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Image of the quote is loading... SaveSave Science fiction is for real, space opera is for fun. - Quote by Brian W. Aldiss

Science fiction is for real, space opera is for fun.

Brian W. Aldiss
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When childhood dies, its corpses are called adults and they enter society, one of the politer names of hell. That is why we dread children, even if we love them. They show us the state of our decay.
Brian W. Aldiss
Science fiction is no more written for scientists than ghost stories are written for ghosts.
Brian W. Aldiss
The fatal error of much science fiction has been to subscribe to an optimism based on the idea that revolution, or a new gimmick, or a bunch of strong men, or an invasion of aliens, or the conquest of other planets, or the annihilation of half the world--in short, pretty nearly anything but the facing up to the integral and irredeemable nature of mankind--can bring about utopian situations. It is the old error of the externalization of evil.
Brian W. Aldiss
It's a funny thing in my job: you remain perpetually lonely in a world where loneliness is the rarest commodity.
Brian W. Aldiss
An overcrowded world is the ideal place in which to be lonely.
Brian W. Aldiss
We can no longer believe that after death, if we have sinned, we shall enter hell. Hell has been acted out here on Earth in the time of Nazi Germany, when even the innocent went in their millions to a hell that beggars the imagination. A profound change in attitude has come about as a result.
Brian W. Aldiss
The misfortune of a young man who returns to his native land after years away is that he finds his native land foreign; whereas the lands he left behind remain for ever like a mirage in his mind.However, misfortune can itself sow seeds of creativity.---- Afterword to "Hothouse" Brian Aldiss
Brian W. Aldiss
Wells is teaching us to think. Burroughs and his lesser imitators are teaching us not to think. Of course, Burroughs is teaching us to wonder. The sense of wonder is in essence a religious state, blanketing out criticism. Wells was always a critic, even in his most wondrous and romantic tales.And there, I believe, the two poles of modern fantasy stand defined. At one pole wait Wells and his honorable predecessors such as Swift; at the other, Burroughs and the commercial producers, such as Otis Adelbart Kline, and the weirdies, and horror merchants such as H.P. Lovecraft, and so all the way past Tolkien to today's non-stop fantasy worlders. Mary Shelley stands somewhere at the equator of this metaphor.
Brian W. Aldiss
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