I’ve been interested to cross all these ways of knowing, to think about science as a kind of religious activity, and definitely as a secretly hegemonic culture within our other various cultures, while at the same time thinking about Buddhism or art as versions of scientific thinking, or some other permanently valid way of looking at things. The permanent necessity of philosophy and art, basically, so that we can decide what to do — that isn’t a question science takes on or wants to take on.
—Kim Stanley Robinson interview in LA Review of Books
If I were an American, I should make my remembrance of it the final test of men, art, and policies. I should ask myself: Is this good enough to exist in the same country as the Canyon? How would I feel about this man, this kind of art, these political measures, if I were near that rim? Every member or officer of the Federal Government ought to remind himself, with triumphant pride, that he is on the staff of the Grand Canyon.
Linear vs. non-linear was almost the most important battle of our time. I’ve tried most of the existing methods and created some of my own. Art reflects the crises of society. We are always writing about our world, whether we’re conscious of it or not. The best way of doing it is consciously, surely? That also helps us identify how much “self” plays in the equation. As an editor I learned how much negative self-consciousness works against creativity. Unlike the modernism of 100 years ago, contemporary artists have to find ways of forgetting about the self. Give the outside world their strictest attention. Genre fiction offers techniques for writing about the world without much self-reference. In that sense I suppose it is a reaction against modernism, but I believe what we do is more positive than that, since it works to combine a variety of techniques and approaches, rejecting nothing. This is a moment in our history where we need to look reality right in the eyes.
—Michael Moorcock, interviewed in the LARB