Quotes about fiction

page 8

Interview http://www.locusmag.com/1997/Issues/09/KSRobinson.html in Locus, (September 1997)
Context: Science fiction rarely is about scientists doing real science, in its slowness, its vagueness, the sort of tedious quality of getting out there and digging amongst rocks and then trying to convince people that what you're seeing justifies the conclusions you're making. The whole process of science is wildly under-represented in science fiction because it's not easy to write about. There are many facets of science that are almost exactly opposite of dramatic narrative. It's slow, tedious, inconclusive, it's hard to tell good guys from bad guys — it's everything that a normal hour of Star Trek is not.

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978) http://web.archive.org/web/20070701010155/zelazny.corrupt.net/19780408int.html#2
Context: Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.
I was saying at the convention in Melbourne that after a time I got typed as a writer of mythological science fiction, and at a convention I'd go to I'd invariably wind up on a panel with the title "Mythology and Science Fiction". I felt a little badly about this, I was getting considered as exclusively that sort of writer. So I intentionally tried to break away from it with things like Doorways in the Sand and those detective stories which came out in the book My Name Is Legion, and other things where I tried to keep the science more central.
But I do find the mythological things are creeping in. I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

Source: Billy Budd, the Sailor (1891), Ch. 28
Context: The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges...

The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)
Context: Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...

On Writing Poetry (1995)
Context: It's a feature of our age that if you write a work of fiction, everyone assumes that the people and events in it are disguised biography — but if you write your biography, it's equally assumed you're lying your head off. This last may be true, at any rate of poets: Plato said that poets should be excluded from the ideal republic because they are such liars. I am a poet, and I affirm that this is true. About no subject are poets tempted to lie so much as about their own lives; I know one of them who has floated at least five versions of his autobiography, none of them true. I of course — being also a novelist — am a much more truthful person than that. But since poets lie, how can you believe me?

Pt. II, sec. 4, "The Ideal Writer"
The Philosophy of Style (1852)
Context: The ideal form for a poem, essay, or fiction, is that which the ideal writer would evolve spontaneously. One in whom the powers of expression fully responded to the state of feeling, would unconsciously use that variety in the mode of presenting his thoughts, which Art demands.

Performance at the L.A. Improv (1977) https://www.youtube.com/watch?v=FH7crqRvhhc

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978) http://web.archive.org/web/20070701010155/zelazny.corrupt.net/19780408int.html#2
Context: Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.
I was saying at the convention in Melbourne that after a time I got typed as a writer of mythological science fiction, and at a convention I'd go to I'd invariably wind up on a panel with the title "Mythology and Science Fiction". I felt a little badly about this, I was getting considered as exclusively that sort of writer. So I intentionally tried to break away from it with things like Doorways in the Sand and those detective stories which came out in the book My Name Is Legion, and other things where I tried to keep the science more central.
But I do find the mythological things are creeping in. I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

A Girl's World interview (2006)
Context: Don't worry about that depressing old dictum "Write what you know". If you need to know something, look it up. Learn how to find out what you need to know to make it right. Be passionate, be picky, have enough self-criticism to demand of yourself your best and not sort of let it slide by. And remember that the greatest defect any piece of fiction can have is not to be finished.

“Morality and literature,” pp. 161-162
On Science, Necessity, and the Love of God (1968)
Context: It is not only in literature that fiction generates immorality. It does it also in life itself. For the substance of our life is almost exclusively composed of fiction. We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious.

Letter to Bernard Berenson (24 September 1954); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker
Context: You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.

A Gossip on Romance, printed in Longman's Magazine (November 1882).
Context: Fiction is to the grown man what play is to the child; it is there that he changes the atmosphere and tenor of his life.

"Introduction" to the French edition (1974) of Crash (1973); reprinted in Re/Search no. 8/9 (1984)
Crash (1973)
Context: We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.

