Elizabeth Hand Quotes
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You read a lot of crap about photographic craftsmanship in those days, and technique; but you didnt hear shit about vision. I knew that I had an eye, a gift for seeing where the ripped edges of the world begin to peel away and something else shows through.
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It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared.
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I went to college to study drama where I discovered I had no talent and after a period of dropping out majored in cultural anthropology which of course meant more masks and dancing … I studied what interested me and so I had to become a writer because my education had left me unsuited for a decent well-paying job.
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I was a tomboy as a kid - I was skinny and had cropped hair and was often mistaken for a boy - and up until I was about six, I had my own very fluid ideas of gender in that I believed that, somehow, an individual could choose whether or not s/he wanted to be a boy or a girl.
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I still love it. I love lots of other music, too, and always have, but punk's the soundtrack of my youth. I think you never escape the music you're listening to and seeing when you're seventeen, eighteen, nineteen years old.
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I didn't read much SF as a kid - I was a total Tolkien geek - but I started reading Samuel Delany and Angela Carter and Ursula LeGuin in high school, and I was definitely taken with the notion that here was a literature that could explore various notions of gender identity and how it affects the culture at large.
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I never think about genre when I work. I've written fantasy, science fiction, supernatural fiction, and am now working on a suspense novel. Genres are mostly useful as a marketing tool, and to help booksellers known where to shelve a book.
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I love artists. I find them fascinating. To me, there really is a genuine magic in what they do.
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I read '1984' at a precocious age, like 8, and when I did the math, I realized that Julia, Winston Smith's lover, was born the same year I was, 1957. I read that book over and over again with the 1960s as a backdrop: anti-war and anti-bomb protests and this general pervasive sense of doom.
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I find that many modern fantasies explain things away far too easily, which makes a lot of it overly familiar (to me, anyway). Real myths are often strange and startlingly unfamiliar, and don't always give up their meanings easily; you have to tease them out, and for me, that's one of the pleasures of reading older collections of lore.
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I try to maintain a balance between having a vision of the world that many readers do not experience for themselves, trying to give them enough grounding in the world we are all familiar with, so they don't feel that they are completely lost in Faerie.
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I love the notion of there being a single group of Apollonian watchdogs down through the aeons, keeping the world safe from the malign (and far more fun-loving) forces of Dionysos.
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I've always wanted to write an airport book.