If all human production (aesthetic or otherwise) has its documentary aspect (i.e., it can be associated, by a… — Samuel R. Delany
If all human production (aesthetic or otherwise) has its documentary aspect (i.e., it can be associated, by a knowledgeable reader, with a time and place), does this endanger its aesthetic aspects per se? It is the richness of the pattern that is aesthetically at stake. How many art histories does it take to make us understand that reference (a use context) and historicity are not the same?
p. 241Source: Wikiquote · CC BY-SA 4.0
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I felt, and still feel, that it is important for fantasy to have a grasp of the complexity of fact, if not of factual content.
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But as soon as any of us dies, there is only the monster left. What I had been pursuing was not Belham but the monster called Belham. And what my whole journey had taught me was precisely what sort of monster it was: it was made, as all such monsters are, of contradiction, supposition, miscalculation, impossibility, and ignorance.
p. 302
The audience’s performance is always more or less stochastic.
p. 336
