A Quote by Alfred Bester

It's been suggested that most women fail to write significantly because the female mind is viscerotonic, and occupied almost exclusively with the moment-to-moment reality of emotions. If this is true, literature's loss is science fiction's gain, for Out of Bounds, Judith Merril's collection of short stories, is a warm and colorful rendering of the minutiae of the future.
Some philosophers would give a sex to revenge, and appropriate it almost exclusively to the female mind. But, like most other vices, it is of both genders; yet, because wounded vanity and slighted love are the two most powerful excitements to revenge, it has been thought, perhaps, to rage with more violence in the female heart.
Starting on February 1, 2010, and running through until May 30, I will be Toronto Public Library's Writer in Residence, working out of the Merril Collection of Science Fiction, Fantasy, and Speculation at the Lillian H. Smith branch at College and Spadina.
Everyone has a moment in history which belongs particularly to him. It is the moment when his emotions achieve their most powerful sway over him, and afterward when you say to this person "the world today" or "life" or "reality" he will assume that you mean this moment, even if it is fifty years past. The world, through his unleashed emotions, imprinted itself upon him, and he carries the stamp of that passing moment forever.
I find that in the science fiction world, you have almost more women fans than male fans and I think it's because there's been such a shortage of strong female characters.
To be a science fiction writer you must be interested in the future and you must feel that the future will be different and hopefully better than the present. Although I know that most - that many science fiction writings have been anti-utopias. And the reason for that is that it's much easier and more exciting to write about a really nasty future than a - placid, peaceful one.
I don't put a very clear label on my work. If anything, I write science fiction - looking at a moment now, in the present, and then extrapolating outward to think about what the future might look like if this particular trend goes on, or if this particular trend is the most dominant. That's a science fictional tool.
It had also been my belief since I started writing fiction that science fiction is never really about the future. When science fiction is old, you can only read it as being pretty much about the moment in which it was written. But it seemed to me that the toolkit that science fiction had given me when I started working had become the toolkit of a kind of literary naturalism that could be applied to an inherently incredible present.
To be identified with your mind is to be trapped in time: the compulsion to live almost exclusively through memory and anticipation. This creates an endless preoccupation with past and future and an unwillingness to honor and acknowledge the present moment and allow it to be. The compulsion arises because the past gives you an identity and the future holds the promise of salvation, of fulfillment in whatever form. Both are illusions.
Travel stories teach geography; insect stories lead the child into natural science; and so on. The teacher, in short, can use reading to introduce her pupils to the most varied subjects; and the moment they have been thus started, they can go on to any limit guided by the single passion for reading.
One of the biggest roles of science fiction is to prepare people to accept the future without pain and to encourage a flexibility of the mind. Politicians should read science fiction, not westerns and detective stories.
The main difficulty is finding an idea that really excites me. We live in an age when miracles are no longer miracles, and science and the future are losing their sense of mystery. For science fiction, or at least the type of science fiction I write, this development is almost fatal, but I'm still giving it all I've got.
I'm definitely excited by big ideas, both in what I write and what I read. Most days, reality is so mind-numbingly dull that I don't understand why someone would write strictly realistic stories, given the almost limitless freedom fiction provides. I don't see the point of making believe if you're not going to actually make believe: hang your ass out in the wind, push at every boundary, make almost unreasonable demands on your reader's willingness to suspend disbelief. This is dangerous, and prone to failure, but that's part of what makes it fun.
Most science fiction seemed to be written for people who already liked science fiction; I wanted to write stories for anyone, anywhere, living at any time in the history of the world.
Science fiction is the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself. ...Science fiction is central to everything we've ever done, and people who make fun of science fiction writers don't know what they're talking about.
There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.
The brightest minds in our field have been trying to find a definition of science fiction for these past seventy years. The short answer is, science fiction stories are given as possible, not necessarily here and now, but somewhere, sometime.
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