A Quote by Paolo Bacigalupi
The surfeit of bad trends pushes me to set my stories in worlds which are often diminished versions of our own present.
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We don't follow trends; I don't think we even set trends. We just do our own thing. We just do what we love. That's why Arch Enemy sounds like that.
Progress is not a straight line; the future is not a mere projection of trends in the present. Rather, it is revolutionary. It overturns the conventional wisdom of the present, which often conceals or ignores the clues to the future.
The brave men and women stepping up to tell their #MeToo stories have inspired a movement that pushes us to become better versions of ourselves.
Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, send us still each one its special radiance.
'Star Trek' is a 'Wagon Train' concept - built around characters who travel to worlds 'similar' to our own, and meet the action-adventure-drama which become our stories. Their transportation is the cruiser 'S.S. Yorktown,' performing a well-defined and long-range Exploration-Science-Security mission which helps create our format.
AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?
Even though I read voraciously as a child, I never saw myself in books. Without narratives to expand my ideas of who I could be, I accepted the stories others told me about myself, stories which diminished and belittled me and people like me. I want to write against that.
The whole drift of my education goes to persuade me that the world of our present consciousness is only one out of many worlds of consciousness that exist, and that those other worlds must contain experiences which have a meaning for our life also; and that although in the main their experiences and those of this world keep discrete, yet the two become continuous at certain points, and higher energies filter in.
I have found that the person with a sense of story built in from childhood is in better shape than one who has not had stories . . One knows what stories can do, how they can make up worlds and transpose existence into these worlds. . . .One learns that worlds are made by words and not only by hammers and wires.
I chose Congo in order to become close to a place that we had turned away from. It isn't present in our imaginations, in the stories we tell each other. Yet it's relevant to our lives and to our worlds, in a practical way. Congo supplies raw materials for the things that we use on a daily basis. We are intimately linked to Congo, economically. We're linked to it through human events that are occurring there, that affect all of us, and yet you don't find narratives of Congo present in our lives.
Jim Crace's novels have one thing in common, which is that each is set in an entirely original world. None of these worlds is of a specific time or place, but they seem to have some connection to our own lives.
I really am just trying to tell stories. But stories are often grounded in larger events and themes. They don't have to be - there's a big literature of trailer-park, kitchen-table fiction that's just about goings-on in the lives of ordinary people - but my own tastes run toward stories that in addition to being good stories are set against a backdrop that is interesting to read and learn about.
The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.
With a curious zeal to better understand our own existence, we often go far out of our way to find out who we are and where we have come from. Why? We need to know, not just for the present, but from our earliest beginnings to the present.
In the present epoch of struggle between two worlds the two opposing and antagonistic trends penetrating the foundations of nearly all branches of biology are particularly sharply defined.
We all present versions of ourselves. The person you are at work is not the same person you are at home. The face we present in our most intimate relationships is not the face we present to the world.
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