Sf Quotes

Loads of children read books about dinosaurs, underwater monsters, dragons, witches, aliens, and robots. Essentially, the people who read SF, fantasy and horror haven't grown out of enjoying the strange and weird.

It pays to be obvious, especially if you have a reputation for subtlety.

A city's only ever three hot meals away from anarchy.

I put tape on the mirrors in my house so I don't accidentally walk through into another dimension.

Black reached for a Glock G21 SF. Two boxes of .45 Precision Tactical. Two knives. If he needed more, he was in real trouble.

Now any dogma, based primarily on faith and emotionalism, is a dangerous weapon to use on others, since it is almost impossible to guarantee that the weapon will never be turned on the user.

[Science fiction is] out in the mainstream now. You can tell by the way mainstream literary authors pillage SF while denying they're writing it!

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.

Science fiction is very well suited to asking philosophical questions; questions about the nature of reality, what it means to be human, how do we know the things that we think we know.

Four things do not come back: the spoken word, the sped arrow, the past life, and the neglected opportunity,

None of us are saints, but we can all try to be better. Each time you do something generous, you're shaping yourself into someone who's more likely to be generous next time, and that matters.

Contemplate the marvel that is existence, and rejoice that you are able to do so. I feel I have the right to tell you this because, as I am inscribing these words, I am doing the same.

The universe began as an enormous breath being held. Who knows why, but whatever the reason, I'm glad it did, because I owe my existence to that fact. All my desires and ruminations are no more and no less than eddy currents generated by the gradual exhalation of our universe. And until this great exhalation is finished, my thoughts live on.

Some guys step on a rake in the dark, and get mad and go punch somebody. Others step on a rake in the dark and fall down laughing at themselves. I know which kind of guy I'd rather be. So do my friends.

Step up to red alert." Sir, are you absolutely sure? It does mean changing the bulb." - Rimmer & Kryten, "Red Dwarf

The day of battle dawned pink as the fresh-bitten thigh of a maiden.

Passing in any crowd are secret people whose hidden response to beauty is the desire to tear it into bleeding meat.

He turns off the techno-shit in his goggles. All it does is confuse him; he stands there reading statistics about his own death even as it's happening to him. Very post-modern.

Why could you not have left me as I was, in the sea of being?" "Because the world has need of your humility, your piety, your great teaching and your Machiavellian scheming.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

My wife was among the millions who died, and I was still there, wrapped in a cloud of self-pity. I couldn’t hold her hand and say how much I loved her in those last moments.

Low expectations are a self-fulfilling prophecy. If we aim high, we’ll get better results.

I took Punk to be the detonation of some slow-fused projectile buried deep in society's flank a decade earlier, and I took it to be, somehow, a sign.

Some humans theorize that intelligent species go extinct before they can expand into outer space. If they're correct, then the hush of the night sky is the silence of the graveyard.

Past and future are the same, and we cannot change either, only know them more fully.

Write. Don't talk about writing. Don't tell me about your wonderful story ideas. Don't give me a bunch of 'somedays'. Plant your ass and scribble, type, keyboard. If you have any talent at all it will leak out despite your failure to pay attention in English." [The Instrumentalities of the Night: An Interview with Glen Cook, The SF Site, September 2005]

A realist writer might break his protagonist's leg, or kill his fiancee; but a science fiction writer will immolate whole planets, and whilst doing so he will be more concerned with the placement of commas than the screams of the dying.

We like the idea that there's always someone responsible for any given event, because it helps us make sense of the world. We like that so much that sometimes we blame ourselves, just so that there's someone to blame. But not everything is under our control, or even anyone's control.

My message to you is this: Pretend that you have free will. It’s essential that you behave as if your decisions matter, even though you know they don’t. The reality isn’t important; what’s important is your belief, and believing the lie is the only way to avoid a waking coma. Civilization now depends on self-deception. Perhaps it always has. (story: What's Expected of Us)

Sex isn’t what makes a relationship real; the willingness to expend effort maintaining it is.

