Best 27 quotes of Fritz Leiber on MyQuotes

A scientist ought to have a healthy disregard for coincidences.

Devils may be nothing but beings intent on their purpose, which now happens to collide with yours.

Everyone knows Newton as the great scientist. Few remember that he spent half his life muddling with alchemy , looking for the philosopher's stone. That was the pebble by the seashore he really wanted to find.

Not for the first time Richard reflected that this age's vaunted 'communications industry' had chiefly provided people and nations with the means of frightening to death and simultaneously boring to extinction themselves and each other.

Of course, if you assume a big enough conspiracy, you can explain anything, including the cosmos itself.

Then time seemed to stop, or rather to lose its directional urgency of movement; it became a place in the open where one stood rather than a low, narrow corridor down which one was hurried.

There are vampires and vampires, and not all of them suck blood.

There was always something new to be seen in the unchanging night sky.

The right to take a chance, the right to suffer. The right to be unwise, the right to die. These aims are hateful to the government, which values ever frightened mouse and falling sparrow as equal to a tiger burning bright.

Traffic growled and snarled, rising at times to a machine-gun rata-tat-tat, while pedestrians were scuttling about with that desperate ratlike urgency characteristic of all big American cities, but which reaches its ultimate in New York.

We're free out here, really free for the first time. We're floating, literally. Gravity can't bow our backs or break our arches or tame our ideas. You know, it's only out here that stupid people like us can really think. The weightlessness gets our thoughts and we can sort them. Ideas grow out here like nowhere else - it's the right environment for them. Anyone can get into space, if he wants to hard enough. The ticket is a dream.

What do you care? You always liked loneliness better than you liked people. No offence liking yourself's the beginning of all love.

What is superstition , but misguided, unobjective science? And when it comes down to that, is it to be wondered if people grasp at superstition in this rotten, hate-filled, half-doomed world of today? Lord knows, I'd welcome the blackest of black magic, if it could do anything to stave off the atom bomb.

Yet for all the childish innocence of its bizarre glamor, Venice developed an atmosphere, or became the outpost of a sinister deep-rooted power.... It is a place of dreams, not only the tinseled ones.

Also, in the dismal Cold Waste, any man treasures illusions, though knowing them almost certainly to be such.

At that instant the hag's noisy breathing stopped and with it all other sound. Her eyes opened, showing only whites - milky ovals infinitely eerie in the dark root-tangle of her sharp features and stringy hair. The gray tip of her tongue traveled like a large maggot around her lips.

Fafhrd, his back to a great oak, had his broadsword out and was holding off two of Rannarsh's henchmen, who were attacking with their shorter weapons. It was a tight spot and the Northerner realized it. He knew that ancient sagas told of heroes who could best four or more men at swordplay. He also knew that such sagas were lies, providing that the hero's opponents were reasonably competent.

Fafhrd stopped, again wiped right hand on robe, and held it out. "Name's Fafhrd. Ef ay ef aitch ar dee." Again the Mouser shook it. "Gray Mouser," he said a touch defiantly, as if challenging anyone to laugh at the sobriquet. "Excuse me, but how exactly do you pronounce that? Faf-hrud?" "Just Faf-erd.

Franz said 'Your picture, Viki, suggests that sense of breaking-up we feel in the modern world. Families, nations, classes, other loyalty groups falling apart. Things changing before you get to know them. Death on the installment plan – or decay by jumps. Instantaneous birth. Something out of nothing. Reality replacing science fiction so fast that you can't tell which is which. Constant sense of deja-vu - 'I was here before, but when, how?' Even the possibility that there's no real continuity between events, just inexplicable gaps. And of course every gap – every crack – means a new perching place for horror.

I make no distinction whatever between reality and fantasy, or the objective and the subjective. All life and all awareness are ultimately one, including intensest pain and death itself. Not all the play need please us, and ends are never comforting. Some things fit together harmoniously and beautifully and startlingly with thrilling discords—those are true—and some do not, and those are merely bad art. Don't you see?

