Quotes from Paul Di Filippo

Blending consensus historical events and personages with imaginary occult forces is a strong recipe for counterfactual storytelling goodness that combines the best of two worlds: resonant history with wild-eyed fantasy.

Ribofunk indicates a focus on biology as the upcoming big science in the way that physics was for the last 50 or 100 years. If you look for a biological thread throughout science fiction, you can find it, but it's a very small percentage of the total. That's been changing in the last few years.

There must be a rule of thumb in pop-culture archaeology that states that the allure of any topic is inversely related to its assigned importance in the affairs of humanity. The more trivial the subject, the dearer it is to most of its partisans and the more worthy of scholarship. The smallest things in life often mean the most to people.

Certainly the highest posthumous praise that can be conferred upon any writer is the assertion that his or her writing permanently altered the literary landscape for the better, opening new textual doors and engaging new readers. That the author's oeuvre was essential and irreplaceable and transformative.

The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.

Once anthropology and geology had opened up the pre-recordkeeping darkness of humanity's long, slow, sustained infancy as suitable grounds for speculation, writers began trying to imagine human existence as it must have been with only stone-age technology.

The science-fictional motif of lethal, infectious information - bad memes - is a fascinating one, with an extended history. One of the earliest instances is Robert W. Chambers's 'The King in Yellow' from 1895. Chambers's conceit is a malevolent play: read beyond Act II, and you go mad.

I suspect that authors who start their careers writing for an adult audience - and who eventually produce a young adult novel or two - are more common than authors who begin by writing for young adults and who then gravitate toward composing something for an adult audience.

Roald Dahl pioneered a new kind of literature for youngsters, one that dispensed with cant and solemnity, favoring anarchy and joy over duty and humbuggery while acknowledging that oftentimes no good deed goes unpunished. But ultimately, it was his sheer joie de vivre that carried the day.

Writing one's first novel, getting it sold, and shepherding it through the labyrinths of editing, production, marketing, journalism, and social media is an arduous and nerve-wracking process.

Quite often, intent on conveying how things can go wrong for a culture (science fiction) or an individual (horror) or all of magical creation (fantasy), works of fantastika often preclude comedy, because humor gets in the way of messages of doom or struggle.

Of the birth of subgenres, there is no end. They arise like bubbles full of miraculous hopes and potentials from the Planckian foam of the canon, inspiring writers new and established alike.

The entire Internet, as well as the types of devices represented by the desktop computer, the laptop computer, the iPhone, the iPod, and the iPad, are a continuing inescapable embarrassment to science fiction, and an object lesson in the fallibility of genre writers and their vaunted predictive abilities.

Everyone can guess what 'Corn Flakes' tastes like, even if you've never had them. But what, pray tell, does 'High School Musical' or 'Spider-Man' cereal possibly taste like? In this late era, we have reached the ultimate deracination between product image and what actually sits on our spoon.

It is truly bracing and instructive to contemplate the End Times - at least at safe remove, in the pages of fiction - especially as the world beyond our hearths churns and convulses unknowably, yet perhaps just short of ultimate disaster.

'James and the Giant Peach' magnificently starts out Dahl's career as a blithe and droll Bad Uncle corrupter and affirmer of youth. Its influence can be subsequently traced down the decades in everything from Maurice Sendak to Lemony Snicket to J. K. Rowling.

It was not until the appearance of cyberpunk in the 1980s that SF began to grapple in a broadly meaningful way with the reality of computers as something other than giant mainframes tended by crewcut IBM nerds.

Every new generation of SF writers remakes cyberpunk - a genre often laced with dystopian subtexts - in its own image.

Only a minority of science fiction dystopias attempt to plumb the real existential roots of oppression, the flaws in humanity's nature that undermine our best attempts at organizing ourselves into social units.

The sentient beast has long been a staple of fantasy fiction and its antecedents in myth and folktale.

The way I was educated, maybe from just inhaling something in the air back then, I grew up believing that E. B. White occupied the apex of essay writing.

It's a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.

Thomas Pynchon surely inaugurated or crystallized a new genre in 1963 when he published 'V.' The seriocomic mystery or thriller with one foot set in the present and one in various historical eras received its postmodern baptism from Pynchon.

Generally speaking, by the time a subculture such as steampunk secures the attention of major media, resulting in extensive coverage of the craze, said phenomenon is already on the way out.