M. John Harrison > Quotes

“Identity is not negotiable. An identity you have achieved by agreement is always a prison.”
― M. John Harrison, Things That Never Happen

“Budapest is a prime site for dreams: the East’s exuberant vision of the West, the West’s uneasy hallucination of the East. It is a dreamed-up city; a city almost completely faked; a city invented out of other cities, out of Paris by way of Vienna — the imitation, as Claudio Magris has it, of an imitation.”
― M. John Harrison, The Course of the Heart

“Happiness and beauty are the worst things you can have in a life, because you never forget them. They go on and on ambushing you, presumably until you die.”
― M. John Harrison, Signs of Life

“Every moment of a science fiction story must represent the triumph of writing over worldbuilding.

Worldbuilding is dull. Worldbuilding literalises the urge to invent. Worldbuilding gives an unnecessary permission for acts of writing (indeed, for acts of reading). Worldbuilding numbs the reader’s ability to fulfil their part of the bargain, because it believes that it has to do everything around here if anything is going to get done.

Above all, worldbuilding is not technically necessary. It is the great clomping foot of nerdism. It is the attempt to exhaustively survey a place that isn’t there. A good writer would never try to do that, even with a place that is there. It isn’t possible, & if it was the results wouldn’t be readable: they would constitute not a book but the biggest library ever built, a hallowed place of dedication & lifelong study. This gives us a clue to the psychological type of the worldbuilder & the worldbuilder’s victim, & makes us very afraid.”
― M. John Harrison

“What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.”
― M. John Harrison

“Egnaro is a secret known to everyone but yourself.

It is a country or a city to which you have never been; it is an unknown language. At the same time it is like being cuckolded, or plotted against. It is part of the universe of events which will never wholly reveal itself to you: a conspiracy the barest outline of which, once visible, will gall you forever.”
― M. John Harrison, Things That Never Happen

“Uncouth, clannish, lumbering about the confines of Space and Time with a puzzled expression on his face and a handful of things scavenged on the way from gutters, interglacial littorals, sacked settlements and broken relationships, the Earth-human has no use for thinking except in the service of acquisition. He stands at every gate with one hand held out and the other behind his back, inventing reasons why he should be let in. From the first bunch of bananas, his every sluggish fit or dull fleabite of mental activity has prompted more, more; and his time has been spent for thousands of years in the construction and sophistication of systems of ideas that will enable him to excuse, rationalize, and moralize the grasping hand.

His dreams, those priceless comic visions he has of himself as a being with concerns beyond the material, are no more than furtive cannibals stumbling round in an uncomfortable murk of emotion, trying to eat each other. Politics, religion, ideology — desperate, edgy attempts to shift the onus of responsibility for his own actions: abdications. His hands have the largest neural representation in the somesthetic cortex, his head the smallest; but he's always trying to hide the one behind the other.”
― M. John Harrison, The Centauri Device

“Perception of a state is not the state.”
― M. John Harrison, Nova Swing

“Manufacture dooms in your head and you will go mad. Reality is incontravertible. Also, it will not be anticipated.”
― M. John Harrison, The Pastel City

“…there is endless despair at the centre of every narcissistic self-portrait.”
― M. John Harrison, The Course of the Heart

“Stories pass the experienced world back and forth between them as a metaphor, until it is worn out. Only then do we realize that meaning is an act. We must repossess it, instant to instant in our lives.”
― M. John Harrison, Things That Never Happen

“After all why should our goal be the reinstatement of an illusory 'exact' relationship between events and words? If you probe in the ashes you will never learn anything about the fire: by the time the ashes can be handled the meaning has passed on. Every adventure is a cup so empty it can be drunk from again and again and again. Every adventure is so perfect it verges on silence.”
― M. John Harrison, Things That Never Happen

“The worst thing in the world is to be inside yourself, you don't even want to be rescued.”
― M. John Harrison

“Instead, as the crystal splinters entered Hornwrack's brain, he experienced two curious dreams of the Low City, coming so quickly one after the other that they seemed simultaneous. In the first, long shadows moved across the ceiling frescoes of the Bistro Californium, beneath which Lord Mooncarrot's clique awaited his return to make a fourth at dice. Footsteps sounded on the threshold. The women hooded their eyes and smiled, or else stifled a yawn, raising dove-grey gloves to their blue, phthisic lips. Viriconium, with all her narcissistic intimacies and equivocal invitations welcomed him again. He had hated that city, yet now it was his past and it was he had to regret...The second of these visions was of the Rue Sepile. It was dawn, in summer. Horse-chestnut flowers bobbed like white wax candles above the deserted pavements. An oblique light struck into the street - so that its long and normally profitless perspective seemed to lead straight into the heart of a younger, more ingenuous city - and fell across the fronts of the houses where he had once lived, warming up the rotten brick and imparting to it a not unpleasant pinkish colour. Up at the second-floor casement window a boy was busy with the bright red geraniums arranged along the outer still in lumpen terra-cotta pots. He looked down at Hornwrack and smiled. Before Hornwrack could speak he drew down the lower casement and turned away. The glass which no separated them reflected the morning sunlight in a silent explosion; and Hornwrack, dazzled mistaking the light for the smile, suddenly imagined an incandescence which would melt all those old streets!

