Men without joy seem like corpses.
I started thinking about the endless bullshit about quotas, and how certain types of character are fine "as long as it's important to the story," and so on, started thinking about the absence of the abject.
Words command us. Names define us. Definitions bind us. Words are where we keep our sacred secrets.
Destiny can sometimes be history coming back to bite you in the arse.
With undead armies, psychotic angels and exploding airships, Scar Night is a gripping, ripping yarn which rattles along at a great pace. Tether all that to the knock-out image at the heart of the novel-Deepgate, a Gothic city built on a network of chains over a great abyss-and you have urban fantasy at its best.
I'm sort of exploring where pacifism and socialism come into conflict. How do you reconcile a passionate rejection of might and violence with an attitude of "nil paseran" - "none shall pass" - in the face of fascism?
Most of my influences from outside the commerical strange fiction genre came in with university, discovering James Joyce and Wallace Stevens, Blake and Yeats, Pinter and Borges. And meanwhile within those genres I was discovering Gibson and Shepard, Jeter and Powers, Lovecraft and Peake.
In all my work there's this notion of the melancholic. You can make a photograph about the sublime, but you can't make the sublime itself.
Changes in society are due chiefly to the development of the internal contradictions in society, that is, the contradiction between the productive forces and the relations of production, the contradiction between classes and the contradiction between the old and the new; it is the development of these contradictions that pushes society forward and gives the impetu6 for the suppression of the old society by the new.
I do know a lot about Scientology. And I know about the practices. I know all about what the technology is and all that kind of stuff. It's very helpful.
I don't believe in hasty marriages.