Michael > Michael's Quotes

“[...]the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!”
― Jack Kerouac, On the Road

“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.”
― China Miéville

“Shreiking, slithering, torrential shadows of red viscous madness chasing one another through endless, ensanguinated condors of purple fulgurous sky... formless phantasms and kalaidoscopic mutations of a ghoulish, remembered scene; forests of monstrous over-nourished oaks with serpent roots twisting and sucking unnamable juices from an earth verminous with millions of cannibal devils; mound-like tentacles groping from underground nuclei of polypous perversion... insane lightning over malignant ivied walls and demon arcades choked with fungous vegetation...”
― H.P. Lovecraft, The Lurking Fear

“A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.”
― Robert A. Heinlein

“We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special.”
― Stephen Hawking

“When you're twenty-one, life is a roadmap. It's only when you get to be twenty-five or so that you begin to suspect that you've been looking at the map upside down, and not until you're forty are you entirely sure. By the time you're sixty, take it from me, you're fucking lost.”
― Stephen King, Joyland

“That which yields is not always weak.”
― Jacqueline Carey, Kushiel's Dart

“There's a difference between really loving someone and loving the idea of her.”
― Gillian Flynn, Gone Girl

“Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.”
― Gillian Flynn, Gone Girl

“Sleep is like a cat: It only comes to you if you ignore it.”
― Gillian Flynn, Gone Girl

“Friends see most of each other’s flaws. Spouses see every awful last bit.”
― Gillian Flynn, Gone Girl

“It’s humbling, to become the very thing you once mocked.”
― Gillian Flynn, Gone Girl

“She’s easy to like. I’ve never understood why that’s considered a compliment - that just anyone could like you.”
― Gillian Flynn, Gone Girl

“I waited patiently - years - for the pendulum to swing the other way, for men to start reading Jane Austen, learn how to knit, pretend to love cosmos, organize scrapbook parties, and make out with each other while we leer. And then we'd say, Yeah, he's a Cool Guy.”
― Gillian Flynn, Gone Girl

“I ached once, hard, like a period typed at the end of a sentence.”
― Gillian Flynn, Sharp Objects

“He could cheat on me and he would never tell me, and he would think less and less of me for not figuring it out. He would see me across the breakfast table, innocently slurping cereal, and know that I am a fool, and how can anyone respect a fool?”
― Gillian Flynn, Gone Girl

“So many books, so little time.”
― Frank Zappa

“Show some fucking adaptability!”
― Neal Stephenson, Cryptonomicon.

“Arguing with anonymous strangers on the Internet is a sucker's game because they almost always turn out to be—or to be indistinguishable from—self-righteous sixteen-year-olds possessing infinite amounts of free time.”
― Neal Stephenson, Cryptonomicon

“We can know only that we know nothing. And that is the highest degree of human wisdom.”
― Leo Tolstoy, War and Peace

“We are asleep until we fall in Love!”
― Leo Tolstoy, War and Peace

“Everything I know, I know because of love.”
― Leo Tolstoy, War and Peace

“Time put a patina of affection on yesteryear, and we tended to forget how appalling existence could be in those times, how long and how hard a man had to labor for his food, how difficult childbearing was, how few medicines and conveniences there were; how stern the realities of life.”
― Thomas Tryon, Harvest Home

“You can’t negate the ingrained imagination of a whole culture.”
― Thomas Tryon, Harvest Home

“Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts. Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one's lifetime.”
― Mark Twain, The Innocents Abroad / Roughing It

“I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”
― Albert Einstein

“The book told unpleasant truths, and anyone who doesn’t feel a qualm of regret at throwing a blanket over the truth is an asshole with no conscience.”
― Stephen King, Guns

“One only wishes Wayne LaPierre and his NRA board of directors could be drafted to some of these scenes, where they would be required to put on booties and rubber gloves and help clean up the blood, the brains, and the chunks of intestine still containing the poor wads of half-digested food that were some innocent bystander’s last meal.”
― Stephen King, Guns

“I read a jaw-dropping online defense of these weapons from a California woman recently. Guns, she said, are just tools. Like spoons, she said. Would you outlaw spoons simply because some people use them to eat too much? Lady, let’s see you try to kill twenty schoolkids with a fucking spoon.”
― Stephen King, Guns

“The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real ... for a moment at least ... that long magic moment before we wake.

Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smokestacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest Airlines. Why do our dreams become so much smaller when they finally come true?

We read fantasy to find the colors again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever somewhere south of Oz and north of Shangri-La.

They can keep their heaven. When I die, I'd sooner go to middle Earth.”
― George R.R. Martin