I challenge you, me. Die or live and be great.

The appeal of science fiction has always been its iconoclasm . . . But in order to be an iconoclast, an author must be more than merely aware of the idol he wishes to destroy. He must be intimate with it and understand it in all its aspects. This means that he must have devoted serious thought to it, and have beliefs of his own which will stand up in the place of the broken idol. In other words, any child can complain, but it takes an adult to clash with accepted beliefs . . . an adult with ideas.

"There's got to be more to life than just living," Foyle said to the robot. "Then find it for yourself, sir. Don't ask the world to stop moving because you have doubts." "Why can't we all move forward together?" "Because you're all different. You're not lemmings. Some must lead, and hope that the rest will follow." "Who leads?" "The men who must... driven men, compelled men." "Freak men." "You're all freaks, sir. But you always have been freaks. Life is a freak. That's its hope and glory."

I've handed life and death back to the people who do the living and the dying.

Don't ask the world to stop moving because you have doubts.

I'm not much interested in extrapolating science and technology; I merely use extrapolation as a means of putting people into new quandaries which produce colorful pressures and conflicts.

It's been suggested that most women fail to write significantly because the female mind is viscerotonic, and occupied almost exclusively with the moment-to-moment reality of emotions. If this is true, literature's loss is science fiction's gain, for Out of Bounds, Judith Merril's collection of short stories, is a warm and colorful rendering of the minutiae of the future.