De Abaitua interview (1998)
Context: A god is the idea of a god. The idea of a god is a god. The idea of Glycon is Glycon, if I can enhance that idea with an anaconda and a speaking tube, fair enough. I am unlikely to start believing that this glove puppet created the universe. It’s a fiction, all gods are fiction. It’s just that I happen to think that fiction’s real. Or that it has its own reality, that is just as valid as ours. I happen to believe that most of the important things in the material world start out as fiction. That everything around us was once fiction – before there was the table there was the idea of a table, and the idea of a table before tables was fiction. This is the most important world, the world of fictional things. That’s the world where all this starts.

Chin Wag At The Slaughterhouse (2013)
Context: Characters in novels are all fiction like the world they live in. Of course Vivien Lash has things in common with me but if she actually was me I wouldn’t have been able to invent her. And I’m not plotting to murder my husband!
The closest connection between me and my characters is that we live in a city that’s recognisable as London, but it’s a version of London that came out of my head.

from "Doron Zeilberger's 126th Opinion", Dr. Z's Homepage http://www.math.rutgers.edu/~zeilberg/Opinion126.html

"Fiction", speech to the Royal Society of Literature, June 1926; published in Writings on Writing: Rudyard Kipling (1996), ed. Sandra Kemp and Lisa Lewis, p. 80 http://books.google.com/books?id=-AQStA5QMjwC&q=%22elder+sister%22&pg=PA80
Other works

Letter to William Short (4 August 1820) http://www.stephenjaygould.org/ctrl/jefferson_jesus.html on his reason for composing a Syllabus of an Estimate of the Merit of the Doctrines of Jesus and referring to Jesus’ biographers, the Gospel writers. Published in Thomas Jefferson: Writings, Merrill D. Peterson, ed., New York: Library of America, 1994, pp. 1435–1440
1820s
Context: My aim in that was, to justify the character of Jesus against the fictions of his pseudo-followers, which have exposed him to the inference of being an impostor. For if we could believe that he really countenanced the follies, the falsehoods and the charlatanisms which his biographers father on him, and admit the misconstructions, interpolations and theorizations of the fathers of the early, and fanatics of the latter ages, the conclusion would be irresistible by every sound mind, that he was an impostor. I give no credit to their falsifications of his actions and doctrines, and to rescue his character, the postulate in my letter asked only what is granted in reading every other historian. … I say, that this free exercise of reason is all I ask for the vindication of the character of Jesus. We find in the writings of his biographers matter of two distinct descriptions. First, a groundwork of vulgar ignorance, of things impossible, of superstitions, fanaticisms and fabrications. Intermixed with these, again, are sublime ideas of the Supreme Being, aphorisms and precepts of the purest morality and benevolence, sanctioned by a life of humility, innocence and simplicity of manners, neglect of riches, absence of worldly ambition and honors, with an eloquence and persuasiveness which have not been surpassed. These could not be inventions of the groveling authors who relate them. They are far beyond the powers of their feeble minds. They shew that there was a character, the subject of their history, whose splendid conceptions were above all suspicion of being interpolations from their hands. Can we be at a loss in separating such materials, and ascribing each to its genuine author? The difference is obvious to the eye and to the understanding, and we may read as we run to each his part; and I will venture to affirm, that he who, as I have done, will undertake to winnow this grain from its chaff, will find it not to require a moment's consideration. The parts fall asunder of themselves, as would those of an image of metal and clay. … There are, I acknowledge, passages not free from objection, which we may, with probability, ascribe to Jesus himself; but claiming indulgence from the circumstances under which he acted. His object was the reformation of some articles in the religion of the Jews, as taught by Moses. That sect had presented for the object of their worship, a being of terrific character, cruel, vindictive, capricious and unjust. Jesus, taking for his type the best qualities of the human head and heart, wisdom, justice, goodness, and adding to them power, ascribed all of these, but in infinite perfection, to the Supreme Being, and formed him really worthy of their adoration. Moses had either not believed in a future state of existence, or had not thought it essential to be explicitly taught to his people. Jesus inculcated that doctrine with emphasis and precision. Moses had bound the Jews to many idle ceremonies, mummeries and observances, of no effect towards producing the social utilities which constitute the essence of virtue; Jesus exposed their futility and insignificance. The one instilled into his people the most anti-social spirit towards other nations; the other preached philanthropy and universal charity and benevolence. The office of reformer of the superstitions of a nation, is ever dangerous. Jesus had to walk on the perilous confines of reason and religion: and a step to right or left might place him within the gripe of the priests of the superstition, a blood thirsty race, as cruel and remorseless as the being whom they represented as the family God of Abraham, of Isaac and of Jacob, and the local God of Israel. They were constantly laying snares, too, to entangle him in the web of the law. He was justifiable, therefore, in avoiding these by evasions, by sophisms, by misconstructions and misapplications of scraps of the prophets, and in defending himself with these their own weapons, as sufficient, ad homines, at least. That Jesus did not mean to impose himself on mankind as the son of God, physically speaking, I have been convinced by the writings of men more learned than myself in that lore. But that he might conscientiously believe himself inspired from above, is very possible.

