I refuse to play the wink-wink-nudge-nudge game with readers. I don’t like whimsy because it doesn’t treat the fantastic seriously, and treating the fantastic seriously is one of the best ways of celebrating dialectical human consciousness there is... The best fantasies-which include SF and horror-are constructed with a careful dialectic between ( Read more... )

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 ( Read more... )

There’s simultaneously something rigorous and something playful in genre. It’s about the positing of something impossible-whether not-yet-possible or never-possible-and then taking that impossibility and granting it its own terms and systematicity. It’s carnivalesque in its impossibility and overturning of reality, but it’s rationalist in that it ( Read more... )

Science and machines can kill everyone off or be replaced. Myth, seen in mirrors, incapable of being touched, stays on. If it is not immortal, it almost seems such.

I don't try to describe the future. I try to prevent it.

Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.

A rustic setting always suggests fantasy; to suggest science fiction, you need sheet metal and plastic. You need rivets.