Брайан Олдисс цитаты

Брайан Олдисс фото

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Брайан Олдисс

Дата рождения: 18. Август 1925
Дата смерти: 19. Август 2017

Бра́йан Уи́лсон О́лдисс, также — Олдис — английский писатель, получивший всемирную известность благодаря своим произведениям в жанре научной фантастики, в частности, трилогии «Гелликония» , а также НФ-критике. Лауреат двух наиболее значимых литературных премий в области фантастики — Хьюго за сборник рассказов Hothouse и Небьюла за повесть The Saliva Tree , написанную к столетию со дня рождения Герберта Уэллса.

Цитаты Брайан Олдисс

Brian W. Aldiss фото
Brian W. Aldiss 44
British science fiction author 1925 – 2017
„Perhaps that had been one of the ineradicable faults of mankind - for even a convinced atheist had to admit there were faults - that it was never content with a thing as a thing; it had to turn things into symbols of other things. A rainbow was never only a rainbow; a storm was a sign of celestial anger; and even from the puddingy earth came forth dark chthonian gods. What did it all mean? What an agnostic believed and what the willowy parson believed were not only irreconcilable systems of thought: they were equally valid systems of thought because, somewhere along the evolutionary line, man, developing this habit of thinking of symbols, had provided himself with more alternatives than he could manage. Animals moved in no such channel of imagination - they copulated and they ate; but the the saint, bread was a symbol of life, as the phallus was to the pagan. The animals themselves were pressed into symbolic service - and not only in the medieval bestiaries, by any means.

Such a usage was a distortion, although man seemed unable to ratiocinate without it. That had been the trouble right from the beginning. Perhaps it had even been the beginning, back among the first men that man could never get clearly defined (for the early men, being also symbols, had to be either lumbering brutes, or timid noble savages, or to undergo some other interpretation). Perhaps the first fire, the first tool, the first wheel, the first carving in a limestone cave, had each possessed a symbolic rather than a practical value, had each been pressed to serve distortion rather than reality. It was a sort of madness that had driven man from his humble sites on the edges of woods into towns and cities, into arts and wars, into religious crusades, into martyrdom and prostitution, into dyspepsia and fasting, into love and hatred, into this present cul-de-sac; it had all come about in pursuit of symbols. In the beginning was the symbol, and darness was over the face of the Earth.“

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