“It sounds creepy, but I always liked the idea of disappearing then becoming something new.”
Source: Generation Loss (2007), Ch. 1
Context: It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared.
Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.
“It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that.”
Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.
Apocalypse Descending (2002)
Context: A lot of the revisionist thinking by feminist mythologisers — people who based their projections of ancient "matristic" cultures on work done by folks like Marija Gimbutas — is based on archaeological and anthropological speculation that in some cases has since been proved wrong. The pretty happy flower children who lived at ancient Knossos, for instance, were the result of wishful thinking by the Victorian explorer Arthur Evans (a man, please note). No one actually knows what these cultures were really like, but it's doubtful that they were free of the same problems of sexual inequality that we have today.
Source: Wylding Hall (2015), Chapter 5