Samuel R. Delany

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What I look for in a friend is someone who's different from me. The more different the person is, the more I'll learn from him. The more he'll come up with surprising takes on ideas and things and situations.

Samuel R. Delany (born 1 April 1942) is an award-winning science fiction author. He has written works that have garnered substantial critical acclaim, including the novels Nova, The Einstein Intersection, Hogg, and Dhalgren. He is a professor of Comparative Literature and Creative Writing at Temple University, and is also known in the academic world as a literary critic.

Quotes[edit]

Oh, for the rebirth of an educational system where understanding was an essential part of knowledge.
  • To speak the unspeakable without the proper rhetorical flourish or introduction; to muff that flourish, either by accident, misjudgment, or simple ignorance; to choose the wrong flourish or not choose any (i.e., to choose the flourish called "the literal") is to perform the unspeakable.
  • At a certain point I came to the conclusion that one of the murderous aspects of the AIDS crisis was that people were used to not talking about sexual experiences in detail. Gay sex for instance does not cause AIDS. There are certain acts that transmit a virus and there are certain other acts that don’t transmit a virus. If you don’t talk about what goes on in sexuality, so that you know what particular acts you’re dealing with, then I think you're, possibly in an indirect way but never-the-less in a very real way, contributing to an atmosphere of ignorance which the result is people die.
    • Spoken Arts interview on WBFO 88.7, 20th April 2000.
  • One would almost think that they [straight white males] felt empowered to take anything the society produced, no matter how marginal, and utilize it for their own ends — dare we say "exploit it"? — certainly to take advantage of it as long as it's around. And could this possibly be an effect of discourse? Perhaps it might even be one we on the margins might reasonably appropriate to our profit... or perhaps some of us already have.
    • The Rhetoric of Sex, The Discourse of Desire

The Jewels of Aptor (1962)[edit]

All page numbers from the first restored Ace Books edition (G-706) published in 1968
  • I came no nearer sleep than I came to the moon.
    • Chapter III (p. 29)
  • “We’re not going to climb that in the dark, are we?” asked Iimmi.
    “Better than in the light,” said Urson. “This way you can’t see how far you have to fall.”
    • Chapter IX (p. 108)
  • Dictators during the entire history of this planet have used similar techniques. By not letting the people of their country know what conditions existed outside their boundaries, they could get the people to fight to stay in those conditions. It was the old adage: Convince a slave that he’s free, and he will fight to maintain his slavery.
    • Chapter X (p. 133)
  • A lesson which history should have taught us thousands of years ago was finally driven home. No man can wield absolute power over other men and still retain his own mind. For no matter how good his intentions are when he takes up the power, his alternate reason is that freedom, the freedom of other people and ultimately his own, terrifies him. Only a man afraid of freedom would want this power, who could conceive of wielding it. And that fear of freedom will turn him into a slave of this power.
    • Chapter X (p. 133)

The Ballad of Beta-2 (1965)[edit]

Novella which was nominated for the Nebula award
  • Books! Real books were Joneny’s delight. Heavy, cumbersome, difficult to store, they were the bane of most scholars. Joneny found them entrancing. He didn’t care what was in them. Any book today was so old that each word glittered to him like the facet of a lost gem. The whole conception of a book was so at odds with this compressed, crowded, breakneck era that he was put into ecstasy by the simple heft of the paper. His own collection, some seventy volumes, was considered a pretentious luxury by everyone at the University.

Babel-17 (1966)[edit]

  • Imagination should be used for something other than pondering murder, don’t you think?
    • Part 2, Chapter 4
  • I saw a bunch of the weirdest, oddest people I have ever met in my life, who thought different, and acted different, and even made love different. And they made me laugh, and get angry, and be happy, and be sad, and excited, and even fall in love a little....And they didn’t seem to be so weird or strange anymore.
    • Part 5, Chapter 1

The Star Pit (1967)[edit]

Novella which was nominated for the Hugo award
  • “You have to grow all the time,” I said. “Not necessarily get bigger. But inside your head you have to grow, kid-boy. For us human-type people, that’s what’s important. And that kind of growing never stops. At least, it shouldn’t. You can grow, kid-boy, or you can die. That’s the choice you've got, and it goes on all of your life.”