Robert Neville looked out over the new people of the earth. He knew he did not belong to them; he knew that, like the vampires, he was anathema and black terror to be destroyed. And, abruptly, the concept came, amusing to him even in his pain. ... Full circle. A new terror born in death, a new superstition entering the unassailable fortress of forever. I am legend.

...[T]he only means I have to stop ignorant snobs from behaving towards genre fiction with snobbish ignorance is to not reinforce their ignorance and snobbery by lying and saying that when I write SF it isn't SF, but to tell them more or less patiently for forty or fifty years that they are wrong to exclude SF and fantasy from literature, and proving my arguments by writing well.

Instead I will say, "Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths." These are worth it. These are what I have come for.

Rover did not know in the least where the moon's path led to, and at present he was much too frightened and excited to ask, and anyway he was beginning to get used to extraordinary things happening to him.

Geniuses and lunatics, they aren't that far from one another. That is also evident on you.

People are made of stories. Our memories are not the impartial accumulation of every second we’ve lived; they’re the narrative that we assembled out of selected moments. Which is why, even when we’ve experienced the same events as other individuals, we never constructed identical narratives: the criteria used for selecting moments were different for each of us, and a reflection of our personalities. Each of us noticed the details that caught our attention and remembered what was important to us, and the narratives we built shaped our personalities in turn. But, I wondered, if everyone remembered everything, would our differences get shaved away? What would happen to our sense of self? It seemed to me that a perfect memory couldn’t be a narrative any more than unedited security-cam footage could be a feature film. ·

It’s always encouraging to be told that it is intellectually acceptable to read the sorts of things that you like to read anyway.

When we speak, we use the breath in our lungs to give our thoughts a physical form. The sounds we make are simultaneously our intentions and our life force.

I don't think humanity just replays history, but we are the same people our ancestors were, and our descendants are going to face a lot of the same situations we do. It's instructive to imagine how they would react, with different technologies on different worlds. That's why I write science fiction -- even though the term 'science fiction' excites disdain in certain persons.

After all, he'd been in the United States Army Special Forces, fuck you very much. You might take the man out of the SF, you couldn't take the SF out of the man. He'd been up against some of the world's meanest and toughest. So, goddamn straight he could work his way around one young woman.

That's really what SF is all about, you know: the big reality that pervades the real world we live in: the reality of change. Science fiction is the very literature of change. In fact, it is the only such literature we have.

Ask any SF guy: Doing physically hard things is an enormous life hack. Do hard things and the rest of life gets easier and you appreciate it all the more,

Though I am long dead as you read this, explorer, I offer to you a valediction. Contemplate the marvel that is existence, and rejoice that you are able to do so. I feel I have the right to tell you this because, as I am inscribing these words, I am doing the same.

Science fiction [is] the kind of writing that prepares us for the necessary mutations brought about in society from an ever changing technological world and as a result. The mainstream hasn’t excluded SF; the mainstream has excluded itself. No one told Jules Verne he was a science fiction writer, but he invented the 20th century.

Every decision you make contributes to your character and shapes the kind of person you are.

People shouldn’t fear their prime ministers. Prime ministers should fear their people.

If you can read the book and say, ‘Space Marines, YEEEAAAHHH!’ That’s Military Science Fiction.” (Brigham Young writing lecture, March 2012)

For a mind to even approach its full potential, it needs cultivation by other minds.

Given the issues with certain SF/F trophies (like the World Fantasy Award, which is 1) butt-ugly and 2) based on one disgustingly racist dude), all trophies from this point forward should be made out of LEGO. That way if you don't like it, you can just make it into something else.

A writer's age at the time of a work's composition is never irrelevant.

Once a Buddha, always a Buddha, Sam. Dust off some of your old parables. You have about fifteen minutes.' Sam held out his hand. "Give me some tobacco and a paper.

Believe something is impossible,’ said his ancestor calmly, ‘and you will surely fail. But believe in yourself and you can do anything.

Some people write letters, in the library.

You can use logic to justify just about anything, that's its power and it's flaw.

