Quotes of All Topics . Occasions . Authors
I think fiction isn't so good at being for or against things in general - the rhetorical argument a short story can make is only actualized by the accretion of particular details, and the specificity of these details renders whatever conclusions the story reaches invalid for wider application.
We're not accustomed to giving women the space to express the full range of emotions and flaws that men are permitted. Anger and aggressiveness aren't part of the scale of what is acceptable behavior in women, whereas men - in reality and in fiction - are allowed a much fuller range of emotion.
In the mind of all, fiction, in the logical sense, has been the coin of necessity;—in that of poets of amusement—in that of the priest and the lawyer of mischievous immorality in the shape of mischievous ambition,—and too often both priest and lawyer have framed or made in part this instrument.
Under fun's new administration, writing fiction becomes a way to go deep inside yourself and illuminate precisely the stuff you don't want to see or let anyone else see, and this stuff usually turns out (paradoxically) to be precisely the stuff all writers and readers share and respond to, feel.
Pulp Fiction' was probably one of the first films I ever saw that really kind of took effect on me. I was about four years old - obviously wasn't supposed to be seeing that film; my sister kind of sneaked it out and we got to see it. She's older than me. That was something I always used to watch.
Neutrinos alone, among all the known particles, have ethereal properties that are striking and romantic enough both to have inspired a poem by John Updike and to have sent teams of scientists deep underground for 50 years to build huge science-fiction-like contraptions to unravel their mysteries.
Far more unwaveringly, the neurotic keeps before his eye his God, his idol, his ideal of personality and clings to his guiding principle, losing sight in the meanwhile of reality, whereas the normal person is always ready to dispense with this crutch, this aid, and reckon unhampered with reality.
Usually at the core of fiction that has some element of the absurd there tends to be an examination of some societal ills that we should talk about more than we do. And it's funny, of course, so we have that release valve with absurdism. It offers us a safe way to explore difficult subject matter.
Fantasy is an area where it is possible to talk about right and wrong, good and evil, with a straight face. In mainstream fiction and even in a good deal of mystery, these things are presented as simply two sides of the same coin. Never really more than a matter of where you happen to be standing.
I have been induced to adopt this course by a desire that my readers should be taught to think as well as to experiment, and thus be qualified at an early part of their study to discriminate between the true and the false, and acquire the facts of the science without being mystified by its fictions.
I did go to an MFA program, at Bowling Green State University in Ohio. For me, it worked perfectly. It was a small program. They only take five fiction writers a year, and they fund all of us - you don't go into debt to get an MFA. It's not like getting an MBA - you're not going to buy yourself out.
The general consensus among historians, among the ones who can handle the fact that 'Lincoln' is, in fact, historical fiction, is that we demonstrate enormous fidelity to history and that, beyond that, we've actually contributed a line of thinking about Lincoln's presidency that's somewhat original.
Reading things that are relevant to the facts of your life is of limited value. The facts are, after all, only the facts, and the yearning passionate part of you will not be met there. That is why reading ourselves as a fiction as well as fact is so liberating. The wider we read the freer we become.
I like science fiction and physics, things like that. Planets being sucked into black holes, and the various vortexes that create possibility, and what happens on the other side of the black hole. To me it's the microcosmic study of the macrocosmic universe in man, and that's why I'm attracted to it.
The biggest experiment there - and I was convinced for a really long time that it was going to fail horribly - had to do with this weird thing I do every now and then. Like everyone else, as a reader there are certain things that really rub me the wrong way in fiction - pet bugbears, let's call them.
I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.
I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.
We live in a violent world, but since the success of films like Pulp Fiction, it seems every movie has some violence in it, and it's now being used as a form of comedy: audiences are now being encouraged to laugh when people get their heads blown off. I just don't like hearing people laugh at violence.
Some writers like to boil down headlines of liberal newspapers into fiction, so they say there shouldn't be communal riots, everybody should love each other, there shouldn't be boundaries or fundamentalism. But I think literature is more than that; these are political views which most of us hold anyway.
The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!"
More than fantasy or even science fiction, Ray Bradbury wrote horror, and like so many great horror writers he was himself utterly without fear, of anything. He wasn't afraid of looking uncool - he wasn't scared to openly love innocence, or to be optimistic, or to write sentimentally when he felt that way.
The end of all stories, even if the writer forebears to mention it, is death, which is where time stops short. Sheherezade knew this, which is why she kept on spinning another story out of the bowels of the last one, never coming to a point where she could say: "This is the end." Because it would have been.
In journalism just one fact that is false prejudices the entire work. In contrast, in fiction one single fact that is true gives legitimacy to the entire work. That's the only difference, and it lies in the commitment of the writer. A novelist can do anything he wants so long as he makes people believe in it.
Science fiction, as I mentioned before, writes about what is neither impossible nor possible; the fact is that, when the question of possibility comes up in science fiction, the author can only reply that nobody knows. We haven't been there yet. We haven't discovered that yet. Science fiction hasn't happened.
