Warren ellis what is best in life

So he pulls an alternating-current taser on me and tells me that only the Official Serbian Church of Tesla can save my polyphase intrinsic electric field, known to non-engineers as "the soul.

What would you do? You people don't know what the truth is! It's there, just under their bullshit, but you never look! I smoke. I take drugs. I drink. I wash every six weeks. I masturbate constantly and fling my steaming poison semen down from my window into your hair and food.

Being a bastard works. Still the best job in the world. I've been doing this a long time now, and I'm going to do it until I die. Which probably won't be long, given the constant insane deadline pressure.

I mean, I've been doing this job a few months now. I've been soaking up the paper every week, same as you, and watching the same newsfeeds as you. I got the same list burned into the front of my head as you. Bad sex. Living nightmares. Each day a little further down the spiral. There's never any good news because they know you.

I mean, here's the top of today's column that I discarded: I had a really good time last night down the bar with my assistant and some cheerfully doomed sex fiends of our acquaintance. No one ever sold newspapers by telling you the truth; life just ain't that bad. I want a better world. All Quotes Add A Quote. Books by Warren Ellis. Transmetropolitan, Vol. Details if other :.

It can mean anything to anybody. People are ideas. I like this. I didn't anticipate this when I wrote the book, but it has a much bigger story attached to it than its title, which is kind of misleading maybe. The potential. I remember that incident really clearly.

I can remember the light in the room, and I even remember him opening the door. It was extraordinary because the room was just full of stuff, stacked up to the door. He was just some old guy my dad knew.

I don't even think I saw potential in things then, but I like the fact that you used the word spiritual, because I realized, while writing this book, that I've been searching for some spiritual connection to something all my life.

I was told about God when I was a kid, you know, and my dad read prayers to us and things like that. I don't know what my dad's connection to the church was, if he believed in God, or anything, but there was a time when he would say a prayer for us every night at the bedroom door. Somehow, I believed in God and Jesus because it's just what I was told.

I have a different take on things now, but I need some spiritual connection for me to feel like there's some point to it all. I think the book showed me that my connection has manifested itself through my relationship with vibration and music and that kind of emotional and spiritual attachment.

I didn't even know what it was. I just thought it was the voice of God. Same with Alice Coltrane—music that caused a fundamental shift in me. It felt like it was reaching for something not of this world. When you set out to write this book, it was about the gum.

I couldn't. It actually took [screenwriter and friend] Oren Moverman to point that out, that it was about me and that I needed to look at why I took the gum.

Why did you do it? I've never asked why. It's about why you cared enough. Out of two thousand people, you took it and you've taken care of it.

As you said, people are ideas. He was the idea that helped bring the story out of you. He pushed me to go further into it and see the connections between things. That's when I realized there were all these phenomena of light occurring throughout my life.

The memory of this light triggered my memory about the incident that I start the book with, which is that childhood memory of a shared experience with me and my brother and the clowns.

The fact that you've embraced it. The fact that, for you, it's real. The fact that you've never questioned it. If you had gotten scared and looked away, it could have changed your life. A supernatural moment and what you decide to do with it, that determines who you are.

You mention that writing this book was the first time you experienced fear while creating something. Or, that you had used fear in the past to fuel your music, but with writing it was more of an obstacle. Yeah, totally. It was really paralyzing. I've been making music for 30 years and it's still a mystery to me. I hope it's always a mystery to me. I've found a way to work in there. I don't really know. I don't even know if it's successful or not.

Writing this book was something different. The process of writing was really quite confounding for me. So, to actually get to the end of writing it and to find that it had become about something else, was really quite surprising to me. That is the unconventional wisdom: If you already know exactly what your book is about before you write it, it's not going to be any good. The act of writing tells you what the story is. I know this to be true with music. With music, when things are scary in the studio, those are the things you jump on.

In a way, your radar is down. Fear is maybe the wrong word. This sounds like T. Rex then. Sometimes very sophisticated, dramatised forms of play. So far, only humans use stories to dramatise the way they see the world. Two days after that, on 30 April, a year-old woman flew to the convention to surprise Ellis, whom she believed was her boyfriend. The pair had spoken on video chat and email regularly since they first met online in , with some of their conversations lasting through the night.

She alleges that Ellis, then 37, never told her that he had a long-term partner, and that he had asked her to keep their relationship secret because of his fame. They had sex in his hotel room that evening. A second woman, who was 22 at the time, tells the Guardian she believed such secrecy was necessary because Ellis had not told his long-term partner about her; she says she slept with him in the same hotel room the day before, on 29 April.

It appears Ellis had dramatised the world differently for each of them. In June this year, as scores of young women began to publicly make allegations about the behaviour of men in senior positions in comics and science fiction writing, several women began to speak about their relationships with Ellis, some dating back to the early s. Now, more than 60 women have come together to launch the website So Many of Us , to document their concurrent relationships with Ellis and encourage others to come forward.

They allege that Ellis has pursued sexual relationships with a staggering number of his female fans, all the while deceiving them about the number of relationships he was in; based on the account of these women, it appears he was maintaining at least 19 relationships simultaneously at one point in Jhayne Holmes, a writer and photographer whose relationship with Ellis lasted eight years, initially set up a server for women to talk to each other.

She says that roughly women have come forward, while 33 of them have composed written statements, supported by emails and text messages, which have been seen by the Guardian. In individual interviews, several of the women allege that Ellis was sending identical text and photo messages to them at the same time.

Eventually, he would ask them to send him sexually explicit photos. Some of them did. Many of the women were in their late teens and early 20s when their contact with Ellis began.

Sometimes they initiated the conversation, sometimes he did. Some of these relationships were conducted entirely online, while others were physical. Some of the women work in the comic-book industry, while others are artists, writers, photographers and alternative models.