If you want to create the common sense that comes from twenty years of being in the world, you need to devote twenty years to the task. You can't assemble an equivalent collection of heuristics in less time; experience is algorithmically incompressible.

The difference is that the heat energy we radiate is a high-entropy form of energy, meaning it’s disordered. The chemical energy we absorb is a low-entropy form of energy, meaning it’s ordered. In effect, we are consuming order and generating disorder; we live by increasing the disorder of the universe. It’s only because the universe started in a highly ordered state that we are able to exist at all.

I had said that Le Guin's worlds were real because her people were so real, and he said yes, but the people were so real because they were the people the worlds would have produced. If you put Ged to grow up on Anarres or Shevek in Earthsea, they would be the same people, the backgrounds made the people, which of course you see all the time in mainstream fiction, but it's rare in SF.

As he practiced his writing, Jijingi came to understand what Moseby had meant: writing was not just a way to record what someone said; it could help you decide what you would say before you said it. And words were not just the pieces of speaking; they were the pieces of thinking. When you wrote them down, you could grasp your thoughts like bricks in your hands and push them into different arrangements. Writing let you look at your thoughts in a way you couldn’t if you were just talking, and having seen them, you could improve them, make them stronger and more elaborate.

Coincidence and intention are two sides of a tapestry, my lord. You may find one more agreeable to look at, but you cannot say one is true and the other is false.

Beside her, her husband could only splutter, and he stopped even that when she half turned to flash him a smile - the instinctive, brilliant smile of a woman who knows what feeble creatures men can be. You couldn't learn to smile like that. It was something a woman either knew the minute she was born, or never knew at all. ("I'm Dangerous Tonight")

I think Dr. Willis McNelly at the California State University at Fullerton put it best when he said that the true protagonist of an sf story or novel is an idea and not a person. If it is *good* sf the idea is new, it is stimulating, and, probably most important of all, it sets off a chain-reaction of ramification-ideas in the mind of the reader; it so-to-speak unlocks the reader’s mind so that the mind, like the author’s, begins to create. Thus sf is creative and it inspires creativity, which mainstream fiction by-and-large does not do. We who read sf (I am speaking as a reader now, not a writer) read it because we love to experience this chain-reaction of ideas being set off in our minds by something we read, something with a new idea in it; hence the very best since fiction ultimately winds up being a collaboration between author and reader, in which both create and enjoy doing it: joy is the essential and final ingredient of science fiction, the joy of discovery of newness.

Books and characters in books, pictures and elements in pictures—they all have families and ancestors, just like people.

All myths are stories, but not all stories are myths: among stories, myths hold a special place.

And I think I’ve found the real benefit of digital memory. The point is not to prove you were right; the point is to admit you were wrong.

It’s no coincidence that “aspiration” means both hope and the act of breathing.

When you fear nothing, you have nothing to fear

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

The last man she'd dated said something to her, shortly before they broke up: 'I don't know, maybe I'm boring, but I never really feel like you're there when we're out to dinner. You live in your head. I can't. No room for me in there. I don't know, maybe you'd be more interested in me if I were a book.' She had hated him at the time, and hated herself a little, but later, looking back, Hutter had decided that even if that particular boyfriend had been a book, he would've been one from the Business & Finance aisle and she would've passed him by and looked for something in SF & Fantasy.

In most cases we have to forget a little bit before we can forgive; when we no longer experience the pain as fresh, the insult is easier to forgive, which in turn makes it less memorable, and so on. It’s this psychological feedback loop that makes initially infuriating offenses seem pardonable in the mirror of hindsight.

We human beings may not be the answer to the question why, but I will keep looking for the answer to how. This search is my purpose; not because you chose it for me, Lord, but because I chose it for myself. Amen.

[A]nother thing about myths: they gather in and circumscribe their target audience. They make a collection into a collective.

Past and future are the same, and we cannot change either, only know them more fully. My journey to the past had changed nothing, but what I had learned had changed everything.

Science is not just the search for the truth,” he said. “It’s the search for purpose

Once more I struck out into the ocean of space, heading for another near star. Once more I was disappointed.

