A Quote by Geoff Ryman

Literature for me… tries to heal the harm done by stories. (How much harm? Most of the atrocities of history have been created by stories, e.g., the Jews killed Jesus.) I follow Sartre that the freedom the author claims for herself must be shared with the reader. So that would mean that literature is stories that put themselves at the disposal of readers who want to heal themselves. Their healing power lies in their honesty, the freshness of their vision, the new and unexpected things they show, the increase in power and responsibility they give the reader.
Readers are hungry to have their stories in the world, to see mirrors of themselves if the stories are about people like them, and to have windows if the stories are about people who have been historically absent in literature.
The greatest and most inspiring mountain climbing achievements in history are not so much stories of individual achievement, but are stories of the extraordinary power of a unified, talented, prepared team that stays loyally committed to one another and to their shared vision to the end.
I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.
We think of justice sometimes as getting what you deserve, you know? - ?what crime was committed and what is the punishment for that crime. That's how a lot of the criminal justice works. But God's justice is restorative, so it's not as interested in those same questions of "What did they do wrong?" and "What is the punishment for that?" It's more about what harm was done and how do we heal that harm, and that's a much more redemptive version. So, it definitely doesn't turn a blind eye to harm, but it does say we want to heal the wounds of that.
I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.
Literature is about telling stories. Now, the gift of literature is that, in some lucky cases, reading a novel or a story makes the reader more curious, more open-minded. It may open a third eye in the middle of the reader's forehead.
Stories heal us because we become whole through them. In the process of writing, of discovering our story, we restore those parts of ourselves that have been scattered, hidden, suppressed, denied, distorted, forbidden, and we come to understand that stories heal.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
When I decided to make my version of Poe's stories, I wanted to respect the original material or to at least get closer to what his stories are really about. Most other adaptations I've seen sort of follow the story but they never satisfy me as an audience member or as a reader.
In fantasy stories we learn to understand the differences of others, we learn compassion for those things we cannot fathom, we learn the importance of keeping our sense of wonder. The strange worlds that exist in the pages of fantastic literature teach us a tolerance of other people and places and engender an openness toward new experience. Fantasy puts the world into perspective in a way that 'realistic' literature rarely does. It is not so much an escape from the here-and-now as an expansion of each reader's horizons.
This much is certain: We have the power to damage the sea, but no sure way to heal the harm.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
Stories matter. Stories are how we make sense of the world, which doesn't mean that those stories can't be stupid and simplistic and full of lies. Stories can exaggerate and offend and they always, always matter.
My father, if anything, first and last, was a man of words. He loved stories; he didn't live for stories, exactly, but I think he lived through stories. I think, like many writers, he loved stories about things he had experienced as much as, if not more than, he loved the experiences themselves.
The more foreign to me, to my existence, to your core existence, the more foreign the foreign language, it's really moving to me to think, to get to experience my own story crossing those boundaries. To have that experience that I so cherished as a reader. I can't believe this. To me, it's really nice because that would be a thing where I'm like, "There may be lots of Jews in my work. I'm not writing stories for Jews. I'm telling stories about people, and Jews are people, too."
Every child deserves to see themselves in stories they can enjoy, but it isn't the place of white people to decide how and why those stories are created and marketed.
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