Quotes of All Topics . Occasions . Authors
How we treat our invalids - our mad, our physically or mentally compromised family members - does tell you something about who we are politically, historically, culturally.
I'm not about either entertaining or instructing. The entertaining and instructing are secondary fallout from the fundamental thing, which is basically to create an aesthetic object.
Clouds out of control decoct anticipation. What use can any of us have for two moons? The miracle of order has run out and I am left in an unmiraculous city where anything may happen.
I grew up in Harlem, a block away from what was then the most crowded block in New York City, according to the 1950 census. Something like ten thousand people lived in one city block.
Ah, well, during the Middle Ages, religion was often able to redeem art. Today, however, art is about the only thing that can redeem religion, and the clerics will never forgive us for that.
The pleasures of love are really quite wonderful--though I suspect they are rather a luxury and require a certain level of socioeconomic stability to be anything other than a mode of suffering.
Like contemporary poetry, philosophy is one of those things, especially at the beginning stages, most people would rather do than study - which is why most of what gets done is so impoverished.
Science fiction doesn’t try to predict the future, but rather offers a significant distortion of the present…We sit around and look at what we see around us and we say how can the world be different
I shall always be able to come up with new fantasies. As long as there are people walking around in the street, as long as I have books to read and windows to look out of, I'm not going to use them up.
My family trained me to be polite to people I had just met, and that included strangers. You speak when you're spoken to. You look people in the eye when they address you and when you address them back.
You meet a new person, you go with him and suddenly you get a whole new city...you go down new streets, you see houses you never saw before, pass places you didn't even know were there. Everything changes.
I still believe pattern fascinates on its own. And three-sevenths of a pattern, or even a smaller fragment, can fascinate still more--get us really hunkering down, trying to tease out the whole of the figure in the carpet.
In the arts, people are always waiting for someone or some movement to "fulfill her/its/his promise." Then, half-a-dozen or a dozen years on, others begin to realize that, really, something extraordinary was actually happening.
When what is is congruent to what is supposed, the reaction is functional and the mental processes competent. When what is and what is supposed have nothing to do with each other, the choice of reactions is random. Something tears.
The poems ... are moments when I had the intensity to see, and the energy to build, some careful analog that completed the seeing. ... All I have been left is the exhausting habit of trying to tack up the slack in my life with words.
I think of myself as someone who thinks largely through writing. Thus I write more than most people, and I write in many different forms. I think of myself as the kind of person who writes, rather than as one kind of writer or another.
Historically, I guess that's how science fiction works: you start by using aliens to think the unthinkable and then, eventually, another writer, having grown a little more comfortable with the earlier notion, brings it into the human.
It is not that love sometimes makes mistakes, but that it is, essentially, a mistake. We fall in love when our imagination projects nonexistent perfections on to another person. One day the phantasmagoria vanishes, and with it love dies.
I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.
I read The NAMBLA Bulletin fairly regularly and I think it is one of the most intelligent discussions of sexuality I've ever found...I would have been so much happier as an adolescent if NAMBLA had been around when I was 9, 10, 11, 12, 13.
Sometimes you want to say things, and you're missing an idea to make them with, and missing a word to make the idea with. In the beginning was the word. That's how somebody tried to explain it once. Until something is named, it doesn't exist.
I spend a lot of time thinking, if not daydreaming. People think of me as a genre writer, and a genre writer is supposed to be prolific. Since that's how people perceive me, they have to say I'm prolific. But I don't find that either complimentary or accurate.
One of the more depressing things about reading your fiction 25 years later, or 10 years later, is you realize the only things going on are things you made go on. Strange and interesting and new and wonderful things don't happen. It's the book you wrote; that's all.
'You spin in the sky, the world spins under you, and you step from land to land, while we . . .' She turned her head right, left, and her black hair curled and uncurled on the shoulder of her coat. 'We have our dull, circled lives, bound in gravity, worshiping you!'
But I realized something. About art. And psychiatry. They're both self-perpetuating systems. Like religion. All three of them promise you a sense of inner worth and meaning, and spend a lot of time telling you about the suffering you have to go through to achieve it.
The reason for privacy is not so that people will not know you go to the bathroom. It's to allow certain things to go on that you don't want other people to know about, when all is said and done. But the things I don't want other people to know about are not my sex life.
Do you know how hard it is to make a home?... That's something that a woman does from inside herself. You do it in the face of all sorts of opposition. Husbands are very appreciative when it works out well. But they're not that anxious to help. It's understandable. They don't know how.
Science fiction isn’t just thinking about the world out there. It’s also thinking about how that world might be—a particularly important exercise for those who are oppressed, because if they’re going to change the world we live in, they—and all of us—have to be able to think about a world that works differently.
Many of the early greats of sf Hugo Gernsback (publisher of Amazing Stories) in particular saw themselves as educators. The didactic thrust of science fiction got the genre initially pegged as children's fare. It was seen, at its best, as an extension of school and, at its worst, as teenage wish fulfillment.
