Fictional World Quotes

Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.

To really be a nerd, she'd decided, you had to prefer fictional worlds to the real one.

I spent my life folded between the pages of books. In the absence of human relationships I formed bonds with paper characters. I lived love and loss through stories threaded in history; I experienced adolescence by association. My world is one interwoven web of words, stringing limb to limb, bone to sinew, thoughts and images all together. I am a being comprised of letters, a character created by sentences, a figment of imagination formed through fiction.

In a perfect world, you could fuck people without giving them a piece of your heart. And every glittering kiss and every touch of flesh is another shard of heart you’ll never see again.

Fiction is art and art is the triumph over chaos… to celebrate a world that lies spread out around us like a bewildering and stupendous dream.

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

Stories are consoling, fiction is one of the consolation prizes for having lived in the world.

  “I am running back my tent to get my sub-machinegun. There are too many Noggies to kill using a pistol!” He then ran to where his scrape was and returned with the weapon.

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.

If you want to write, if you want to create, you must be the most sublime fool that God ever turned out and sent rambling. You must write every single day of your life. You must read dreadful dumb books and glorious books, and let them wrestle in beautiful fights inside your head, vulgar one moment, brilliant the next. You must lurk in libraries and climb the stacks like ladders to sniff books like perfumes and wear books like hats upon your crazy heads. I wish you a wrestling match with your Creative Muse that will last a lifetime. I wish craziness and foolishness and madness upon you. May you live with hysteria, and out of it make fine stories — science fiction or otherwise. Which finally means, may you be in love every day for the next 20,000 days. And out of that love, remake a world.

I want to survive this world that keeps trying to destroy me.

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.

...Despite the mayhem that followed, Bruno found that he was still holding Shmuel's hand in his own and nothing in the world would have persuaded him to let go.

The world is full of magic. You’ve just got to learn how to access it.

I guess I always felt even if the world came to an end, McDonald's would still be open.

She peeped through one of the small holes in the outer wall rising up from the walkway. The world on the outside was nothing but countryside now. Dirt roads, like chocolate ribbons, disappeared into woods or green fields in the distance.

As a girl, she had come to believe in the ideal man -- the prince or knight of her childhood stories. In the real world, however, men like that simply didn't exist.

I simply regard romantic comedies as a subgenre of sci-fi, in which the world created therein has different rules than my regular human world.

You speak rabbit?” asked Princess Sophie. “Of course,” said Lady Ariana. “And cat, dog, mouse, pig, and chicken. Fish, too. I am a magician, after all.

That was what magic did. It revealed the heart of who you'd been before life took away your belief in the possible. It gave back the world all lonely children longed for.

For one who reads, there is no limit to the number of lives that may be lived, for fiction, biography, and history offer an inexhaustible number of lives in many parts of the world, in all periods of time.

I think that most of us, anyway, read these stories that we know are not "true" because we're hungry for another kind of truth: the mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. Fiction, because it is not about someone who lived in the real world, always has the possibility of being about oneself. --From the Introduction

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.

There is no end To what a living world Will demand of you.

Boson forces don't exist in Quantum space. The Light of the World is only found this side of the Timewall.

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.

Fiction, because it is not about somebody who actually lived in the real world, always has the possibility of being about oneself.

Fiction has been maligned for centuries as being "false," "untrue," yet good fiction provides more truth about the world, about life, and even about the reader, than can be found in non-fiction.

Imagination is more important than knowledge. For knowledge is limited to all we know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.

This is a work of fiction. Still, given an infinite number of possible worlds, it must be true on one of them. And if a story set in an infinite number of possible worlds is true in one of them, then it must be true in all of them. So maybe, it's not as fictional as we think.

Death is lighter than a feather. Duty, heavier than a mountain.

One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or to the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory. You must remember this.

Turn around and believe that the good news that we are loved is better than we ever dared hope, and that to believe in that good news, to live out of it and toward it, to be in love with that good news, is of all glad things in this world the gladdest thing of all. Amen, and come Lord Jesus.

I was glad my father was an eye-smiler. It meant he never gave me a fake smile because it's impossible to make your eyes twinkle if you aren't feeling twinkly yourself. A mouth-smile is different. You can fake a mouth-smile any time you want, simply by moving your lips. I've also learned that a real mouth-smile always has an eye-smile to go with it. So watch out, I say, when someone smiles at you but his eyes stay the same. It's sure to be a phony.

Science fiction is the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself. ...Science fiction is central to everything we've ever done, and people who make fun of science fiction writers don't know what they're talking about.