But that's the Way, and there is no other. And once his mind's made up, the trembling and aimless walking stops, and he can look doom in the face without flinching. ("Jane Brown's Body")

Dünyada herkesin ilk planda yer alması olanaksızdır ve buna gerek de yoktur. Bana sorarsan, herkes kendi çevreciğinde kendi işini yapmalı derim. İş her yerde vardır.. Çalışan insan, vakti geldiğinde son uykusuna rahat yatar ve rahat uyur. Ön plana çıkmak, toplumda ileri gelen biri olma konusunda duyduğumuz şiddetli arzu, bizim henüz olgunlaşmadığımızı gösteriyor kanımca, kısmen de kendimize saygısızlığımızı... Olgunlaşmamak ve kendine saygı duymamak, insanı dış koşullara bağımlı kılar." (Herzen, Suçlu Kim?, sf. 247)

There are cultures on Earth that are more alien than some of the aliens in SF. More extensive quote: "the theme of immersion into different cultures comes naturally to science fiction, since a major theme of the genre is how humans interact with 'alien' cultures. Yet many of the so-called alien cultures of science fiction, particularly in its younger days, felt myopic, more like Western cultures even than other cultures on our own planet.

There have always been arguments showing that free will is an illusion, some based on hard physics, others based on pure logic. Most people agree these arguments are irrefutable, but no one ever really accepts the conclusion. The experience of having free will is too powerful for an argument to overrule.

...the argument for the perfectibility of humankind rests on a logical fallacy. Thus: man is by definition imperfect, say those who would perfect him. But those who would perfect him are themselves, by their own definition, imperfect.

Eğer sana âşık olmamı istemiyorsan, bu kadar tatlı görünmeye bir son vermelisin. Yarın ilk iş, hizmetçilerine senin için patates çuvalı diktireceğim!" Koluna vurdum. "Kes sesini Maxon." "Şaka yapmıyorum. Bu kadar güzel olman senin için zararlı. Buradan ayrıldığın zaman seninle birlikte birkaç muhafız göndermemiz gerekecek. Asla tek başına hayatta kalamazsın, zavallı şey." Tüm bunları şakasına, bana acıyormuş gibi söylemişti. "Buna engel olamam." İç çektim. "Kimse dünyaya mükemmel bir şekilde gelmeye engel olamaz." Sanki çok güzel olmak yorucuymuş gibi suratımı yelledim. "Hayır, bunu engelleyebileceğiniz sanmıyorum."(sf:231.)

By now you must have guessed: I come from another planet. But I will never say to you, Take me to your leaders. Even I - unused to your ways though I am - would never make that mistake. We ourselves have such beings among us, made of cogs, pieces of paper, small disks of shiny metal, scraps of coloured cloth. I do not need to encounter more of them. Instead I will say, Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths. These are worth it. These are what I have come for.

She's a slinky sort of person, no angles at all; and magnetic - you can't take your eyes off her. She's dressed like a Westerner, but her eyes have a slant to them. They are the eyes of an Easterner. She doesn't walk like our women do, she seems to writhe all in one piece - undulates is the word. ("Kiss Of The Cobra")

She wants to tell them that Blue Gamma was more right than it knew: experience isn’t merely the best teacher; it’s the only teacher. If she’s learned anything raising Jax, it’s that there are no shortcuts; if you want to create the common sense that comes from twenty years of being in the world, you need to devote twenty years to the task. You can’t assemble an equivalent collection of heuristics in less time; experience is algorithmically incompressible.

Gated?” Aaron asked. “What does that mean?” Scott paused before sharing a look with Skyler and Ella. “When you first arrived at Salvador, you came across a Gate,” Scott said. Aaron thought for a moment. “You mean that big white door?” Scott’s lips lifted into an amused smile. Behind him, Skyler facepalmed.

