The sky grew darker, painted blue on blue, one stroke at a time, into deeper and deeper shades of night.

The best thing would be to break your neck, but you'd probably just break your leg and then you couldn't do a thing. You'd yell at the top of your lungs, but nobody;d hear you, and you couldn't expect anybody to find you, and you'd have centipedes and spiders crawling all over you, and the bones of the ones who died before are scattered all around you, and it's dark and soggy, and way overhead there's this tiny, tiny circle of light like a winter moon. You die there in this place, little by little, all by yourself.

Learning another language is like becoming another person.

I myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.

Human beings are ultimately nothing but carriers-passageways- for genes. They ride us into the ground like racehorses from generation to generation. Genes don't think about what constitutes good or evil. They don't care whether we are happy or unhappy. We're just means to an end for them. The only thing they think about is what is most efficient for them.

And everywhere, infinite options, infinite possibilities. An infinity, and at the same time, zero. We try to scoop it all up in our hands, and what we get is a handful of zero. That's the city

It's true that at the time I was fond of Kurt Vonnegut and Richard Brautigan, and it was from them that I learned about this kind of simple, swift-paced style, but the main reason for the style of my first novel is that I simply did not have the time to write sustained prose.