A Quote by Damon Knight

As his talent expands, some of his stories become pointed social commentary; some are surprisingly effective religious tracts, disguised as science fiction. Others still are nostalgic vignettes, but under it all is still Bradbury, the poet of 20th-century neurosis.
Dickens writes such brilliant characters and stories, and his themes and social commentary are still so relevant. I think that's why he's still so loved today.
There were four major 20th-century science fiction writers: Arthur C. Clarke, Isaac Asimov, Robert A. Heinlein and Ray Bradbury. Of those four, the first three were all published principally in science-fiction magazines. They were preaching to the converted.
Muhammad Ali was unquestionably one of the greatest boxers of the 20th century and a sincere advocate for his religious beliefs. In his life, he defeated the best professional boxers of his era, some of them more than once, which meant he was easily forgiven the excesses of his ringside braggadocio.
The truth is that Trout, like Vonnegut and Ray Bradbury and many others, writes parables. These are set in frames which have become called, for no good reason, science fiction. A better generic term would be 'future fairy tales'. And even this is objectionable, since many science fiction stories take place in the present or the past, far and near.
In the seventeenth century, the science of medicine had not wholly cut asunder from astrology and necromancy; and the trusting Christian still believed in some occult influences, chiefly planetary, which governed not only his crops but his health and life.
Perhaps unsurprisingly, there's a paradox here! Kierkegaard's own indirect communication proposes that we start with the experience of those who don't believe and meet them on their own ground. His success in doing this is evidenced by the fact that, at least for some periods of the 20th century, aspects of his work became a major focus for radical thinkers of various kinds, including the non-religious and, interestingly, a significant number of Jewish thinkers (Buber, Rosenzweig, Taubes, and others).
Social progress is a big thing for me. Although science fiction is traditionally concerned with the hard sciences, which is chemistry, physics, and, some might argue, biology, my father was and still is a social scientist at the University of Toronto.
God's ways do not change... Still he shows his freedom and lordship by discriminating between sinners, causing some to hear the gospel while others do not hear it, and moving some of those who hear it to repentance while leaving others in their unbelief, thus teaching his saints that hew owes mercy to none and that it is entirely of his grace, not at all through their own effort, that they themselves have found life.
What they [critics of Lessing's switch to science fiction] didn't realize was that in science fiction is some of the best social fiction of our time.
Rod Clark has one of the most unique voices I have ever encountered. I still quote some of his political insights years later. To have him write political science fiction is both appropriate and intriguing.
In the long revolt against inherited forms that has by now become the narrative of 20th-century poetry in English, no poet was more flamboyant or more recognizable in his iconoclasm than Cummings.
Bradbury would have said his plots are myths and metaphors that tell stories about the human condition. That's what sets him apart from other science-fiction writers: He doesn't write about technology, but about the human heart and psyche.
Some people are tempted most strongly at the beginning of their spiritual life, others near the end. Some are troubled all their lives. Still others receive only light temptation. Such things are decided by God, and we can trust his wisdom.
In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.
I tend to read mostly 20th-century fiction, 20th-, 21st-century fiction in Italian.
Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.
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