I think the act of reading imbues the reader with a sensitivity toward the outside world that people who don't read can sometimes lack. I know it seems like a contradiction in terms; after all reading is such a solitary, internalizing act that it appears to represent a disengagement from day-to-day life. But reading, and particularly the reading of fiction, encourages us to view the world in new and challenging ways...It allows us to inhabit the consciousness of another which is a precursor to empathy, and empathy is, for me, one of the marks of a decent human being.

Just remember who you are... The world will try to change you into someone else. Don't let them. That's the best advice anyone can give you.

George didn't do quiet or subtle. His big paws kicked up rocks as he stretched into his own version of a freight train.

Tis strange,-but true; for truth is always strange; Stranger than fiction: if it could be told, How much would novels gain by the exchange! How differently the world would men behold!

You are there and to their ears, being a Syrian sounds like you’re unclean, shameful, indecent; it’s like you owe the world an apology for your very existence.

Josh tasted the decaying leaves of autumn in the cold mountain air.

Often I felt like two people. One went into the world and did the living for the other, who was stuck in an endless moment of knowing. Yesterday was today and hereon in.

The terrified men did not move. Then Nadia Fedin did something instinctive; she drew her Nagant revolver and fired three short bursts into the head of the nearest soldier. Stepan Ivanovich’s skull burst like a ripe cabbage showering his horrified comrades with viscous brain and bits of bone.

It's easier to imagine the end of the world than the end of capitalism.

What did they do to you, Kazi?” His voice was low, earnest. Even in the dim light, I was able to see the worry in his eyes. I pretended I didn’t know what he was talking about. “Who did what?” “Who made you afraid of an open world? An open sky? Was it Venda? Your parents?” “No one did anything,” I answered quietly. “Then hold on to me,” he said. “Let me show you the stars.

Hurricanes couldn’t remove you from my mind. You’re my world and I’m incapable of not loving you.

Even in the world of make-believe there have to be rules. The parts have to be consistent and belong together.

He threw his burning cigarette onto our clean living room floor and ground it into the wood with his boot. We were about to become cigarettes.

Perhaps Mozart’s Requiem would be fitting music for the end of the world. She began to hum Dies Irae, recalling its first performance in Vienna.

If it's fiction, then it better be true.

She adjusted her body weight and caught his eyes, her gaze shiny and with a tinge of sadness. “My grandmother told me once that the world is filled with ghosts. The longer we live the more ghosts will haunt us.” She paused glancing at her palms. “But they’re here to remind us we are alive. That our hearts beat, blood runs through our veins, we breath air into our lungs.

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.

In the rose garden, the flowers are maneuvering toward the winter sunshine and the alluring sound of the koi pond’s waterfall makes you think it has a crush on you. You offer no resistance—you are done (at least temporarily) with the “regular” world.

The use of imaginative fiction is to deepen your understanding of your world, and your fellow men, and your own feelings, and your destiny.

Even when the world throws it worst and then turns in its back, there is still always hope

Sonetimes the hardest person to forgive is yourself.

All is as if the world did cease to exist. The city's monuments go unseen, its past unheard, and its culture slowly fading in the dismal sea.

Fiction is the great lie that tells the truth about how the world lives!

Once kids’ brains had been rewired and programmed by indoctrination, social conditioning, and brainwashing from the great design, they’d give up their dreams, aspirations, and ideals, and instead focused on acquiring as much money as they could. Another slave willing to do anything for money would roll off the assembly line. The Masters had used money to corrupt humans and turn them into dogs, barking and biting each other for their piece of the pie. This is how the world had become a dog-eat-dog world; it was all part of the great design.

Then came the healing time, hearts started to shine, soul felt so fine, oh what a freeing time it was.

The fire on the mountain.” That was Anna. “Alchemy,” she said. “I feel it singing in my bones.” “Singing?” Mary would never understand Anna. The young woman turned away. Wiseman’s reply was tinged with respect. “That great pair of alchemists, Francis Ransome and Roberta Le More, believed the work they did affected the world’s spirit, the anima mundi. The Native Americans they met believed they too could and should interact with the Great Spirit. They lived with reverence for the land and all its peoples, the ancestors, the animals, the rocks, the trees, mountains.”  Mary’s jaw dropped; Caroline glowed; Anna pretended not to listen. Wiseman nodded, then continued. “You mean…?” began Mary. “Yes, it could have been so different, a meeting of like-minded earth-based spiritualities. Just imagine, what could have been?

