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Read through the most famous quotes by topic #fantasy
There was balance, harsh and violent like the noxious air in a swamp. But balance, nonetheless. Then somewhere in the fickle mists of creation came humanity, clawing and afraid, grasping and ambitious. Enveloped in a dangerous world, these creatures lived as scavengers; afraid of the greater things of the world. They were beset by disease, lack of claws or fangs, and the lack of habitat to call their own. Lefeyhdie had not provided any particular prey or plant for them to eat. These fleshy, naked beings were doomed to die of attrition. Curiously, these beings never stopped Doing, or Thinking. Breeding to strengthen their numbers. Sharpening rocks, shaping wood, gathering leaves and sticks for clothing and shelter. Eventually they had settlements of great number, crude but effective tools of war. Ancient forces began to pay attention to the growing incursion, plaguing them, slaying stragglers at night. But still the humans held on to the edge of the precipice, knuckles white with effort'. ↗
#fantasy #indie-author #low-magic #magick-and-faith #mythology
And yet many of us do it without families," Nynaeve said. "Without love, without passion beyond our own particular interests. So even while we try to guide the world, we separate ourselves from it.We risk arrogance, Egwene. We always assume we know best, but risk making ourselves unable to fathom the people we claim to serve. ↗
#fantasy-fiction #robert-jordan #service #wheel-of-time #family
Well, here were the ugly facts. She had no mad-ninja-skillz to rely on and her family didn’t know where she was. She didn’t know where she was. The only way she was leaving was if this creature allowed it. ↗
There are plastic bags with zippers on them. I've seen them in commercials," Dragos said to her. He snapped his fingers, trying to remember the name. "You put food in them." "Ziploc bags?" she asked in a cautious voice. He pointed at her. "Yes. I want one. ↗
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. ↗
Walking out into the night with a water fey was all kinds of stupid. Heck, Kelpies eat people. They may not play with their food as creatively as the Each Uisge, but dead is dead. ↗
The rulers were using ancient knowledge to manipulate the amygdaloidal primal fear. They ruled through fear, preternatural fear created through soft, invisible waves designed to alternate the brain’s almond. They kept the people spellbound ↗
