The pasts that I draw upon tend to be mythic pasts. I'm not super interested in writing historical fantasy. I have done that a few times in the case of subject areas that I felt like should have been explored more, like the Haitian Revolution, for example. But for the most part, I'm more interested in exploring the gods that we could have had. Or these are the creation myths that we could have explored. I'm not super interested in existing mythology, though existing mythology does inform just about everything that I'm coming up with. But that's more along the lines of, This is how mythology should be structured, so you need to look at existing mythology to understand that. If I'm trying to come up with a secondary world, the goal is to use not too much of the existing world...
N. K. JemisinRelated topics
case coming done draw everything example exploring fantasy felt few haitian historical mythology need revolution secondary should times trying use godsRelated quotes
He said, for example: "Many people working with the Ouija board or automatic writing receive messages that seem, or purport, to come from historic personages. Often, however, the material is vastly inferior to that which could have been produced by the person in question during his or her earthly existence. Any comparison with the material received to the written books or accounts already existing would immediately show glaring discrepancies. Yet in many instances, the Ouija board operator or the automatic writer is to some extent or other tuning in to a world view, struggling to open roads of perception free enough to perceive an altered version of reality, but not equipped enough through training and temperament, perhaps to express it. . . .
Robert Butts
Only a book written by the God who knows the end from the beginning could predict the future with one hundred percent accuracy. The God of the Bible (unlike all other "gods”) is not limited by time, space, or matter. He created all of those on Day One and is "above” and "outside of” and "not limited by” His creation in any way. We are the ones who are limited by time, space, and matter, not God. The fact that He knows the future does not mean that He controls the future and we are robots acting out a pre-programmed set of instructions. He has complete knowledge, yet we have complete control at all times. He could step in and control everything, but then we would be robots and not humans. It is called Free Will. That's a gift God gave to mankind.
Kent Hovind
Bright-minded young people think poorly of existing institutions and want to abolish them. Well, one doesn't need to be young to dislike institutions. But the dreary fact remains that, even in the darkest ages, it was institutions that made society work, and if civilisation is to survive society must somehow be made to work.At this point I reveal myself in my true colours, as a stick-in-the-mud. I hold a number of beliefs that have been repudiated by the liveliest intellects of our time. I believe that order is better than chaos, creation better than destruction. I prefer gentleness to violence, forgiveness to vendetta. I believe that in spite of the recent triumphs of science, men haven't changed much in the last two thousand years; and in consequence we must still try to learn from history. History is ourselves.
Kenneth Clark
I have always been interested in family history. Chromosomes are funny things, aren't they? They may skip a generation and you can find children who resemble the grandfather, rather than either parent. Heredity is more important than environment. Blood will tell. For example, a man is either musical by heredity or he is not. You can't make a man musical by the environment. You can find a person who is very musically inclined and be puzzled because neither parents nor grandparents had any ear for music. But if you trace it back, you will find that the great-grandfather was a musician. But the environment plays a great part in the development of a man. It is significant whether a man is brought up in the city or in the country, near a lake or on the shores of the ocean.
Hermann Göring
A line cannot control pictorial space absolutely. A line may flow freely in and out space, but cannot independently create the phenomenon of push and pull necessary to plastic creation. Push and pull are expanding and contracting forces which are activated by carriers in visual motion. Planes are the most important carriers, lines and points less so.. .the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push. ... At the end of his life and the height of his capacity Cézanne understood color as a force of push and pull. In his pictures he created an enormous sense of volume, breathing, pulsating, expanding, contracting through his use of colors.
Hans Hofmann