You're a poem?' I repeated. She chewed her lower lip. 'If you want. I am a poem, or I am a pattern, or a race of people whose whose world was swallowed by the sea.' 'Isn't it hard to be three things at the same time?' 'What's your name?' 'Enn.' 'So you are Enn,' she said. 'And you are a male. And you are a biped. Is it hard to be three things at the same time?

One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy

We all suffer alone in the real world. True empathy's impossible. But if a piece of fiction can alow us imaginatively to identify with a character's pain, we might then also more easily conceive of others identifying with their own. This is nourishing, redemptive; we become less alone inside. It might just be that simple.

But just then, for that fraction of time, it seems as though all things are possible. You can look across the limitations of your own life, and see that they are really nothing. In that moment when time stops, it is as though you know you could undertake any venture, complete it and come back to yourself, to find the world unchanged, and everything just as you left it a moment before. And it's as though knowing that everything is possible, suddenly nothing is necessary.

I want to propose a toast!" Taking a spoon he noisily tapped it against the crystal glass.  "Everyone!" He thundered, the large amount of whiskey he had consumed making him reckless.  "To Victor,  Ste. Genevieve's own inventor and my best friend, all the happiness in the world!"  The happy crowd shouted their approval.  "And to the ever, ever fair beauty Celena..." His voice cracking under the strain, and he wondered if he should stop now, before he embarrassed himself, before he made some horrible declaration.

I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards. Okay, so I should revise my standards; I'm out of step. I should yield to reality. I have never yielded to reality. That's what SF is all about. If you wish to yield to reality, go read Philip Roth; read the New York literary establishment mainstream bestselling writers….This is why I love SF. I love to read it; I love to write it. The SF writer sees not just possibilities but wild possibilities. It's not just 'What if' - it's 'My God; what if' - in frenzy and hysteria. The Martians are always coming.

Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.

He had killed his way across the world; he had gone to war and back more times than he cared to remember. And despite it all, despite the rage and despair and ice he’d wrapped around his heart, he’d still found Aelin. Every horizon he’d gazed toward, unable and unwilling to rest during those centuries, every mountain and ocean he’d seen and wondered what lay beyond … It had been her. It had been Aelin, the silent call of the mating bond driving him, even when he could not feel it. They’d walked this dark path together back to the light. He would not let the road end here.

They came for him near midnight, seven hard-faced men arriving simultaneously in a matching set of Zis 101s, the black-lacquered saloon car so shamelessly modeled on the American Buick Roadmaster, and so capriciously favored by the sinister flying squads of the NKVD. Ironically, the arrest when it came did not shock Batya. He had prepared for it.

Only a psychopath would ever think of doing these things, only a psychopath would dream of abusing other people in such a way, only a psychopath would treat people as less than human just for money. The shocking truth is, even though they now have most if not all of the money, they want still more, they want all of the money that you have left in your pockets, they want it all because they have no empathy with other people, with other creatures, they have no feeling for the world which they exploit, they have no love or sense of being or belonging for their souls are dead, dead to all things but greed and a desire to rule over others.

Imagine you’re a fish, swimming in a pond. You can move forward and back, side to side, but never up out of the water. If someone were standing beside the pond, watching you, you’d have no idea they were there. To you, that little pond is an entire universe. Now imagine that someone reaches down and lifts you out of the pond. You see that what you thought was the entire world is only a small pool. You see other ponds. Trees. The sky above. You realize you’re a part of a much larger and more mysterious reality than you had ever dreamed of.

I’ve read hundreds of novels in my life, most of them claiming that love was the center of the universe. That it could heal any damage inside of us. That it was what we needed to survive. From Darcy to Heathcliff, I thought they were fools. That love was something fictional, only found in worn pages of a book. That it was just made up to keep humans full of hope, that it was a lie. But all that changed since I met my Elizabeth Bennett. I never thought I would find myself completely and utterly consumed by another until her. She took my hand and led me out of the darkness and showed me that, whatever our souls are made of, hers and mine are the same. I’m sorry, please forgive me. You once asked me who I loved most in this world. It’s you. — Hardin ( Movie- "After" - Hardin's letter to Tessa )

I was fifteen when I first met Sherlock Holmes, fifteen years old with my nose in a book as I walked the Sussex Downs, and nearly stepped on him. In my defense I must say it was an engrossing book, and it was very rare to come across another person in that particular part of the world in that war year of 1915.

In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it.

Ancient Chinese believe that when you dream, your soul leaves your body and travels to dream world. In dream world, there is no time. No past, no present, no future. When you remember dreams, it is very important to interpret those dreams because dreams you remember are very important to your future.