Rue Sepile; the Avenue of Children; Margery Fry Court: all melted down! All the shabby dependencies of the Plaza of Unrealized Time! All slumped, sank into themselves, eroded away until nothing was left in his field of vision but an unbearable white sky above and the bright clustered points of the chestnut leaves below - and then only a depthless opacity, behind which he could detect the beat of his own blood, the vitreous humour of the eye. He imagined the old encrusted brick flowing, the glass cracking and melting from its frames even as they shrivelled awake, the sheds of paints flaring green and gold, the geraniums toppling in flames to nothing, not even white ash, under this weight of light! All had winked away like reflections in a jar of water glass, and only the medium remained, bright, viscid, vacant. He had a sense of the intolerable briefness of matter, its desperate signalling and touching, its fall; and simultaneously one of its unendurable durability

He thought, Something lies behind all the realities of the universe and is replacing them here, something less solid and more permanent. Then the world stopped haunting him forever.”
― M. John Harrison, Viriconium

“Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.”
― M. John Harrison, Things That Never Happen

“You can't cure people of their character,' she read.
After this he had crossed something out then gone on, 'You can't even change yourself. Experiments in that direction soon deteriorate into bitter, infuriated struggles. You haul yourself over the wall and glimpse new country. Good! You can never again be what you were! But even as you are congratulating yourself you discover tied to one leg the string of Christmas cards, gas bills, air letters and family snaps which will never allow you to be anyone else. A forty-year-old woman holds up a doll she has kept in a cardboard box under a bed since she was a child. She touches its clothes, which are falling to pieces; works tenderly its loose arm. The expression that trembles on the edge of realizing itself in the slackening muscles of her lips and jaw is indescribably sad. How are you to explain to her that she has lost nothing by living the intervening years of her life? How is she to explain that to you?”
― M. John Harrison, Things That Never Happen

“Behind all this bad behaviour was an insecurity magnificent in scope, metaphysical in nature. Space was big, and the boys from Earth were awed despite themselves by the things they found there: but worse, their science was a mess. Every race they met on their way through the Core had a star drive based on a different theory. All those theories worked, even when they ruled out one another's basic assumptions. You could travel between the stars, it began to seem, by assuming anything [. . . .]

It was affronting to discover that. So when they fetched up on the edge of the Tract, looked it in the eye, and began to despatch their doomed entradas, the Earthlings were hoping to find, among other things, some answers. They wondered why the universe, which seemed so harsh on top, was underneath so pliable. Anything worked. Wherever you looked, you found. They were hoping to find out why.”
― M. John Harrison, Light

“Everyone loves a mysterious country.”
― M. John Harrison, Things That Never Happen

“A gull planed steeply over their heads, a precarious flash of white against the windy blue sky. The short, hacking cry of a baby seemed to merge seamlessly for a moment with the gull's repetitive wail, as if they were one species. One species, Falkender thought, raucous and scavenging; one species calling out in pain. To be human is to be mixed and miscegenated like this. To be lost.”
― M. John Harrison, Things That Never Happen

“...in the morning -- 'When the world looks promising again despite what we know about it' -- ...”
― M. John Harrison, Things That Never Happen

“He was lonely; I wanted to help, of course, but not from so intimate a distance; and lately our meetings had become memorable as a series of comically protracted farewells on station platforms and embarrassed, hasty protestations of friendship made through the windows of departing taxicabs.”
― M. John Harrison, Things That Never Happen

“As they moved from exhibit to exhibit like reluctant tourists in some artist's studio, Buffin sat on a stool with his limbs tense. He was like an exhibit himself in the direct odd light filtering through the whitish panes, legs wound tensely round one another, his face like an apologetic bag.”
― M. John Harrison, Viriconium

“I would never have to fake my own death, he found himself thinking. I've all but vanished already. Part of him welcomed that. Another part, larger but distributed so thinly across his personality that it seemed invisible, panicked soundlessly on a twenty-four-hour schedule.”
― M. John Harrison, The Sunken Land Begins to Rise Again

“When I was little, she thought, I wanted nothing except to stop travelling. I wanted time for each new thing, each new feeling, to be held properly in suspension until it could be joined by the next. Given the chance I could easily hold all those beautiful things together. I could be like a box in which they would be held new forever. Instead, everything aged and changed. People too.”
― M. John Harrison, Nova Swing

“I think it’s undignified to read for the purposes of escape…. If you read for escape you will never try to change your life, or anyone else’s. It’s a politically barren act, if nothing else. The overuse of imaginative fiction enables people to avoid the knowledge that they are actually alive.”
― M. John Harrison

“From then on he would make two or three trips a week to similar premises – bookstores, crystal shops, candle parlours, short-let niche operations selling a mix of pop-cultural memorabilia and truther merchandise from two or three generations ago – which had flourished along the abandoned high streets of the post-2007 austerity, run by a network of shabby voters hoping to take advantage of tumbling rents. Their real obsession lay in the idea of commerce as a kind of politics, expression of a fundamental theology. They had bought the rhetoric without having the talent or the backing. The internet was killing them. The speed of things was killing them. They were like old-fashioned commercial travellers, fading away in bars and single rooms, exchanging order books on windy corners as if it was still 1981 – denizens of futures that failed to take, whole worlds that never got past the economic turbulence and out into clear air, men and women in cheap business clothes washed up on rail platforms, weak-eyed with the brief energy of the defeated, exchanging obsolete tradecraft like Thatcherite spies.”
― M. John Harrison, The Sunken Land Begins to Rise Again

“Write something about me then,' he said when I came back. He grinned. 'Go on! Now! I bet you can!'
'I don't do portraits, Choe.'
The lies liberated from this statement skittered off into infinity like images between two mirrors.”
― M. John Harrison, Things That Never Happen

“She was a tall woman with a wide smile,
good tits and a way of licking mayonnaise out the corner of her mouth which suggested she might be
equally good at licking mayonnaise out the corner of yours.”
― M. John Harrison, Light

“It's 2444. We're all someone.”
― M. John Harrison, Nova Swing

“tegeus-Cromis, sometime soldier and sophisticate, who now dwelt quite alone in a tower by the sea and imagined himself a better poet than swordsman.”
― M. John Harrison, Viriconium