Graham Joyce Quotations

Rome is a place almost worn out by being looked at, a city collapsing under the weight of reference.

It's just that to a lot of British people George Bush represents the worst of all things American. He's the right-wing Christian crusader, the toxic Texan who refused Kyoto, the poll-cheat eel who undermined democracy on the back of something called 'chads,' a notion we've never entirely grasped.

The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.

The overintellectualization of surrealism can be a bromide. A dream interpreted is a deflated dream.

Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.

It is, of course, the first recourse of every elitist to see social barbarism in others.

Perhaps writers should never be allowed to get together in a workplace context. It's not like studying computer science, after all. The emotions are at large, and are shared and are questioned. There is a vulnerability.

Recasting fairy tales has become a publishing sub-genre in itself, and has been done both well and to the point of entropy. More interesting are those works where the structures of fairytales are abandoned but the world of 'fairy' is imported as a delicate spice.

Since I've been hired to contribute to the storyline of 'Doom 4' I can say what was always true anyway. I'm working. You see, for a writer, lots of stuff that doesn't look like working is actually working. Looking out of the window, for example. Balancing a pencil on the edge of the desk in order to find its exact fulcrum. Playing 'Doom.

If I couldn't get published tomorrow I'd still be writing. It's something to do with feeling so overwhelmed by this experience of life that you have to tell someone about it, and in a way that reorders the experience to make it manageable.

Every day the eye is subject to a thousand tiny shocks as a thousand industries compete for the eye-kick, the visual hook that will lock the consumer into product for that crucial second where the tiny - or not so tiny - leap of the imagination is made.

I'd defend the right for any novelist to experiment with form or language, but if people don't take to it, don't react by making out that they are thick.

Repression in the human psyche is tightly bundled. When it has been pulled out of the sprung package so often it is perhaps difficult to push it back in the box.

George Orwell's '1984' frequently tops surveys of our greatest books: it's not a celebration of poetic language. It's decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what '1984' shows is that language can be a dirty trick.

If critics of 'readable fiction' want literature to change the ways people dream, they need first to come down from the mountain and speak to the people.

My story reflexes come less from fantasy or horror than from the darker sort of psychological thriller - not as plot-driven as most, rather more mood-driven. My interest in the supernatural is a complication - though I am less interested in ghosts than in people who see ghosts.

Plutocracy.' It has a perfect nuance: chilly, inaccessible, icy-rich.

Fantasy gets a mixed reception - a lot of fantasy is formulaic but most of the award-winning fantasy on the contrary tends to be the stuff at the edges of the genre, rather than swimming in the middle.

I have to get out once a week and speak with people or I start thinking I'm the emperor of Abyssinia.

I've been a professional writer for 20 years, and there are contours in that time, crescents and troughs.

Twenty years is, after all, a long time. We are not the same people we were. Old friends, lovers, even family members: they are strangers who happen to wear a familiar face. We have no right to claim to know anyone after such a distance.

George Orwells 1984 frequently tops surveys of our greatest books: its not a celebration of poetic language. Its decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what 1984 shows is that language can be a dirty trick.

That's emails for ya: sometimes they're like an arrow that hits so deep in the target, you can't pull it out.

Some people feed you with love.

Rationally speaking, blaming one's behavior on alcohol or drugs is like blaming the ladder by which you descended into a pit, or the staircase that took you down to a cellar, for what you found there.

I am less interested in ghosts than in people who see ghosts.

Perhaps living souls had greater phantom powers than the dead.

The modern superstition is that we're free of superstition.

The mist hung in the air like a prancing unicorn.

The bluebells made such a pool that the earth had become like water, and all the trees and bushes seemed to have grown out of the water. And the sky above seemed to have fallen down on to the earth floor; and I didn’t know if the sky was the earth or the earth was water. I had been turned upside down. I had to hold the rock with my fingernails to stop me falling into the sky of the earth or the water of the sky. But I couldn’t hold on.

The thing is, when everyone is trying to persuade you that a thing you know to be true isn't actually true, you start to believe them: not because it is true but because it's easier. It's just the easy way out.

The blood in my veins is frozen but it sings of love.

But there are times in life when a door opens and you are offered a glimpse of the light on the water, and you know that if you don't take it, that door slams shut, and maybe forever. Maybe you fool yourself into thinking that you had a choice at all; maybe you were always going to say yes. Maybe refusing was no more a choice than is holding your breath. You were always going to breathe. You were always going to say yes.

What I mean is this: you meet someone, you think about them. You're already changing because of the way you think about them. You meet them again, you think about them some more, you're changing again. And on it goes. You are changing right now. Before my eyes.

Because two people in love don't make a hive mind. Neither should they want to be a hive mind, to think the same, to know the same. It's about being separate and still loving each other, being distinct from each other. One is the violin string one is the bow.

No one needs a first edition. Whoever wrote it; even if it was Moses.

I've been playing 'Doom' for some years.

The trouble with forgiveness is that some people don't want to be forgiven.

Why can’t our job here on earth be simply to inspire each other?