By Samuel R. Delany
Samuel R. Delany, whose theoretically subtle technology fiction and fable has gained him a extensive viewers between teachers and lovers of postmodernist fiction, deals insights into and explorations of his personal adventure as author, critic, theorist, and homosexual black guy in his new selection of written interviews, a sort he describes as a kind of "guided essay." accrued from resources as varied as Diacritics and Comics magazine, those interviews exhibit the extensive variety of his inspiration and pursuits.
Read Online or Download Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics: A Collection of Written Interviews PDF
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Extra info for Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics: A Collection of Written Interviews
Example text
None of them were good books. The Semiology of Silence ^j Still, one does a lot of growing up, fast, in those years, and some of that goes onto the page. But even in my teens, what I was being told by literary editors, some of whom from time to time got rather excited about me, was that the final reason the novels weren't being published was that they were too literary—and weren't commercial. Even at 17 I knew some of this was an attempt to make a kid feel a little less crushed by rejection. Nevertheless, with all that taken into account, there's still a bottom-line situation here: Literary publishing wasn't very accepting— they didn't accept me through a whole lot of tries—while SF publishing was: They snapped me up on my first submission.
He's a high school English teacher in Montana who hikes for a hobby on weekends and has some military service behind him. He despises the housewife—though reputedly she wants to have an affair with him. Needless to say, there wasn't much in my adolescent "literary" novels for him either. But between them, that Nebraska housewife and that Montana English teacher tyrannized mid-century American fiction. If you look at the first novels published by literary houses between 1950 and 1965, there's not one that doesn't have something in it for this ubiquitous non-couple.
But that's like a poet assuming she writes poems, or a playwright assuming he writes plays. All I've ever "proclaimed" in my critical books, The American Shore (1978) or Starboard Wine (1984), is that, today, at this particular point in the intellectual history of various practices of writing, in the development of the greater complex of interpretative codes that we apply to the range of writing practices, "science fiction" is a useful designation and marks a useful distinction from literature.