Introduction to The Left Hand of Darkness (1976)
Context: The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 73

The Glass Forest (1986)
Context: Here is what I wrote about SF. If it has a familiar ring, my publishers liked it well enough to make it into a postcard for publicity purposes. 'I love SF for its surrealist verve, its loony non-reality, its piercing truths, its wit, its masked melancholy, its nose for damnation, its bunkum, its contempt for home comforts, its slewed astronomy, its xenophilia, its hip, its classlessness, its mysterious machines, its gaudy backdrops, its tragic insecurity.'
Science fiction has always seemed to me such a polyglot, an exotic mistress, a parasite, a kind of new language coined for the purpose of giving tongue to the demented twentieth century.

Locus interview (2000)
Context: Why do so many people dislike science fiction? The answer goes like this: You have to think of science fiction in contrast to its nearest competitor, heroic fantasy. In heroic fantasy, by and large, things are pretty stable, and then some terrible evil comes along that's going to take over the world. People have to fight it. In the end they win, of course, so the earth is restored to what it was. The status quo comes back. Science fiction's quite different. With science fiction, the world's in some sort of a state, and something awful happens. It may not be evil, it may be good or neutral, just an accident. Whatever they do in the novel, at the end the world is changed forever. That's the difference between the two genres — and it's an almighty difference! And the truth is science fiction, because we all live in a world that's changed forever. It's never going to go back to what it was in the '60s or the '70s or the '30s, or whatever. It's changed.

Donnell v. Herring-Hall-Marvin Safe Co., 208 U.S. 267, 273 (1908).
1900s

Reading Lolita in Tehran (2003)
Context: I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

The Paris Review interview (2010)
Context: I often use the metaphor of Perseus and the head of Medusa when I speak of science fiction. Instead of looking into the face of truth, you look over your shoulder into the bronze surface of a reflecting shield. Then you reach back with your sword and cut off the head of Medusa. Science fiction pretends to look into the future but it’s really looking at a reflection of what is already in front of us.

How to Understand Politics: What the Humanities Can Say to Science (2007)
Context: Literature... seeks to entertain — and why is this?... The reason, fundamentally, is that literature knows something that science does not: the human resistance to hearing the truth. Science does not inform scientists of this basic fact.... The wisdom of literature arises mainly from its attention to this point. To overcome the resistance to truth, literature makes use of fictions that are images of truth.

Draft for a Statement of Human Obligation (1943), Statement Of Obligations
Context: The human soul has need of consented obedience and of liberty.
Consented obedience is what one concedes to an authority because one judges it to be legitimate. It is not possible in relation to a political power established by conquest or coup d'etat nor to an economic power based upon money.
Liberty is the power of choice within the latitude left between the direct constraint of natural forces and the authority accepted as legitimate. The latitude should be sufficiently wide for liberty to be more than a fiction, but it should include only what is innocent and should never be wide enough to permit certain kinds of crime.