It had all begun on the elevated. There was a particular little sea of roots he had grown into the habit of glancing at just as the packed car carrying him homeward lurched around a turn. A dingy, melancholy little world of tar paper, tarred gravel, and smoky brick. Rusty tin chimneys with odd conical hats suggested abandoned listening posts. There was a washed-out advertisement of some ancient patent medicine on the nearest wall. Superficially it was like ten thousand other drab city roofs. But he always saw it around dusk, either in the normal, smoky half-light, or tinged with red by the flat rays of a dirty sunset, or covered by ghostly windblown white sheets of rain-splash, or patched with blackish snow; and it seemed unusually bleak and suggestive, almost beautifully ugly, though in no sense picturesque; dreary but meaningful. Unconsciously it came to symbolize for Catesby Wran certain disagreeable aspects of the frustrated, frightened century in which he lived, the jangled century of hate and heavy industry and Fascist wars. The quick, daily glance into the half darkness became an integral part of his life. Oddly, he never saw it in the morning, for it was then his habit to sit on the other side of the car, his head buried in the paper. One evening toward winter he noticed what seemed to be a shapeless black sack lying on the third roof from the tracks. He did not think about it. It merely registered as an addition to the well-known scene and his memory stored away the impression for further reference. Next evening, however, he decided he had been mistaken in one detail. The object was a roof nearer than he had thought. Its color and texture, and the grimy stains around it, suggested that it was filled with coal dust, which was hardly reasonable. Then, too, the following evening it seemed to have been blown against a rusty ventilator by the wind, which could hardly have happened if it were at all heavy. ("Smoke Ghost")

It's a rotten world, Miss Millick,' said Mr. Wran, talking at the window. 'Fit for another morbid growth of superstition. It's time the ghosts, or whatever you call them, took over and began a rule of fear, They'd be no worse than men.' ("Smoke Ghost")

It's this way: the Big Time is a train, and the Little Time is the countryside as we're on the train, unless we go out a Door, and as Gertie Stein might put it, you can't time travel through the time you time travel in when you time travel.

Miss Millick wondered just what had happened to Mr. Wran. He kept making the strangest remarks when she took dictation. Just this morning he had quickly turned around and asked, "Have you ever seen a ghost, Miss Millick?" And she had tittered nervously and replied, "When I was a girl there was a thing in white that used to come out of the closet in the attic bedroom when you slept there, and moan. Of course it was just my imagination. I was frightened of lots of things." And he had said, "I don't mean that traditional kind of ghost. I mean a ghost from the world today, with the soot of the factories in its face and the pounding of machinery in its soul. The kind that would haunt coal yards and slip around at night through deserted office buildings like this one. A real ghost. Not something out of books." And she hadn't known what to say. ("Smoke Ghost")

The gods in Lankhmar (that is, the gods and candidates for divinity who dwell or camp, it may be said, in the Imperishable City, not the gods of Lankhmar—a very different and most secret and dire matter)… the gods in Lankhmar sometimes seem as if they must be as numberless as the grains of sand in the Great Eastern Desert. The vast majority of them began as men, or more strictly the memories of men who led ascetic, vision-haunted lives and died painful, messy deaths. One gets the impression that since the beginning of time an unending horde of their priests and apostles (or even the gods themselves, it makes little difference) have been crippling across that same desert, the Sinking Land, and the Great Salt Marsh to converge on Lankhmar's low, heavy-arched Marsh Gate—meanwhile suffering by the way various inevitable tortures, castrations, bindings and stonings, impalements, crucifixions, quarterings and so forth at the hands of eastern brigands and Mingol unbelievers who, one is tempted to think, were created solely for the purpose of seeing to the running of that cruel gauntlet.

The Mouser made a very small parry in carte so that the thrust of the bravo from the east went past his left side by only a hair's breath. He instantly riposted. His adversary, desperately springing back, parried in turn in carte. Hardly slowing, the tip of the Mouser's long, slim sword dropped under that parry with the delicacy of a princess curtsying and then leaped forward and a little upward, the Mouser making an impossibly long-looking lunge for one so small, and went between two scales of the bravo's armored jerkin and between his ribs and through his heart and out his back as if all were angelfood cake.

What matters is that life is good. It has a lovely texture, like some rich cloth or fur, or the petals of flowers, and everything else worthwhile. And that's as true for the last man as the first.