Irreconcilables: he should stay here and conform; he should — not stay here (remembering no time when he was not here, Harley could frame the second idea no more clearly than that). Another point of pain was that "here" and "not here" seemed to be not two halves of a homogeneous whole, but two dissonances.
British science fiction writer (1925–2017)
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Teddy, you know what I was thinking? How do you tell what are real things from what aren't real things?" The bear shuffled its alternatives. "Real things are good." "I wonder if time is good. I don't think Mummy likes time very much. The other day, lots of days ago, she said that time went by her. Is time real, Teddy?
Plato would have no actors in his republic, in case pretence devoured what was real. Plato's fears have proved well-grounded. Actors, despised, almost outcast, until last century, have become something more than respectable. They, together with all those imitation actors, pop stars, TV celebrities, people who are famous for being famous, now receive adulation. They are the millionaires, the courtesans of our system. Solzhenitsyn, escaping to a West he had once admired, snarled at the meretricious falsity of what he found. We have built illusions round us and see no way out of the glass forest.
Why do so many people dislike science fiction? The answer goes like this: You have to think of science fiction in contrast to its nearest competitor, heroic fantasy. In heroic fantasy, by and large, things are pretty stable, and then some terrible evil comes along that's going to take over the world. People have to fight it. In the end they win, of course, so the earth is restored to what it was. The status quo comes back. Science fiction's quite different. With science fiction, the world's in some sort of a state, and something awful happens. It may not be evil, it may be good or neutral, just an accident. Whatever they do in the novel, at the end the world is changed forever. That's the difference between the two genres — and it's an almighty difference! And the truth is science fiction, because we all live in a world that's changed forever. It's never going to go back to what it was in the '60s or the '70s or the '30s, or whatever. It's changed.
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Here is what I wrote about SF. If it has a familiar ring, my publishers liked it well enough to make it into a postcard for publicity purposes. 'I love SF for its surrealist verve, its loony non-reality, its piercing truths, its wit, its masked melancholy, its nose for damnation, its bunkum, its contempt for home comforts, its slewed astronomy, its xenophilia, its hip, its classlessness, its mysterious machines, its gaudy backdrops, its tragic insecurity.'
Science fiction has always seemed to me such a polyglot, an exotic mistress, a parasite, a kind of new language coined for the purpose of giving tongue to the demented twentieth century.