In his introduction "Van is Here, But Van is Gone" to Futures Past: The Best Short Fiction of A. E. van Vogt (July 1999) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm
Context: Alfred E. van Vogt, since the appearance of his first two stories — "Black Destroyer" and "Discord in Scarlet" (Astounding Science Fiction, July and December 1939) the most memorable debut in the long history of the genre — has been a giant. The words seminal and germinal leap to mind. Sadly, at this juncture. the words tragedy and farewell also insinuate themselves. … Van is still with us, as I write this, in June of 1999, slightly less than fifty years since I first encountered van Vogt prose in a January 1950 issue of Startling Stories, but Van is gone. He is no longer with us. … Because the great and fecund mind of A. E. van Vogt has fallen into the clutches of that pulp thriller demon, Alzheimer's. Van is gone. … Anyone's demise or vanishment is in some small way tragic but the word "tragedy" requires greater measure for its use. … Van' s great mind now gone. Tragedy.
The ultimate tragic impropriety visited on as good a man as ever lived. A gentle. soft spoken man who was filled with ideas and humor and courtesy and kindness. Not even those who were not aficionados of Van's writing could muster a harsh word about him as a human being. He was as he remains now, quietly and purposefully, a gentleman.
But make no mistake about this: the last few decades for him were marred by the perfidious and even mean spirited and sometimes criminal acts of poltroons and self-aggrandizing mountebanks and piss-ants into whose clutches he fell just before the thug Alzheimer got him. … I came late to the friendship with Van and Lydia. Perhaps only twenty-five or so years. But the friendship continues, and at least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough understand that finally, as last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, fessed up to his importance.
Naturally, others took credit for his getting the award. They postured and spewed all the right platitudes. Some of them were the same ones who had said to me — during the five years it took to get them to act honorably — "we'd have given it to him sooner if you hadn't made such a fuss." Yeah. Sure. And pandas'll fly out of my ass.

Writing and Being (1991)
Context: I have said that nothing factual that I write or say will be as truthful as my fiction. The life, the opinions, are not the work, for it is in the tension between standing apart and being involved that the imagination transforms both. Let me give some minimal account of myself. I am what I suppose would be called a natural writer. I did not make any decision to become one. I did not, at the beginning, expect to earn a living by being read. I wrote as a child out of the joy of apprehending life through my senses — the look and scent and feel of things; and soon out of the emotions that puzzled me or raged within me and which took form, found some enlightenment, solace and delight, shaped in the written word.

"Robert Anton Wilson: Searching For Cosmic Intelligence" - interview by Jeffrey Elliot (1980)
Context: My early work is politically anarchist fiction, in that I was an anarchist for a long period of time. I'm not an anarchist any longer, because I've concluded that anarchism is an impractical ideal. Nowadays, I regard myself as a libertarian. I suppose an anarchist would say, paraphrasing what Marx said about agnostics being "frightened atheists," that libertarians are simply frightened anarchists. Having just stated the case for the opposition, I will go along and agree with them: yes, I am frightened. I'm a libertarian because I don't trust the people as much as anarchists do. I want to see government limited as much as possible; I would like to see it reduced back to where it was in Jefferson's time, or even smaller. But I would not like to see it abolished. I think the average American, if left totally free, would act exactly like Idi Amin. I don't trust the people any more than I trust the government.

Black Boy (1945)

Scraps and Morsels (1960).
Context: Strange reading? It is meant to be. The world is full of romantic, macabre, improbable things which would never do in works of fiction. When those that come within one man's notice are gathered together in a scrapbook, they tell of a world which sobersided folk may not choose to recognize as their own. But it is their own; I have the evidence.

Unkempt Thoughts (1957), p. 93; also p. 21

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>But to impose is not
To discover. To discover an order as of
A season, to discover summer and know it, To discover winter and know it well, to find
Not to impose, not to have reasoned at all,
Out of nothing to have come on major weather,It is possible, possible, possible. It must
Be possible. It must be that in time
The real will from its crude compoundings come,Seeming at first, a beast disgorged, unlike,
Warmed by a desperate milk. To find the real,
To be stripped of every fiction except one,The fiction of an absolute — Angel,
Be silent in your luminous cloud and hear
The luminous melody of proper sound.

"Inner Landscape : Interview with J.G. Ballard" by Robert Lightfoot and David Pendleton, in Friends No. 17 (30 October 1970) http://www.jgballard.ca/media/1970_oct_friends_magazine.html; also quoted in The Columbia Dictionary of Quotations (1993) by Robert Andrews
Context: A hundred years ago one has the impression that people had made a clear distinction between the outer world of work and of agriculture, commerce and social relationships — which was real — and the inner world of their own minds, day-dreams and hopes. Fiction on the one hand; reality on the other. This reality which surrounded individuals, the writer's role of inventing a fiction that encapsulated various experiences going on in the real world and dramatising them in fictional form, worked. Now the whole situation has been reversed. The exterior landscapes of the seventies are almost entirely fictional ones created by advertising, mass merchandising… politics conducted as advertising. It is very difficult for the writer.
Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.