The Einstein Intersection (1967)[edit]

The sections in the novel are not numbered. They are numbered here for ease of reference
  • “The beginning of the end, the beginning of the end,” muttered Lo Hawk. “We must preserve something.”
    “The end of the beginning,” sighed La Dire. “Everything must change.”
    • Section 1
  • Whoever heard of La-ing or Lo-ing somebody you’re herding goats with, or laughing with, or making love with.
    • Section 2
  • “What are you doing here?” I asked at last.
    “Probably the same thing you are.”
    “What’s that?”
    She looked serious. “Why don’t you tell me?”
    I went back to my knife. “Sharpening my machete.”
    “I'm sharpening my mind,” she said. “There is something to be done that will require an edge on both.”
    • Section 2
  • In myths things always turn into their opposites as one version supersedes the next.
    • Section 2
  • All life is a rhythm,” she said as I sat up. “All death is rhythm suspended, a syncopation before life resumes.”
    • Section 2
  • If you're going to do something stupid—and we all do—it might as well be a brave and foolish thing.
    • Section 3
  • You're not looking for me, you know. I'm looking for you.
    • Section 5
  • It is not that love sometimes makes mistakes, but that it is, essentially, a mistake. We fall in love when our imagination projects nonexistent perfections on to another person. One day the phantasmagoria vanishes, and with it love dies.
    • Section 9 (quoted from Ortega y Gasset, “On Love”)
  • Difference is the foundation of those buildings, the pilings beneath the docks, tangled in the roots of the trees. Half the place was built on it. The other half couldn’t live without it. But to talk about it in public reveals you to be ill-mannered and vulgar.
    • Section 9
  • I must remember my own origins. Once I was as ignorant as you; I swear, though, I can’t remember when.
    • Section 9
  • Earth, the world, the fifth planet from the sun—the species that stands on two legs and roams this thin wet crust: it’s changing, Lobey. It’s not the same. Some people walk under the sun and accept that change, others close their eyes, clap their hands to their ears, and deny the world with their tongues.
    • Section 11 (in the far future of the novel, the sun has captured two more planets)
  • “You're living in the real world now,” Spider said sadly. “It’s come from something. It’s going to something. Myths always lie in the most difficult places to ignore.”
    • Section 11
  • Breathing is a fascinating thing to watch in a woman.
    • Section 12
  • As morning branded the sea, darkness fell away at the far side of the beach. I turned to follow it.
    • Section 13 (closing words)

Nova (1968)[edit]

Nominated for the 1969 Hugo Award. All page numbers from the mass market paperback edition published by Bantam Books
  • You can be bored with anything if you try hard enough.
    • Chapter 3 (p. 36)
  • Dull grown-ups and bright children form a particularly tolerant friendship.
    • Chapter 3 (p. 44)
  • Bear in mind that the novel—no matter how intimate, psychological, or subjective—is always a historical projection of its own time.
    • Chapter 4 (p. 116)
  • “What do you see, Captain?”
    “Two boys with hands locked for a fight. You see how one is light and the other is dark? I see love against death, light against darkness, chaos against order. I see the clash of all opposites under...the sun. I see Prince and myself.”
    “Which is which?”
    “I don’t know, Mouse.”
    • Chapter 4 (p. 119)
  • The captain is different too, Cyana. Before, the Roc flew under half a man, a man who’d only known victory. Now I’m a whole man. I know defeat as well.
    • Chapter 5 (p. 142)
  • You know, Mouse, I envy the captain. He’s got a mission. And his obsession precludes all that wondering about what other people think of him.
    • Chapter 6 (p. 158)
  • There are three types of actions: purposeful, habitual, and gratuitous. Characters, to be immediate and apprehensible, must be presented by all three.
    • Chapter 6 (p. 166)
  • The rich are always enamored of the ancient.
    • Chapter 6 (p. 169)
  • Don’t go chattering to the stars if you’re going to do it with your eyes closed.
    • Chapter 7 (p. 197)
  • The inevitable is that unprepared for.
    • Chapter 7 (p. 204)

Time Considered as a Helix of Semi-Precious Stones (1968)[edit]

Novelette which won both the Hugo and the Nebula award

Equinox (1973)[edit]

Originally published as The Tides of Lust
  • It is a magic book. Words mean things. When you put them together they speak. Yes, sometimes they flatten out and nothing they say is real, and that is one kind of magic. But sometimes a vision will rip up from them and shriek and clank wings clear as the sweat smudge on the paper under your thumb. And that is another kind. (p. 163)
  • We have done a tiny bit to free the darkies in this country. But the devil is still very much our slave. (p. 60)
  • Always remember the objects you are working with. When you make a bridge, remember you are putting steel on stone and dirt. … Some day you will write poems to a little girl: marks with ink on paper. … When you are making love, you are moving flesh against flesh. That is the basis of all magic. (p. 30)
  • Yeah, nigger, you better grin. Niggers can't smile in this book. (p. 87)

Triton (1976)[edit]