Humans weren’t dumb enough to not be aware that the system they lived in was broken. They just had no idea that it was intentionally created to be broken for a reason—control. Humans constantly tried to fix their broken system by approaching each compartmentalized section separately, not knowing that each section was weaved together in a matrix that kept the others stable, a highly efficient checks and balances system. A human could take initiative and argue about an issue their whole life, barking in people’s faces till their face turned blue, thinking they were making a difference in the world. None of the issues could be fixed by tackling each one separately, because it was only a matter of time before the great design’s checks and balances would revert the solved issue back to its intended broken state, erasing the person’s lifelong hard work overnight.

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.

So, you know that group up there in the Planetarium then?’ The pistol continued. ‘Hey they say it’s a small world.’      ‘Are they alright?’ asked Semilla darting forward.      ‘Yeah, they’re all fine, apart from the President he’s rather dead actually, oh and one of the lampposts I’m afraid he copped it too.’      Baz’s beacon flickered with emotion. ‘Which one?’ he asked.      ‘There was only one President as far as I know,’ said the pistol indifferently.

Longing surged up within me. I wanted it. Oh God, I wanted it. I didn't want to hear Jerome chastise me for my "all lowlifes, all the time" seduction policy. I wanted to come home and tell someone about my day. I wanted to go out dancing on the weekends. I wanted to take vacations together. I wanted someone to hold me when I was upset, when the ups and downs of the world pushed me too far. I wanted someone to love.

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.

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.

We come together, we create our families, we chose our mates out of the desire to form a life together. Love takes many forms, wears many faces, but when it's real, when it touches your heart, you will know it and--with hope--embrace it. Love is stronger than hate, love is stronger than anger. Love is stronger than all artificial divisions that exist n our world.

To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time.

Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you." I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold-blooded thing to say to a motherfucker before you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin': it could mean you're the evil man. And I'm the righteous man. And Mr. .45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or it could be you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ain't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin, Ringo. I'm tryin' real hard to be the shepherd. he became the shepherd instead of the vengeance. Jules Winnfield- Samuel L. Jackson

For I’m neither a submitter nor a hating retaliator, I acknowledge the boundaries of my existence; yet, I still care. I care regardless of the way they choose to reduce me to the brand that is the birthmark of the accident of my conception. I care less about what that brand signifies in terms of my character, potential, and intentions. For the harmed I care. For the real victims. It’s the most basic of my mandatory civil duties. Only in caring, am I a citizen of the world.

I’ve been told that I cannot change shit, so I might as well stop torturing myself. My emotions are ridiculed and branded as childish. I have been told that the world has given up on my people. I have been told, and realise that on many occasions, I myself am viewed as an outcast by some of those suffering. I’ve been confronted and my answer is always the same: I care even in my most fucked-up moments. I care even when gates of shit pour open to drown me; I care because I am a citizen of the world.

Can you not see," I said, "that fairy tales in their essence are quite solid and straightforward; but that this everlasting fiction about modern life is in its nature essentially incredible? Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is—what will a healthy man do with a fantastic world? The problem of the modern novel is—what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.

As a citizen of the world, it’s my instinct to keep the fallen and the suffering in my thoughts. The human brain fascinates me; its limitless bounds of empathy. You see, in my mind there is logic to it: do no harm, prevent harm, help, support, care for the harmed, face the harmer. My stupid idealist conscience considers sympathy, not pity, at its worst, the most basic and the least negotiable civil duty. Of course as a citizen of the world, I should strive to do more. That said, I am only a man and so I often do the least.

I've read hundreds of novels in my life, most of them claiming that love was the center of the universe. That it could heal any damage inside of us. That it was what we need to survive. From Darcy to Heathcliff I tought they were fools. That love was something fictional, only found in worn pages of a book. But all that has changed since I met my Elizabeth Bennet. I never thought I would find myself completely and utterly consumed by another until her. She took my hand and lead me out of the darkness and showed me that, whatever our souls are made for hers and mine are the same. You once asked me who I loved most in this world, it's you.

Behind every man now alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time, roughly a hundred billion human beings have walked the planet Earth. Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for every man who has ever lived, in this Universe there shines a star. But every one of those stars is a sun, often far more brilliant and glorious than the small, nearby star we call the Sun. And many--perhaps most--of those alien suns have planets circling them. So almost certainly there is enough land in the sky to give every member of the human species, back to the first ape-man, his own private, world-sized heaven--or hell. How many of those potential heavens and hells are now inhabited, and by what manner of creatures, we have no way of guessing; the very nearest is a million times farther away than Mars or Venus, those still remote goals of the next generation. But the barriers of distance are crumbling; one day we shall meet our equals, or our masters, among the stars. Men have been slow to face this prospect; some still hope that it may never become reality. Increasing numbers, however are asking; 'Why have such meetings not occurred already, since we ourselves are about to venture into space?' Why not, indeed? Here is one possible answer to that very reasonable question. But please remember: this is only a work of fiction. The truth, as always, will be far stranger.

