Top 20 Quotes & Sayings by M. John Harrison

Explore popular quotes and sayings by an English novelist M. John Harrison.
Last updated on December 21, 2024.
M. John Harrison

Michael John Harrison, known for publication purposes primarily as M. John Harrison, is an English author and literary critic. His work includes the Viriconium sequence of novels and short stories (1971–1984), Climbers (1989), and the Kefahuchi Tract trilogy, which consists of Light (2002), Nova Swing (2006) and Empty Space (2012). He is widely considered one of the major stylists of modern fantasy and science fiction, and a "genre contrarian". Robert Macfarlane has said: "Harrison is best known as one of the restless fathers of modern SF, but to my mind he is among the most brilliant novelists writing today, with regard to whom the question of genre is an irrelevance." The Times Literary Supplement described him as "a singular stylist" and the Literary Review called him "a witty and truly imaginative writer".

Every moment of a science fiction story must represent the triumph of writing over world-building.
A good ground rule for writing in any genre is, start with a form, then undermine its confidence in itself. Ask what it's afraid of, what it's trying to hide - then write that.
World-building numbs the reader's ability to fulfill their part of the bargain because it believes that it has to do everything around here if anything is going to get done. Above all, world-building is not technically necessary. It is the great clomping foot of nerdism. It is the attempt to exhaustively survey a place that isn't there.
Writing's like gambling. Unpredictable and sporadic successes make you more addicted, not less. — © M. John Harrison
Writing's like gambling. Unpredictable and sporadic successes make you more addicted, not less.
I've never been to the Himalayas, and I'm not really interested in them. I'm more interested in a dirty old quarry in Lancashire, and by god, they can be dirty.
Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.
Budapest is a prime site for dreams: the East’s exuberant vision of the West, the West’s uneasy hallucination of the East. It is a dreamed-up city; a city almost completely faked; a city invented out of other cities, out of Paris by way of Vienna — the imitation, as Claudio Magris has it, of an imitation.
Identity is not negotiable. An identity you have achieved by agreement is always a prison.
Happiness and beauty are the worst things you can have in a life, because you never forget them. They go on and on ambushing you, presumably until you die.
What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.
Perception of a state is not the state.
Writings like gambling. Unpredictable and sporadic successes make you more addicted, not less.
Manufacture dooms in your head and you will go mad. Reality is incontravertible. Also, it will not be anticipated.
SF is an opportunity to have an intense relationship with your own imagination. It's a kind of drive-by poetry, trashy and addictive; it's fun. After that, for me, it's an opportunity to explore that kind of imaginative artifact from inside, and use a little camped-up contemporary science as a way of generating new metaphors around my typical obsessions.
Stories pass the experienced world back and forth between them as a metaphor, until it is worn out. Only then do we realize that meaning is an act. We must repossess it, instant to instant in our lives.
Everyone loves a mysterious country.
Egnaro is a secret known to everyone but yourself. It is a country or a city to which you have never been; it is an unknown language. At the same time it is like being cuckolded, or plotted against. It is part of the universe of events which will never wholly reveal itself to you: a conspiracy the barest outline of which, once visible, will gall you forever.
After all why should our goal be the reinstatement of an illusory 'exact' relationship between events and words? If you probe in the ashes you will never learn anything about the fire: by the time the ashes can be handled the meaning has passed on. Every adventure is a cup so empty it can be drunk from again and again and again. Every adventure is so perfect it verges on silence.
At Birkin Grif's left, his seat insecure on a scruffy packhorse, Theomeris Glyn, his only armour a steel-stressed leather cap, grumbled at the cold and the earliness of the hour, and cursed the flint hearts of city girls.
I think it's undignified to read for the purposes of escape. After you grow up, you should start reading for other purposes — © M. John Harrison
I think it's undignified to read for the purposes of escape. After you grow up, you should start reading for other purposes
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