Elizabeth Hand Quotes

22 Sourced Quotes

You read a lot of crap about photographic craftsmanship in those days, and technique; but you didn't 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.

Elizabeth Hand
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.

Elizabeth Hand
Endless longing; a face you'd known since childhood, since birth almost; a body that moved as though it were your own. These were things you never spoke of, things you never hoped for; things you could never admit to. Things you'd die for, and die of.

Elizabeth Hand
I'm an utterly orthodox feminist in the political or social sense: I want equal rights for women, period, and I vote that way. I support social programs that help women and children; I'm pro-choice, in favor of anything that makes it easier for women to raise their kids, with or without men, in conventional or unconventional family units.
But do I think the world would be a better place if it were run solely by women? No; not any more than I think a solely patriarchal model is an ideal.

Elizabeth Hand
I'm sure one reason that so many Greek myths deal with terrifying, powerful women — Medea, Electra, the Erinyes, the Bacchae, — is that at some point in the misty past, women held a power that was terrifying — terrifying not because they were women whom men felt threatened by, but because they wielded that power in terrifying rituals that almost certainly involved human sacrifice.
This would not be a popular platform on which to base a feminist agenda.

Elizabeth Hand
There is a love of wood, as of other things that do not answer to our touch.

Elizabeth Hand
There's always a moment when everything changes. … If you don't see it coming, if you blink or you're drunk or just looking the other way — well everything changes anyway, it's not like things would have been different.
But for the rest of your life you're fucked, because you blew it. Maybe no one else knows it, but you do. In my case, it was no secret. Everyone knew I'd blown it. Some people can make do in a situation like that. Me, I've never been good at making do. My life, who could pretend there wasn't a big fucking hole in it.

Elizabeth Hand
It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared.

Elizabeth Hand
But talent—if you don't encourage it, if you don't train it, it dies. It might run wild for a little while, but it will never mean anything. Like a wild horse. If you don't tame it and teach it to run on track, to pace itself and bear a rider, it doesn't matter how fast it is. It's useless.

Elizabeth Hand
I think Washington is a magical place. I lived there for thirteen years, and until the day I left I never wanted to live anywhere else. I went back for the first time two years ago, after over a decade's absence; it was like seeing an old lover and discovering — with great relief — that the flame is still there.
Gore Vidal famously remarked of walking through the city with his grandfather, a senator, and the old man telling him, "Someday all this will make marvelous ruins."

Elizabeth Hand
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.

Elizabeth Hand
I was about ten when I first read 1984 and Lord of the Flies, both of which absolutely terrified me — especially 1984, because I figured out that Julia, Winston Smith's lover, would have been born the same year I was. I knew these books were fiction, but I was far too young to have a grasp on the political or cultural realities behind them — I had no distance or detachment from what I read: it seemed too real to me, too possible.

Elizabeth Hand
A lot of the revisionist thinking by feminist mythologisers — people who based their projections of ancient "matristic" cultures on work done by folks like Marija Gimbutas — is based on archaeological and anthropological speculation that in some cases has since been proved wrong. The pretty happy flower children who lived at ancient Knossos, for instance, were the result of wishful thinking by the Victorian explorer Arthur Evans (a man, please note). No one actually knows what these cultures were really like, but it's doubtful that they were free of the same problems of sexual inequality that we have today.

Elizabeth Hand
So much fantasy relies on the author's having read Fraser's The Golden Bough or Robert Graves' The White Goddess and nothing else. The White Goddess is a crank book, a crank book of genius of course, but all the same... Mind you, I found Waking the Moon cited in an article in a pagan magazine as an authority for the idea that there was a patriarchal brotherhood, the Benandanti, that have been running things since antiquity, with no mention of the fact that it is a novel, and a fantasy at that. People want to believe something, and so they swallow anything.

Elizabeth Hand
You build a character, a shell, and if you build it right, something comes to live inside it.

Elizabeth Hand
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.

Elizabeth Hand
Faeries might have been wandering around in Victorian England. I can believe that. But it is a more difficult thing to think that they might be wandering around Camden Town now.
It is more of a jump, but I find that more interesting in many ways. The irruption of the supernatural into our world is a much more enticing notion to explore than the same thing happening in some past time, or in a wholly imaginary world.

Elizabeth Hand
Mars Hill was inspired by a real place near where I live on the coast of Maine, a 100+ year old Spiritualist community called Temple Heights: little carpenter's gothic cottages tumbling down a hillside overlooking the sea, very picturesque and, tragically, very susceptible to the terrible development pressure that's bearing down on the small towns around here.
So far, however, the spiritualists seem to be winning out. After I wrote "Last Summer at Mars Hill", I visited the place formally and had a reading done by a psychic there. The place was exactly as I'd imagined it, as were its (human) inhabitants. I saw no evidence of supernatural ones, alas.

Elizabeth Hand
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.

Elizabeth Hand
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.

Elizabeth Hand