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Read through the most famous quotes by topic #fiction
I don't correct her to let her know her backdoor wisdom yanks me deep into another country, where water runs uphill. ↗
#literary-fiction #mystery #psychological-suspense #suspense #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
I knew from the moment I heard you, the moment I saw the gun and realized that this lovely, petit woman was the executioner, that you would never die waiting for me to save you - that you would save yourself. ↗
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. ↗
Cora Thompson had two of them--cats, that is. Which was quite remarkable considering she had never owned a pet before. Growing up in the rural South as she had, Cora had been taught that if an animal couldn't work in a field or be slaughtered for food, then it was of no use. Certainly any domesticated animal such as a dog or a cat would only bring about the destruction of fine furniture, stained carpets, and the onset of disease, not to mention the foul odor. That's just the way it was. ↗
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. ↗
