very utilitarian about fiction or its creation, and I suspect that people are desperate to make it sound manly, back-breaking labor because it's such a wussy thing to do in the first place. The obsession with austerity is an attempt to compensate, to make writing resemble a real job, like farming, or logging. (It's also why people who work in advertising put in twenty-hour days.) Go on, young writers--treat yourself to a joke, or an adverb! Spoil yourself! Readers won't mind!

Dale turned back to slander the bitter hippie who was wearing a tie-dye shirt with colorful text that read ACID BATH. “Looks like someone forgot to take their micro-dose of acid today, or maybe you mistakenly consumed too much gluten for breakfast. Or perhaps you’re resentful for having woken up today realizing the world revolves around money instead of love and sexually transmitted diseases.” An eccentric expression crept onto the hippie’s face while he half-lifted his arms in surrender. “Hey man, crimson and clover, over and over.” Dale hadn’t the slightest idea what the man was talking about, but he was pretty sure he wasn’t talking about colors and flowers. Or was clover a weed? Well, if he spotted these hippies in his backyard, he’d definitely remove them like weeds, even if their tie-dye shirts were colorful enough to deceitfully pass as flowers. Getting up close to them to smell their pungent odor, instead of a flower’s fragrance, would most surely be enough evidence to classify them as weeds. Stubborn weeds that attempted to buck the system by creeping up between logically placed cemented sidewalks that paved the way to buildings of high finance. He had crushed many of their kind under his polished shoes as he made his way toward the office. They were the dying remnants of a generation who thought pervasive love could spark a peaceful revolution. What they weren’t aware of was that love wasn’t more powerful than fucking. The honorable elite factions who hold the reins of an ordered society continually raped the hippie’s love movement until it was nothing more than acid flashbacks and bad hygiene, which conveyed the power of fucking over love.

[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.

there was a sort of embarrassment about storytelling that struck home powerfully about one hundred years ago, at the beginning of modernism. We see a similar reaction in painting and in music. It's a preoccupation suddenly with the surface rather than the depth. So you get, for example, Picasso and Braque making all kinds of experiments with the actual surface of the painting. That becomes the interesting thing, much more interesting than the thing depicted, which is just an old newspaper, a glass of wine, something like that. In music, the Second Viennese School becomes very interested in what happens when the surface, the diatonic structure of the keys breaks down, and we look at the notes themselves in a sort of tone row, instead of concentrating on things like tunes, which are sort of further in, if you like. That happened, of course, in literature, too, with such great works as James Joyce's Ulysses, which is all about, really, how it's told. Not so much about what happens, which is a pretty banal event in a banal man's life. It's about how it's told. The surface suddenly became passionately interesting to artists in every field about a hundred years ago. In the field of literature, story retreated. The books we talked about just now, Middlemarch, Bleak House, Vanity Fair -- their authors were the great storytellers as well as the great artists. After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's..." So there was a great split that took place. Story retreated, as it were, into genre fiction-into crime fiction, into science fiction, into romantic fiction-whereas the high-art literary people went another way. Children's books held onto the story, because children are rarely interested in surfaces in that sort of way. They're interested in what-happened and what-happened next. I found it a great discipline, when I was writing The Golden Compass and other books, to think that there were some children in the audience. I put it like that because I don't say I write for children. I find it hard to understand how some writers can say with great confidence, "Oh, I write for fourth grade children" or "I write for boys of 12 or 13." How do they know? I don't know. I would rather consider myself in the rather romantic position of the old storyteller in the marketplace: you sit down on your little bit of carpet with your hat upturned in front of you, and you start to tell a story. Your interest really is not in excluding people and saying to some of them, "No, you can't come, because it's just for so-and-so." My interest as a storyteller is to have as big an audience as possible. That will include children, I hope, and it will include adults, I hope. If dogs and horses want to stop and listen, they're welcome as well.

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

Open Letter to Neil Armstrong" Dear Neil Armstrong, I write this to you as she sleeps down the hall. I need answers I think only you might have. When you were a boy, and space was simple science fiction, when flying was merely a daydream between periods of History and Physics, when gifts of moon dust to the one you loved could only be wrapped in your imagination.. Before the world knew your name; before it was a destination in the sky.. What was the moon like from your back yard? Your arm, strong warm and wrapped under her hair both of you gazing up from your back porch summers before your distant journey. But upon landing on the moon, as the earth rose over the sea of tranquility, did you look for her? What was it like to see our planet, and know that everything, all you could be, all you could ever love and long for.. was just floating before you. Did you write her name in the dirt when the cameras weren't looking? Surrounding both your initials with a heart for alien life to study millions of years from now? What was it like to love something so distant? What words did you use to bring the moon back to her? And what did you promise in the moons ear, about that girl back home? Can you, teach me, how to fall from the sky? I ask you this, not because I doubt your feat, I just want to know what it's like to go somewhere no man had ever been, just to find that she wasn't there. To realize your moon walk could never compare to the steps that led to her. I now know that the flight home means more. Every July I think of you. I imagine the summer of 1969, how lonely she must have felt while you were gone.. You never went back to the moon. And I believe that's because it dosen't take rockets to get you where you belong. I see that in this woman down the hall, sometimes she seems so much further. But I'm ready for whatever steps I must take to get to her.I have seem SO MANY skies.. but the moon, well, it always looks the same. So I gotta say, Neil, that rock you landed on, has got NOTHING on the rock she's landed on. You walked around, took samples and left.. She's built a fire cleaned up the place and I hope she decides to stay.. because on this rock.. we can breath. Mr. Armstrong, I don't have much, many times have I been upside down with trauma, but with these empty hands, comes a heart that is often more full than the moon. She's becoming my world, pulling me into orbit, and I now know that I may never find life outside of hers. I want to give her EVERYTHING I don't have yet.. So YES, for her, I would go to the moon and back.... But not without her. We'd claim the moon for each other, with flags made from sheets down the hall. And I'd risk it ALL to kiss her under the light of the earth, the brightness of home... but I can do all of that and more right here, where she is..And when we gaze up, her arms around ME, I will NOT promise her gifts of moon dust, or flights of fancy. Instead I will gladly give her all the earth she wants, in return for all the earth she is. The sound of her heart beat and laughter, and all the time it takes to return to fall from the sky,down the hall, and right into love. God, I'd do it every day, if I could just land next to her. One small step for man, but she's one giant leap for my kind.