All page numbers from the mass market paperback first edition published by Bantam Books
  • Everyone in a position of authority is hysterical, and everyone else is pretending to be asleep.
    • Chapter 3 “Avoiding Kangaroos” (p. 54)
  • The whole problem, I suppose, is that any time some piece of communication strikes poor Fred, or any of the remaining Beasts, for that matter, as possibly meaningful—or is it meaningless? It’s been explained to me a dozen times and I still can’t get it right—anyway, his religious convictions say he has to either stop it or—barring that—refuse to be a party to it.
    • Chapter 3 “Avoiding Kangaroos” (p. 113)
  • And who’s to say where life ceases and theater begins—
    • Chapter 3 “Avoiding Kangaroos” (p. 113)
  • “Ah ha!” the Spike said. “I think we have just gotten down to a gritty—or at least a nitty.”
    • Chapter 3 “Avoiding Kangaroos” (p. 123)
  • You seem to be using some sort of logical system where when you get near any explanation, you say: “By definition my problem is insoluble. Now that explanation over there would solve it. But since I’ve defined my problem as insoluble, then by definition that solution doesn’t apply.”
    • Chapter 3 “Avoiding Kangaroos” (p. 123)
  • Political commitment isn’t a perimeter, Sam; it’s a parameter. Don’t you ever wonder? Don’t you ever doubt?
    • Chapter 4 “La Geste d’Helstrom” (p. 140)
  • Let me tell you a secret. There is a difference between men and women, a little, tiny one that, I’m afraid, has probably made most of your adult life miserable and will probably continue to make it so till you die. The difference is simply that women have only really been treated, by that bizarre, Derkheimian abstraction, “society,” as human beings for the last—oh, say sixty-five years; and then, really, only on the moons; whereas men have had the luxury of such treatment for the last four thousand. The result of this historical anomaly is simply that, on a statistical basis, women are just a little less willing to put up with certain kinds of shit than men—simply because the concept of a certain kind of shit-free Universe is, in that equally bizarre Jungian abstraction, the female “collective unconscious,” too new and too precious.
    • Chapter 6 “Objective Knowledge” (pp. 252-253)
  • Topologically, men and women are identical. Some things are just larger and more developed in one than the other and positioned differently.
    • Chapter 6 “Objective Knowledge” (p. 266)
  • She simply has no concept of what’s real and what’s fantasy—did I say? She’s in the theater.
    • Chapter 7 “Tiresias Descending, or Trouble on Triton” (p. 322)
  • Finally I just had to get out. Because when that fantasy seeps into the reality, she just becomes an incredibly ugly person. She feels she can distort anything that occurs for whatever purpose she wants. Whatever she feels, that’s what is, as far as she’s concerned.
    • Chapter 7 “Tiresias Descending, or Trouble on Triton” (p. 322)
  • You should always tell the truth, she thought, not because one lie leads to another, but rather because one lie could so easily lead you to that terrifying position from which, with just the help of a random dream, you can see, both back and ahead, the morass where truth and falsity are simply, for you, indistinguishable.
    • Chapter 7 “Tiresias Descending, or Trouble on Triton” (p. 329)
  • The emblem of a philosophy is not that it contains a set of specific thoughts, but that it generates a way of thinking.
    • Appendix B (p. 363)

The Mad Man (1994)[edit]

  • Like contemporary poetry, philosophy is one of those things, especially at the beginning stages, most people would rather do than study — which is why most of what gets done is so impoverished.
    • p. 11
  • Honesty is the best policy; a policy is, after all, a strategy for living in the polis — in the city …
    • p. 67; ellipses in the original
  • What I look for in a friend is someone who's different from me. The more different the person is, the more I'll learn from him. The more he'll come up with surprising takes on ideas and things and situations.
    • p. 239
  • But it's always intriguing to discover the ways in which desire fuels the systems of the world.
    • p. 257
  • Suppose I was researching, not the life of some genius philosopher with his books and articles and a wake of articulate friends and acquaintances, but rather, a homeless kid in and out of mental hospitals for chronic masturbation and indecent exposure?...How would I even start?
    • p. 279

Hogg (1995)[edit]

  • Men hate bitches the way white men hate niggers. … Long as they do like we say they're suppose to do, everything always looks fine. But let one of them get even a little, teeny, weeny bit out of line, then you watch what happens — we wanna kill. We may not kill, but we wanna kill. Well, if I was a bitch and knew what I know 'cause I ain't one, I'd get out there and start killin' first.
    • p. 82
  • "I think I ain't never met a normal, I mean normal, man who wasn't crazy! Loon crazy, take 'em off and put 'em away crazy, which is what they would do if there wasn't so many of them. Every normal man — I mean sexually normal, now — man I ever met figures the whole thing runs between two points: What he wants, and what he thinks should be. Every thought in his head is directed to fixing a rule-straight line between them, and he calls that line: What Is. … On the other hand, every faggot or panty-sucker, or whip jockey, or SM freak, or baby-fucker, or even a motherfucker like me, we know —" and his hands came down like he was pushing something away: "We know, man, that there is what we want, there is what should be, and there is what is: and don't none of them got anything to do with each other unless —" The bartender was shaking his head." — unless we make it," Hogg went on anyway.
    • p. 121

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