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.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

The family is the cradle of the world’s misinformation. There must be something in family life that generates factual error. Over-closeness, the noise and heat of being. Perhaps even something deeper like the need to survive. Murray says we are fragile creatures surrounded by a world of hostile facts. Facts threaten our happiness and security. The deeper we delve into things, the looser our structure may seem to become. The family process works towards sealing off the world. Small errors grow heads, fictions proliferate. I tell Murray that ignorance and confusion can’t possibly be the driving forces behind family solidarity. What an idea, what a subversion. He asks me why the strongest family units exist in the least developed societies. Not to know is a weapon of survival, he says. Magic and superstition become entrenched as the powerful orthodoxy of the clan. The family is strongest where objective reality is most likely to be misinterpreted. What a heartless theory, I say. But Murray insists it’s true.

He's seeing the actual Milky Way streaked across the sky. The whole of his entire galaxy, right there in front of him. Billions and billions of stars. Billions and billions of worlds. All of them, all of those seemingly endless possibilities, not fictional, but real, out there, existing, right now. There is so much more out there than just the world he knows, so much more than his tiny Washington town, so much more than even London. Or England. Or hell, for that matter. So much more that he'll never see. So much more that he'll never get to. So much that he can only glimpse enough of to know that it's forever beyond his reach.

Let's say it once and for all: Poe and Lovecraft - not to mention a Bruno Schulz or a Franz Kafka - were what the world at large would consider extremely disturbed individuals. And most people who are that disturbed are not able to create works of fiction. These and other names I could mention are people who are just on the cusp of total psychological derangement. Sometimes they cross over and fall into the province of 'outsider artists.' That's where the future development of horror fiction lies - in the next person who is almost too emotionally and psychologically damaged to live in the world but not too damaged to produce fiction.

That was the real secret of the Tarahumara: they'd never forgotten what it felt like to love running. They remembered that running was mankind's first fine art, our original act of inspired creation. Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle--behold, the Running Man. Distance running was revered because it was indispensable; it was the way we survived and thrived and spread across the planet. You ran to eat and to avoid being eaten; you ran to find a mate and impress her, and with her you ran off to start a new life together. You had to love running, or you wouldn't live to love anything else. And like everyhing else we ove--everything we sentimentally call our 'passions' and 'desires' it's really an encoded ancestral necessity. We were born to run; we were born because we run. We're all Running People, as the Tarahumara have always known.

We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all a sham. We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. We are humanitarian and chivalrous; we don't want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us - that part of our reality which we would prefer to pass over in silence - then we don't like it anymore.

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.

The Times 2 July 1952 WAS BRITISH BARONESS WORKING FOR THE NAZIS IN PARIS? By Philip Bing-Wallace It was alleged that Baroness Freya Saumures (who claimed to be of Swedish descent but is a British subject) was one of the many women that entertained the Gestapo and SS during the occupation of Paris, a jury was told. At the baroness’s trial today, the Old Bailey heard Daniel Merrick-James QC, prosecuting council, astonish the jury by revealing that Baroness Freya Saumures allegedly worked with the Nazis throughout the Nazi occupation of Paris. There was a photograph of a woman in a headscarf and dark glasses, alongside a tall dark-haired man who had a protective arm around her, his face shielded by his hand. A description beneath the image read: Baroness Saumures with her husband, Baron Ferdinand Saumures, outside the Old Bailey after her acquittal. Alec could not see her face fully, but the picture of the baron, even partially obscured, certainly looked very like the man lying dead in the Battersea Park Road crypt. Alec read on. When Mr Merrick-James sat, a clerk of the court handed the judge, Justice Henry Folks, a note. The judge then asked the court to be cleared. Twenty minutes later, the court was reconvened. Justice Folks announced to the jury that the prosecution had dropped all charges and that Lady Saumures was acquitted. There was no explanation for the acquittal. The jury was dismissed with thanks. Neither Baron nor Baroness Saumures had any comment. Baron and Baroness Saumures live in West Sussex and are well known to a select group for their musical evenings and events. They are also well known for protecting their privacy. Alec rummaged on. It was getting close to lunchtime and his head was beginning to ache.