No subscription or hidden extras
Read through the most famous quotes by topic #fiction
I stop to brace myself against the walls, which are painted with the fingerprints of family. from "Lizzie After the War" by www.nancybbrewer.com ↗
What am I doing here, Reena? Why am I dancing to the tunes of that old hag?’‘You are saving your family. ↗
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. ↗
The first thing I needed, possibly the only thing, was to kiss her and I did, for as long as I could. I let us both breathe for a minute, and I perched her on a counter so I could touch the face I’d missed so much. I poured every bit of frustration, anger, sadness, and worry into that kiss. Meg understood and received it all, pushing her fingers into my hair and giggling against my lips. I didn’t care that anybody passing by could be watching us through the window, or that I could fall right there and sleep for a week. ↗
#glass-girl #henry-whitmire #high-school #kiss #laura-anderson-kurk
Lampaxa Vorheridine? My Latin was never very good. What does that Translate to?" "Um, nothing. It wasn't named by an Earth scientist. According to the database it was named by a Cheblookan aboard a frieghter when it stopped here looking for fresh food. His friend was killed by one as they searched the swamp for Greppers. After the hunting party killed the creature and determined that it was safe to eat if processed properly, the Cheblookan reportedly named it after his mother-in-law, Lampaxa Vorheridine. he said it sort of reminded him of her, even though they look nothing alike. ↗
You've a pretty good nerve," said Ratchett. "Will twenty thousand dollars tempt you?" It will not." If you're holding out for more, you won't get it. I know what a thing's worth to me." I, also M. Ratchett." What's wrong with my proposition?" Poirot rose. "If you will forgive me for being personal - I do not like your face, M. Ratchett," he said. ↗
...The queen's mocking laughter cut in. "This is your treasure, Lord Sheftu?" "Aye. The greatest treasure in Egypt—a maid whose loyalty cannot be bought. Whatever bargain we make, Daughter of the Sun, must include her freedom. ↗