Raising a child puts you in touch, deeply, inescapably, daily, with some pretty heady issues: What is love and how do we get ours? Why does the world contain evil and pain and loss? How can we discover dignity and tolerance? Who is in power and why? What’s the best way to resolve conflict? If we want to give an AI any major responsibilities, then it will need good answers to these questions. That’s not going to happen by loading the works of Kant into a computer’s memory; it’s going to require the equivalent of good parenting.

Human activity has brought my kind to the brink of extinction, but I don’t blame them for it. They didn’t do it maliciously. They just weren’t paying attention. And humans create such beautiful myths; what imaginations they have. Perhaps that’s why their aspirations are so immense. Look at Arecibo. Any species who can build such a thing must have greatness within them. My species probably won’t be here for much longer; it’s likely that we’ll die before our time and join the Great Silence. But before we go, we are sending a message to humanity. We just hope the telescope at Arecibo will enable them to hear it. The message is this: You be good. I love you.

Some lovers break up with each other the first time they have a big argument; some parents do as little for their children as they can get away with; some pet owners ignore their pets whenever they become inconvenient. In all of those cases, the people are unwilling to make an effort. Having a real relationship, whether with a lover or a child or a pet, requires that you be willing to balance the other party’s wants and needs with your own.

This should explain something I've been saying (and writing) for over ten years now: Science fiction is not about the future; it uses the future as a narrative convention to present significant distortions of the present. And both the significance of the distortion and the appropriateness of the convention lie precisely in that what we know of present science does not *deny* the possibility of these distortions eventually coming to pass. Science fiction is about the current world - the given world shared by writer and reader. But it is not a metaphor for the given world, nor does the catch-all term metonymy exhaust the relation between the given and science fiction's distortions of the given. Science fiction poises in a tense, dialogic, agonistic relation to the given, but there is very little critical vocaabulary currently to deal with this relationship of contestatory difference the SF figure establishes, maintains, expects, exploits, subverts and even - occasionally, temporarily - grandly destroys.

I agree,” Skyler replied. “There’s nothing funny about it.” He pointed to the cottage. “The house is unoccupied; we have permanent residents looking for a place to stay.” He held up both hands. “What’s the problem?” “The problem?” Ella asked, with a raised eyebrow. “I think the problem is six-foot tall, has black hair, green eyes and the ability to kick your ass across Salvador.

The girl's face was the color of talcum. Her uncle's was a death mask, a bone structure overlaid by parchment. Shane's was granite, with a glistening line of sweat just below his hair line. He'd never forget this night, the detective knew, no matter what else happened for the rest of his life. They were all getting scars on their souls, the sort of scars people got in the Dark Ages, when they believed in devils and black magic. ("Speak To Me Of Death")

According to Hindu mythology, the universe was created with a sound: “om.” It is a syllable that contains within it everything that ever was and everything that will be. When the Arecibo telescope is pointed at the space between stars, it hears a faint hum. Astronomers call that the cosmic microwave background. It’s the residual radiation of the Big Bang, the explosion that created the universe fourteen billion years ago. But you can also think of it as a barely audible reverberation of that original “om.” That syllable was so resonant that the night sky will keep vibrating for as long as the universe exists. When Arecibo is not listening to anything else, it hears the voice of creation.

How can so many (white, male) writers narratively justify restricting the agency of their female characters on the grounds of sexism = authenticity while simultaneously writing male characters with conveniently modern values? The habit of authors writing Sexism Without Sexists in genre novels is seemingly pathological. Women are stuffed in the fridge under cover of "authenticity" by secondary characters and villains because too many authors flinch from the "authenticity" of sexist male protagonists. Which means the yardstick for "authenticity" in such novels almost always ends up being "how much do the women suffer", instead of - as might also be the case - "how sexist are the heroes". And this bugs me; because if authors can stretch their imaginations far enough to envisage the presence of modern-minded men in the fake Middle Ages, then why can't they stretch them that little bit further to put in modern-minded women, or modern-minded social values? It strikes me as being extremely convenient that the one universally permitted exception to this species of "authenticity" is one that makes the male heroes look noble while still mandating that the women be downtrodden and in need of rescuing. -Comment at Staffer's Book Review 4/18/2012 to "Michael J. Sullivan on Character Agency