Contact with Space (1957)
Context: On March 20, 1956, 10 P. M. a thought of a very remote possibility entered my mind, which I fear will never leave me again. Am I a spaceman? Do I belong to a new race on earth, bred by men from outer space in embraces with earth women? Are my children offspring of the first interplanetary race? Has the melting-pot of interplanetary society already been created on our own planet, as the melting-pot of all earth nations was established in the U. S. A. 190 years ago? … What inspired this thought? It was seeing the science-fiction film The Day the Earth Stood Still, about a spaceman who comes to Earth in a flying saucer to save us from self-destruction in a nuclear war. … All through the film I had a distinct impression that it was a bit of "my story" which was depicted there, even the actor's expressions and looks reminded me and others of myself as I had appeared 15 to 20 years ago.

Source: Guide for the Perplexed (c. 1190), Part III, Ch.22
Context: The strange and wonderful Book of Job treats of the same subject as we are discussing; its contents are a fiction, conceived for the purpose of explaining the different opinions which people hold on Divine Providence.... This fiction, however, is in so far different from other fictions that it includes profound ideas and great mysteries, removes great doubts, and reveals the most important truths. I will discuss it as fully as possible; and I will also tell you the words of our Sages that suggested to me the explanation of this great poem.

on winning the Hugo Award in 2010, asked in a conference in France http://www.youtube.com/watch?v=o70YRXlhopY&feature=related
Context: But it's a prize that... if you're into science-fiction and fantasy you grow up reading books with "Hugo [Award-winner]" on the cover. And this is very, very moving, to be in that position oneself. It's an odd situation [too], because, as you say, it was a tie, which is very rare with the Hugo, which has happened, like three times over sixty years, or something. But I prefer to think of it as a quantum Hugo and that Paolo Bacigalupi and I oscillate between between Hugo particle and wave form, this year. So it's properly science-fictional.

“And then Quentin was there somehow. And so were you, in a strange sort of way. And it was all so peaceful.” Peaceful?
"Why Women Aren’t Funny" https://www.vanityfair.com/culture/2007/01/, Vanity Fair, (January 1, 2007).
2000s, 2007

On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)

On how library research helps her write accurately in “Caught Between Two Worlds – Diana Gabaldon Interview” https://www.scotsmagazine.com/articles/diana-gabaldon-outlander-inspiration/ in The Scots Magazine (2018 Mar 2)

Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)

Source: The Story of Jesus (1938), Chapter 1

On what she calls her writing style in “Bernardine Evaristo: ‘I want to put presence into absence’” https://www.theguardian.com/books/2019/apr/27/bernardine-evaristo-girl-woman-other-interview in The Guardian (2019 Apr 27)

On his leaving the theater world (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)

The Paris Review interview (1999)

On creating rounded characters in “A Conversation with Carolina De Robertis on Immigration, Sexuality, and the True Origins of the Tango” https://lareviewofbooks.org/article/conversation-carolina-de-robertis-immigration-sexuality-true-origins-tango/ in Los Angeles Review of Books (2016 Apr 20)

[Elst, Koenraad, Rao, Prof. Ramesh N., Gujarat after Godhra: real violence, selective outrage, 2003, Har Anand Publications, https://books.google.co.in/books?id=GuJtAAAAMAAJ, With]

On how physics fits into his works in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

On how his childhood experiences shaped his writings in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

On how she writes characters in “Motherhood and Migration: An Interview with Vanessa Hua on ‘A River of Stars’” https://lareviewofbooks.org/article/motherhood-and-migration-an-interview-with-vanessa-hua-on-a-river-of-stars/ in Los Angeles Review of Books (2018 Sep 13)

