The big break for me was I got tired of looking at stuff like The Dark Knight and Watchmen, which are wonderful and beautiful works, but for me the idea of taking our problems into the superhero world is ultimately a dead-end. When I was 25 or 26 it occurred to me that trying to make superheroes seem real was insane. They were not real in that way, but what really hit me was, “Well, in what way are they real?” They’re absolutely real in the form of paper, and so I wanted to go beyond that spurious realism of here’s what would happen if Batman got a run in his tights, or, “How does he go to the bathroom?” “Where does he keep his change?” Which I think are very dumb questions. In the book, one of the things I say is that people always believe kids don’t understand the difference between fact and fiction. But they do! A child can watch The Little Mermaid and they know the singing crabs on TV are very different from the real crabs on the beach. You give an adult a piece of fiction, and the adult cannot handle it. The adult begins to ask, “How can Batman afford to run a business and be Batman at night?” “How do the lasers come out of Superman’s eyes?” “Why does he wear those clothes?” And all you want to say is, “Because it’s not real!” It’s made up, and only in the made-up world can these things happen. I find that, in the last 10 years particularly, there’s this idea of grounding Superman, which just seems insane to me. And that’s what you always get from studio executives, is, “How do we ground this?”
Grant Morrison, from an interview he gave with fellow scribe Neil Gaiman in July.
Read the full interview with these truly captivating authors here.
When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that, we were just looking at ideas of each other, like looking at your window shade but never seeing inside. But once the vessel cracks, the light can get in. The light can get out. John Green, Paper Towns (via bookmania)
If you want to escape into them, you can. With her characters, we can enter, as Elizabeth Bennet does, “a beautiful walk by the side of the water,” with “every step . . . bringing forward a nobler fall of ground,” and then, after crossing “a simple bridge,” behold Darcy coming toward us. For some people, the novels seem to offer a world less hectic, less demanding, less confusing than ours. But, if you care to notice, you can find in them references to the crisis of poverty and downward mobility (Miss Bates in “Emma”), the slave trade and emotional abuse of a child (“Mansfield Park”), disinheritance and parental manipulation (“Sense and Sensibility”), Britain’s near-constant state of war (“Pride and Prejudice” and “Persuasion”), unwanted pregnancies, and men who practice a double standard in relationships — references that sound ripped from the headlines of today. Carol J. Adams, Five Myths about Jane Austen, The Washington Post.