When I heard the word ''stream'' uttered with such a revolting primness, what I think of is urine and not the contemporary novel. And besides, it isn't new, it is far from the dernier cri. Shakespeare used it continually, much too much in my opinion, and there's Tristam Shandy, not to mention the "Agamemnon."
My motto is: write about anything you bloody well like; just make sure you do it effectively. We've all had all the emotions, the rest is research and that leap which some can do and others cannot - it's not really something you can learn, otherwise all academics of literature would be wonderful fiction writers.
In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
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.
My mother, whom I love dearly, has continually revised my life story within the context of a complicated family history that includes more than the usual share of divorce, step-children, dysfunction, and obfuscation. I've spent most of my adult life attempting to deconstruct that history and separate fact from fiction.
I didn’t like it [computer] when I first began using it. Where it’s helped me a lot is in nonfiction which is a kind of different process. You’ve got research, you’ve got your notes, You can block out what you want to work on for the next 10 pages and put it in another file, and then you can kind of carve it into shape
My first encounter with science fiction was reading the work of H.G. Wells when I was nine or ten, and I don't believe 'The War of the Worlds' or 'The Time Machine' have ever been bettered. Plus, I have always had a liking for Victorian and Edwardian clothes and contraptions, which tends to color the worlds I dream up.
I grew up poor in crappy situations... various crappy situations. What kept me sane was reading and music. I had so many different literary tastes growing up, be it fiction like Stephen King or Piers Anthony or non-fiction like reading Hunter S. Thompson essays or reading the Beats. I was a huge fan of the Beat movement.
The duty of the grand jury is to separate fact from fiction, after a full and impartial examination of all the evidence involved, and decide if evidence supported the filing of any criminal charges against Darren Wilson. They accepted and completed this monumental responsibility in a conscientious and expeditious manner.
I've got one of those over-stuffed leather chairs from the Pottery Barn. It faces north. I live in San Francisco, so there's the Golden Gate Bridge off to the left, and there's Alcatraz off to the right, and I've got a pile of pulp fiction next to me, and there's usually a decent bottle of red wine next to the fireplace.
Christianity is an old metaphysical fiction, stuffed with fables, contradictions and absurdities: it was spawned in the fevered imagination of the Orientals, and then spread to our Europe, where some fanatics espoused it, where some intriguers pretended to be convinced by it and where some imbeciles actually believed it.
Reality TV now doesn't feel reality TV when it started. The line between reality and fiction is blurred. So many of these people are phony or shallow, in their own right. If you've ever watched any of The Real Housewives, or those types of shows, they're all performing. Even though they're real people, they're performing.
After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.
Much blood has also been spilled on the carpet in attempts to distinguish between science fiction and fantasy. I have suggested an operational definition: science fiction is something that COULD happen - but usually you wouldn't want it to. Fantasy is something that COULDN'T happen - though often you only wish that it could.
I felt like I was a writer, and I just thought filmmaking was the best way for me to express that, because it allows me to embrace the visual world that I love. It's allows me to interact with people, to be more social than fiction or poetry, and it felt like the right way for me to tell the stories that felt pressing to me.
Truth is not only stranger than fiction, it is more telling. To know that a thing actually happened gives it a poignancy, touches a chord, which a piece of acknowledged fiction misses. It is to touch this chord that some authors have done everything they could to give you the impression that they are telling the plain truth.
This is one of the ways fiction is more liberating than nonfiction - I don't have to be so concerned with fact. I had the paradigm of certain people in my head who became my characters, but I never considered these people to be from a "certain sector of society," unless we agree that we're all from certain sectors of society.
Houdini, the magician who debunked magic, could not bear to see the great rationalist [Arthur Conan] Doyle enchanted by ghosts and frauds. And so he did what any friend would: He set out to prove spiritualism false and rob his friend Doyle of the only comforting fiction that was keeping him sane. It was the least he could do.
We never had books at home, but my dad, seeing how keen I was to read, took me to Islington Library when I was about eight and we pulled out two - a Biggles and a science fiction novel. I never got the ace fighter pilot but fell in love with all things to do with the future and space. Isaac Asimov soon became my guiding star.
Turkey is a complex country. Most readers are women, of all generations, and they are passionate about books. However, the written culture is mostly patriarchal. In general, men write; women read. I would like to see this pattern changing. More women should write novels, poems, plays, and hopefully, more men will read fiction.
Meanwhile, however, what’s most bothersome about Pulp Fiction is its success. This is not to be mean-spirited about Tarantino himself; may he harvest all the available millions. But the way that this picture has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming.
The same authorities who insist upon beginnings, middles, and ends, declare that Great Literature (by which they mean the stories they have been taught to admire) is about love and death, while mere popular fiction like this is about sex and violence. One reader's sex, alas, is another's love; and one's violence, another's death.
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.
The truly unique trait of 'Sapiens' is our ability to create and believe fiction. All other animals use their communication system to describe reality. We use our communication system to create new realities. Of course, not all fictions are shared by all humans, but at least one has become universal in our world, and this is money.