"Paolo Bacigalupi"の名言

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

When I think about myself as a writer, for sure I am a science fiction writer. The tools of extrapolation, the tools of anticipating the future - those are science fictional questions.

Sometimes when we label something dystopian fiction, I feel like we're trying very hard not to use the words 'science fiction,' because science fiction has those horrible connotations of rocket ships and bodacious babes.

Originally, 'The Windup Girl' started as a short story - a very gnarly, complicated short story set in Bangkok that didn't work very well.

Teens want to read something that isn't a lie; we adults wish we could put our heads under the blankets and hide from the scary story we're writing for our kids.

When I was writing 'The Windup Girl' and 'Ship Breaker,' I was writing those simultaneously, so I was an unpublished writer, not really having that full sense that these books would go out in the world, that they would be successful, that there would be an audience and that there would be fans of those stories.

Businesses that decide to be reality based and identify where they're vulnerable to climate impact, that start thinking about how to buffer against it, are going to be able to take advantage of shortages. When the water runs out, not everyone is in the same pickle.

Maybe storytelling belongs in audio - a short story is the length of a commute. That can be a sacred spot where you have the ear of the reader without having to compete with other media like games or TV.

When we live the 21st-century good life, almost every aspect of it is predicated on not looking at the implications of what we're up to. Happiness at this point has a lot to do with not looking, so you don't feel complicit in some vast and awful enterprise.

I used to work for a newspaper that covered local resource issues, and my coworkers and friends were journalists. Their reporting work was always pretty grim.

When we talk about dystopias, especially in young adult fiction, a lot of them are essentially science fictional futures. They aren't necessarily tied to the traditional concept of dystopia. And so in that space, my impression is that kids love reading about weird, wild, adventurous places, and dystopia fits that bill.

All the definitions people want to put on you in terms of what kind of writer you are come with hidden meanings. If you're writing science fiction, you're writing rocket ships. If you write dystopian fiction, it's inequity where The Man must be fought.

I am interested in agricultural corporations and how they function. The idea that they own the genetics of our food supply is a really compelling thing to me.

Science fiction has these obsessions with certain sciences - large scale engineering, neuroscience.

I think inherently, a little bit, I'm a bit of a pleaser, and I want people to like me and be nice, and to not ruffle feathers and just make everybody happy and stuff. It's a personality flaw.

Economies are embedded inside ecosystems. Companies dependent on tourism, for example, are affected by low rainfall - there's less snow for skiers, and forest fires are more intense.

A wise human would have an understanding of the supply chain and how the pieces fit together. But it's against our nature to think about it.