I wish you well, explorer, but I wonder: Does the same fate that befell me await you? I can only imagine that it must, that the tendency toward equilibrium is not a trait peculiar to our universe but inherent in all universes. Perhaps that is just a limitation of my thinking, and your people have discovered a source of pressure that is truly eternal. But my speculations are fanciful enough already. I will assume that one day your thoughts too will cease, although I cannot fathom how far in the future that might be. Your lives will end just as ours did, just as everyone’s must. No matter how long it takes, eventually equilibrium will be reached. I hope you are not saddened by that awareness. I hope that your expedition was more than a search for other universes to use as reservoirs. I hope that you were motivated by a desire for knowledge, a yearning to see what can arise from a universe’s exhalation. Because even if a universe’s life span is calculable, the variety of life that is generated within it is not. The buildings we have erected, the art and music and verse we have composed, the very lives we’ve led: none of them could have been predicted, because none of them was inevitable. Our universe might have slid into equilibrium emitting nothing more than a quiet hiss. The fact that it spawned such plenitude is a miracle, one that is matched only by your universe giving rise to you.

Three o'clock in the morning. The highway is empty, under a malignant moon. The oil drippings make the roadway gleam like a blue-satin ribbon. The night is still but for a humming noise coming up somewhere behind a rise of ground. Two other, fiercer, whiter moons, set close together, suddenly top the rise, shoot a fan of blinding platinum far down ahead of them. Headlights. The humming burgeons into a roar. The touring car is going so fast it sways from side to side. The road is straight. The way is long. The night is short. (Jane Brown's Body")

Human tool-makers always make tools that will help us get what we want, and what we want hasn't changed for thousands of years because as far as we can tell the human template hasn't changed either. We still want the purse that will always be filled with gold, and the Fountain of Youth. We want the table that will cover itself with delicious food whenever we say the word, and that will be cleaned up afterwards by invisible servants. We want the Seven-League Boots so we can travel very quickly, and the Hat of Darkness so we can snoop on other people without being seen. We want the weapon that will never miss, and the castle that will keep us safe. We want excitement and adventure; we want routine and security. We want to have a large number of sexually attractive partners, and we also want those we love to love us in return, and be utterly faithful to us. We want cute, smart children who will treat us with the respect we deserve. We want to be surrounded by music, and by ravishing scents and attractive visual objects. We don't want to be too hot or too cold. We want to dance. We want to speak with the animals. We want to be envied. We want to be immortal. We want to be gods. But in addition, we want wisdom and justice. We want hope. We want to be good.

Having to amuse myself during those earlier years, I read voraciously and widely. Mythic matter and folklore made up much of that reading—retellings of the old stories (Mallory, White, Briggs), anecdotal collections and historical investigations of the stories' backgrounds—and then I stumbled upon the Tolkien books which took me back to Lord Dunsany, William Morris, James Branch Cabell, E.R. Eddison, Mervyn Peake and the like. I was in heaven when Lin Carter began the Unicorn imprint for Ballantine and scoured the other publishers for similar good finds, delighting when I discovered someone like Thomas Burnett Swann, who still remains a favourite. This was before there was such a thing as a fantasy genre, when you'd be lucky to have one fantasy book published in a month, little say the hundreds per year we have now. I also found myself reading Robert E. Howard (the Cormac and Bran mac Morn books were my favourites), Lovecraft, Clark Ashton Smith and finally started reading science fiction after coming across Andre Norton's Huon of the Horn. That book wasn't sf, but when I went to read more by her, I discovered everything else was. So I tried a few and that led me to Clifford Simak, Roger Zelazny and any number of other fine sf writers. These days my reading tastes remain eclectic, as you might know if you've been following my monthly book review column in The Magazine of Fantasy & Science Fiction. I'm as likely to read Basil Johnston as Stephen King, Jeanette Winterson as Harlan Ellison, Barbara Kingsolver as Patricia McKillip, Andrew Vachss as Parke Godwin—in short, my criteria is that the book must be good; what publisher's slot it fits into makes absolutely no difference to me.

