Graham Joyce
Graham Joyce
Graham Joycewas a British writer of speculative fiction and the recipient of numerous awards, including the O Henry Award, for both his novels and short stories. He grew up in a small mining village just outside Coventry to a working-class family. After receiving a B.Ed. from Bishop Lonsdale College in 1977 and a M.A. from the University of Leicester in 1980. Joyce worked as a youth officer for the National Association of Youth Clubs until 1988. He subsequently quit his...
NationalityEnglish
ProfessionWriter
Date of Birth22 October 1954
Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.
My story reflexes come less from fantasy or horror than from the darker sort of psychological thriller - not as plot-driven as most, rather more mood-driven. My interest in the supernatural is a complication - though I am less interested in ghosts than in people who see ghosts.
George Orwell's '1984' frequently tops surveys of our greatest books: it's not a celebration of poetic language. It's decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what '1984' shows is that language can be a dirty trick.
Twenty years is, after all, a long time. We are not the same people we were. Old friends, lovers, even family members: they are strangers who happen to wear a familiar face. We have no right to claim to know anyone after such a distance.
Since I've been hired to contribute to the storyline of 'Doom 4' I can say what was always true anyway. I'm working. You see, for a writer, lots of stuff that doesn't look like working is actually working. Looking out of the window, for example. Balancing a pencil on the edge of the desk in order to find its exact fulcrum. Playing 'Doom.
George Orwells 1984 frequently tops surveys of our greatest books: its not a celebration of poetic language. Its decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what 1984 shows is that language can be a dirty trick.
That's emails for ya: sometimes they're like an arrow that hits so deep in the target, you can't pull it out.
Some people feed you with love.
Rationally speaking, blaming one's behavior on alcohol or drugs is like blaming the ladder by which you descended into a pit, or the staircase that took you down to a cellar, for what you found there.
I am less interested in ghosts than in people who see ghosts.
The overintellectualization of surrealism can be a bromide. A dream interpreted is a deflated dream.
Fantasy gets a mixed reception - a lot of fantasy is formulaic but most of the award-winning fantasy on the contrary tends to be the stuff at the edges of the genre, rather than swimming in the middle.
Perhaps living souls had greater phantom powers than the dead.
The modern superstition is that we're free of superstition.