Science fiction isn't just thinking about the world out there. It's also thinking about how that world might be - a particularly important exercise for those who are oppressed, because if they're going to change the world we live in, they - and all of us - have to be able to think about a world that works differently.
It is a magic book. Words mean things. When you put them together they speak. Yes, sometimes they flatten out and nothing they say is real, and that is one kind of magic. But sometimes a vision will rip up from them and shriek and clank wings clear as the sweat smudge on the paper under your thumb. And that is another kind.
I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.
The night ... it is filled with bestial watchmen, trammeling the extremities and the interstices of the timeless city, portents fallen, constellated deities plummeting in ash and smoke, roaming the apocryphal cities, the cities of speculation and reconstituted disorder, of insemination and incipience, swept round with the dark.
It looks like the writer is telling you a story. What the writer is actually doing, however, is using words to evoke a series of micromemories from your own experience that inmix, join, and connect in your mind in an order the writer controls, so that, in effect, you have a sustained memory of something that never happened to you.
Each of us, with money, gets further and further away from those moments where the hand pulls the beet root from the soil, shakes the fish from the net into the basket -- not to mention the way it separates us from one another, so that when enough money comes between people, they lie apart like parts of a chicken hacked up for stewing.
Dictators during the entire history of this planet have used similar techniques. By not letting the people of their country know what conditions existed outside their boundaries, they could get the people to fight to stay in those conditions. It was the old adage: Convince a slave that he's free , and he will fight to maintain his slavery .
A poet is wounded into speech, and he examines these wounds, meticulously, to discover how to heal them. The bad poet harangues at the pain and yowls at the weapons that lacerate him; the great poet explores the inflamed lips of ruined flesh with ice-caked fingers, glittering and precise; but ultimately his poem is the echoing, dual voice reporting the damages.
You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they can't express, and it hurts me. So I go home and burnish it and polish it and weld it to a rhythmic frame, make the dull colors gleam, mute the garish artificiality to pastels, so it doesn't hurt any more: that's my poem. I know what they want to say, and I say it for them.
The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.
There is no articulate resonance. The common problem, I suppose, is to have more to say than vocabulary and syntax can bear. That is why I am hunting in these desiccated streets. The smoke hides the sky's variety, stains consciousness, covers the holocaust with something safe and insubstantial. It protects from greater flame. It indicates fire, but obscures the source. This is not a useful city. Very little here approaches any eidolon of the beautiful.
Actions are interesting to watch. I learn about the actors. Their movements are emblems of the tensions in this internal landscape, which their actions resolve. About-to-act is an interesting state to experience, because I am conscious of just those tensions. Acting itself feels fairly dull; it not only resolves, it obliterates those tensions from my consciousness. Acting is only interesting as it leads to new tensions that, irrelevantly, cause me to act again.
Fiction -- at least for me -- requires long, relatively uninterrupted time stretches in which to bring it to fruition. I've never been a two-hour-in-the-morning writer, who could put in another six hours on Sunday afternoon. For me, a novel requires weeks of living in a largely mental and wholly internal landscape. Everything else has to be relegated to the odd hour here, the bit of time there. Sadly, however, uninterrupted time blocks are not what life doles out today to any of us with regularity.
There is a hollow, holey cylinder running from hilt to point in my machete. When I blow across the mouthpiece in the handle, I make music with my blade. When all the holes are covered, the sound is sad, as rough as rough can be and be called smooth. When all the holes are open, the sound pipes about, bringing to the eye flakes of sun on water, crushed metal. There are twenty holes. And since I've been playing music, I've been called all different kinds of fool - more times than Lobey, which is my name.
Since I spent eighteen years of my life as a child, and nine years of that life as a pretty sexually active gay child, my complaint against the current attitudes is that they work mightily to silence the voices of children first and secondarily ignore what adults have to say who have been through these situations. One size fits all is never the way to handle any situation with a human dimension. Many, many children-and I was one of them-are desperate to establish some sort of sexual relation with an older and even adult figure.
Now for me, you're the irreplaceable one: I've never see you up so close before, and I do not understand you at all. You say sometimes I act like I don't see you? I don't even know where to look! Living with you around is like is like living with a permanent dazzle. The fact that you even like me, or look at me, or brush by me, or hug me, or hold me, is so surprising that after it's over I have to go back through it a dozen times in my head to savor it and try and figure out what it was like because I was too busy being astounded while it was happening.
The pulp hero, though he may be a renegade, is a guy who doesn't feel. Anything. Ever. And for the adolescent male - pummeled by emotions left and right, whether arising from sexuality or resulting from his necessary encounters with authority - this hero is a blessing, a relief and a release. The world he lives in, where feelings are totally under control, looks to the adolescent boy like heaven! This hero's lack of feeling - like Star Trek's Spock - is what allows him to be a genius, or allows him to shoot the bad guys and/or aliens, without a quiver to his lip.
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.