London is an endless skirmish between angles and emptiness.

What I always try to do in all my books is to make the stories such that if you don't agree with me politically or you're not interested in the thematics, the story will still keep you turning the pages.

The reason that I like SF and fantasy and horror is that to me it's the pulp wing of surrealism. That's the aesthetic of undermining and creative alienation that I really go for.

Any moment called NOW is always full of possibles.

My sustenance is information. My interventions are hidden. I increase as I learn. I compute, so I am.

Word spread because word will spread. Stories and secrets fight, stories win, shed new secrets, which new stories fight, and on.

The problem with most genre fantasy is that it's not nearly fantastic enough. It's escapist, but it can't escape.