On body horror in “Interview: Tade Thompson” http://www.lightspeedmagazine.com/nonfiction/interview-tade-thompson/ in Lightspeed Magazine (October 2017)

On being a writer in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” https://www.wordswithoutborders.org/article/both-freedom-and-constraint-an-interview-with in Words Without Borders (May 2015)

On the congruent nature of fiction and nonfiction in “Viet Thanh Nguyen: From both sides” https://www.writermag.com/writing-inspiration/author-interviews/viet-thanh-nguyen-sides/ in The Writer (2017 Jan 17)

On what he aims for as a storyteller in “History Is All You Left Me Author Adam Silvera Talks Second Books and More with Nicola Yoon” https://www.barnesandnoble.com/blog/teen/history-left-author-adam-silvera-talks-second-books-nicola-yoon/ (Barnes & Noble; 2017 Jan 19)

“Economic Myths and Public Opinion” https://miltonfriedman.hoover.org/friedman_images/Collections/2016c21/AmSpectator_01_1976.pdf, The Alternative: An American Spectator, vol. 9, no. 4, (January 1976) pp. 5-9

On how she would describe herself (as quoted in the book Chicana Ways: Conversations with Ten Chicana Writers https://books.google.com/books?id=yq0PkmCGWoEC&pg=PA205&lpg=PA205&dq)

On how creating characters is easier when you don’t have a personal involvement in “LYNN NOTTAGE’S SWEAT AND BLOOD” https://www.interviewmagazine.com/culture/lynn-nottage-sweat in Interview Magazine (2016 Dec 13)

Star Wars was entertainment for the masses and did not try to be anything more. Leave your sophistication at the door, get into the spirit, and you can have a fun ride. … Seeing a rotten picture for the special effects is like eating a tough steak for the smothered onions, or reading a bad book for the dirty parts. Optical wizardry is something a movie can do that a book can’t but it is no substitute for a story, for logic, for meaning. It is ornamentation, not substance. In fact, whenever a science fiction picture is praised overeffusively for its special effects, I know it’s a bad picture. Is that all they can find to talk about?
"Editorial: The Reluctant Critic", in Isaac Asimov’s Science Fiction Magazine, Vol. 2, Issue 6, (12 November 1978) https://archive.org/stream/Asimovs_v02n06_1978-11-12/
General sources

"The Keyboard: Guest Editorials", Videogaming Illustrated, (July 1983), p. 6

Source: The Laundry Files, The Rhesus Chart (2014), Chapter 12, “Green Lime” (p. 229)

Source: The Laundry Files, The Rhesus Chart (2014), Chapter 9, “Committee Processes” (p. 159)

"The Conflict of Science and Tradition", p. 108
The Universal Kinship (1906), The Psychical Kinship

Source: Infinity Beach (2000), Chapter 8 (p. 110)

Source: Broca's Brain (1979), Chapter 9, “Science Fiction—A Personal View” (p. 172)

Source: Broca's Brain (1979), Chapter 9, “Science Fiction—A Personal View” (p. 166)

The Twilight Zone, "The Fugitive" (1962).
The Twilight Zone

On the subjects that she most likes to write about in “An Interview with Annie Proulx” https://www.missourireview.com/article/an-interview-with-annie-proulx/ in The Missouri Review (1999 Mar 1)
Personal life and writing career

"The Human Condition: Between Appetite and Ingenuity", p. 1
Escape from Evil (1975)

21 Lessons for the 21st Century

Book 3, Chapter 20, Section 6
Institutes of the Christian Religion (1536; 1559)

Antonio Negri, The Savage Anomaly: The Power of Spinoza's Metaphysics and Politics (Minneapolis: University of Minnesota Press, 1991). Translated from the Italian by Michael Hardt. Originally published as L'anomalia selvaggia. Saggio su potere e potenza in Baruch Spinoza (Milano: Feltrinelli, 1981)
M - R

Christopher Leise, Electronic Book Review, Central Park West Trilogy: The Nihilesthete, Penthouse F, Charlie P.