Sometimes I think Earth has got to be the insane asylum of the universe. . . and I'm here by computer error. At sixty-eight, I hope I've gained some wisdom in the past fourteen lustrums and it’s obligatory to speak plain and true about the conclusions I've come to; now that I have been educated to believe by such mentors as Wells, Stapledon, Heinlein, van Vogt, Clarke, Pohl, (S. Fowler) Wright, Orwell, Taine, Temple, Gernsback, Campbell and other seminal influences in scientifiction, I regret the lack of any female writers but only Radclyffe Hall opened my eyes outside sci-fi. I was a secular humanist before I knew the term. I have not believed in God since childhood's end. I believe a belief in any deity is adolescent, shameful and dangerous. How would you feel, surrounded by billions of human beings taking Santa Claus, the Easter Bunny, the tooth fairy and the stork seriously, and capable of shaming, maiming or murdering in their name? I am embarrassed to live in a world retaining any faith in church, prayer or a celestial creator. I do not believe in Heaven, Hell or a Hereafter; in angels, demons, ghosts, goblins, the Devil, vampires, ghouls, zombies, witches, warlocks, UFOs or other delusions; and in very few mundane individuals--politicians, lawyers, judges, priests, militarists, censors and just plain people. I respect the individual's right to abortion, suicide and euthanasia. I support birth control. I wish to Good that society were rid of smoking, drinking and drugs. My hope for humanity - and I think sensible science fiction has a beneficial influence in this direction - is that one day everyone born will be whole in body and brain, will live a long life free from physical and emotional pain, will participate in a fulfilling way in their contribution to existence, will enjoy true love and friendship, will pity us 20th century barbarians who lived and died in an atrocious, anachronistic atmosphere of arson, rape, robbery, kidnapping, child abuse, insanity, murder, terrorism, war, smog, pollution, starvation and the other negative “norms” of our current civilization. I have devoted my life to amassing over a quarter million pieces of sf and fantasy as a present to posterity and I hope to be remembered as an altruist who would have been an accepted citizen of Utopia.

In Hamilton's The Universe Wreckers... it was in that novel that, for the first time, I learned Neptune had a satellite named Triton... It was from The Drums of Tapajos that I first learned there was a Mato Grosso area in the Amazon basin. It was from The Black Star Passes and other stories by John W. Campbell that I first heard of relativity. The pleasure of reading about such things in the dramatic and fascinating form of science fiction gave me a push toward science that was irresistible. It was science fiction that made me want to be a scientist strongly enough to eventually make me one. That is not to say that science fiction stories can be completely trusted as a source of specific knowledge... However, the misguidings of science fiction can be unlearned. Sometimes the unlearning process is not easy, but it is a low price to pay for the gift of fascination over science.

And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so. It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant. We, all of us, need to get critical. Blog post: Criticism in SFF and YA

Home? What is home? Home is where a house is that you come back to when the rainy season is about to begin, to wait until the next dry season comes around. Home is where your woman is, that you come back to in the intervals between a greater love - the only real love - the lust for riches buried in the earth, that are your own if you can find them. Perhaps you do not call it home, even to yourself. Perhaps you call them 'my house,' 'my woman,' What if there was another 'my house,' 'my woman,' before this one? It makes no difference. This woman is enough for now. Perhaps the guns sounded too loud at Anzio or at Omaha Beach, at Guadalcanal or at Okinawa. Perhaps when they stilled again some kind of strength had been blasted from you that other men still have. And then again perhaps it was some kind of weakness that other men still have. What is strength, what is weakness, what is loyalty, what is perfidy? The guns taught only one thing, but they taught it well: of what consequence is life? Of what consequence is a man? And, therefore, of what consequence if he tramples love in one place and goes to find it in the next? The little moment that he has, let him be at peace, far from the guns and all that remind him of them. So the man who once was Bill Taylor has come back to his house, in the dusk, in the mountains, in Anahuac. ("The Moon Of Montezuma")