A Quote by William Gibson
Novels set in imaginary futures are necessarily about the moment in which they are written.
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In a sense, if you're not getting it wrong really a lot when you're creating imaginary futures, then you're just not doing it enough. You're not creating enough imaginary futures.
I've written a detective series myself, set in an imaginary, and slightly futuristic, Chinese city. The novels have an extremely tenuous relationship with the real world, since the hero is the city's Hell and ends up with a sidekick who is a demon.
Novels are the means by which we can escape the moment we are imprisoned in, but at the same time, the roots of a novel are in the world in which it is written. We write, and we read, to understand the world we live in.
Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened.
Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own orthodoxy. Good novels are written by people who are not frightened.
My major preoccupation is the question, 'What is reality ?' Many of my stories and novels deal with psychotic states or drug-induced states by which I can present the concept of a multiverse rather than a universe. Music and sociology are themes in my novels, also radical political trends; in particular I've written about fascism and my fear of it.
I'm a natural clown, I suppose, in writing, and one has to accept that; I can't do anything about it. I have written one or two novels which are not specifically funny. I wrote a study of Shakespeare which was not intended to be funny, but some people regard it as such.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
But I have always - ever since The Accidental Woman - written novels about individuals attempting to make choices in the context of situations over which they have no control.
At the height of the British Empire very few English novels were written that dealt with British power. It's extraordinary that at the moment in which England was the global superpower the subject of British power appeared not to interest most writers.
Perhaps there are only a few women who experience without deception the overwhelming intoxication of the senses which they expectfrom their encounters with men, which they feel bound to expect because of the fuss made about it in novels, written by men.
Instead of inventing imaginary friends, I invented whole imaginary worlds. They were elaborate scenarios about spies and adventurers and top secret missions. I crawled along my swing set, searching for escape routes from my maximum-security prison; I biked through the neighborhood, the wind in my hair and a fleet of evildoers on my heels.
For each of my novels, I've had something of a eureka moment of deciding what world I want to set it in - Wall Street, the pop-music industry, Harvard - and what the very vague contours of the narrative might be (which typically get changed a lot through the writing process).
I set my life since then attempting to figure out how to do that, basically how to have a sort of public discourse in which anything and everything are open to conversation and in which the thought experiment is a means by which to posit all manner of different realities, potential futures.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
I don't write fantasy; I write historical novels about an imaginary place.
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