The Paris Review interview

Alistair Cooke

Martin Light in The Quixotic Vision of Sinclair Lewis (1975)

We are all aliens to each other, all different and divided. We are even aliens to ourselves at different stages of our lives. Do any of us remember precisely what it was like to be a baby?
"Introduction to 'Plague of Conscience'", The Collected Stories of Greg Bear (2002)

Source: The God Delusion (2006), p. 31 of the hardcover edition and p. 51 of the paperback edition; see also: Dan Barker, God: The Most Unpleasant Character in All Fiction, foreword by Richard Dawkins, 2016

The Diary of Anaïs Nin, Vol. 5
Diary entries (1914 - 1974)

On having empathy in “James McBride: How I Write” https://www.writermag.com/writing-inspiration/author-interviews/james-mcbride-write/ in The Writer (2013 Dec 30)

On choosing fiction to communicate about heavy topics in “UWEM AKPAN | INTERVIEW” https://granta.com/interview-uwem-akpan/ in Granta (2008 Nov 14)

Writing About Jews (1963)

On her comparing of science fiction and fantasy in “Nalo Hopkinson: Multiplicity” https://www.locusmag.com/2007/Issue06_Hopkinson.html in LocusMag (June 2007)

Introduction (p. vi)
Thorns (1967)

Брайан Олдисс, «Кутёж на триллион лет»

Source: Education of a Wandering Man (1989), Ch. 1

Source: Quotaes, Barbarian Tides (2010), p. 43

As quoted in Medical research warning over human cells in animals https://www.theguardian.com/science/2011/jul/22/medical-research-humans-animals-regulation by Alok Jha, 22 July 2011, The Guardian.

Interviews
Source: On how she once perceived fiction in “NK Jemisin: 'It’s easier to get a book set in black Africa published if you're white'” https://www.theguardian.com/books/2020/may/02/nk-jemisin-its-easier-to-get-a-book-set-in-black-africa-published-if-youre-white in The Guardian (2020 May 2)

Bradbury Talk Likely to Feature the Unexpected (1994)

On his play Yachiyo in “Family Secret Revealed on Stage / Philip Kan Gotanda tells tragic story of aunt he never knew in `Yachiyo'” https://www.sfgate.com/entertainment/article/Family-Secret-Revealed-on-Stage-Philip-Kan-3020373.php in SF Gate (1995 Nov 5)

On how his writing has changed in “Hilton Als: ‘I had this terrible need to confess, and I still do it. It’s a bid to be loved’” https://www.theguardian.com/books/2018/feb/02/hilton-als-interview-pulitzer-prize-criticism-white-girls in The Guardian (2018 Feb 2)

On the connection between the personal and fictional world in “Chimamanda Ngozi Adichie: ‘This could be the beginning of a revolution’” https://www.theguardian.com/books/2018/apr/28/chimamanda-ngozi-adichie-feminism-racism-sexism-gender-metoo in The Guardian (2018 Apr 28)

On how fiction might differ from her journalist works in “Motherhood and Migration: An Interview with Vanessa Hua on ‘A River of Stars’” https://lareviewofbooks.org/article/motherhood-and-migration-an-interview-with-vanessa-hua-on-a-river-of-stars/ in Los Angeles Review of Books (2018 Sep 13)

Source: Sunday Observer (Sri Lanka) http://www.sundayobserver.lk/2019/06/02/youth-observer/social-invisibility-not-fiction-it-exists
Source: Ceylon Today https://ceylontoday.lk/features-more/2828
Source: The Morning http://epaper.themorning.lk/Home/ShareArticle?OrgId=d4ac636c&imageview=0
Source: Scribd https://www.scribd.com/book/425667242/Social-Invisibility-is-not-a-fiction-it-exists
Source: Ceylon Today https://ceylontoday.lk/features-more/4150
Source: Amazon Kindle https://www.amazon.com/s?i=stripbooks&rh=p_27%3AMichelle+Dilhara&s=relevancerank&text=Michelle+Dilhara&ref=dp_byline_sr_book_1

Author's Note
Hearts in Atlantis (1999)

From whom then does it receive its eternity and imperishability, if not from him who holds all things together within defined limits, for it is impossible that the nature of bodies (material) should be without a limit, inasmuch as they cannot dispense with a Final Cause, nor exist through themselves.
Upon the Sovereign Sun (362)