I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic.

If their work is satisfying people don't need leisure in the old-fashioned sense. No one ever asks what Newton or Darwin did to relax, or how Bach spent his weekends. At Eden-Olympia work is the ultimate play, and play the ultimate work.

A car crash harnesses elements of eroticism, aggression, desire, speed, drama, kinesthetic factors, the stylizing of motion, consumer goods, status - all these in one event. I myself see the car crash as a tremendous sexual event really: a liberation of human and machine libido (if there is such a thing).

One of the things I took from my wartime experiences was that reality was a stage set... the comfortable day-to-day life, school, the home where one lives and all the rest of it... could be dismantled overnight.

A ton of Proust isn’t worth an ounce of Ray Bradbury.

Deserts possess a particular magic, since they have exhausted their own futures, and are thus free of time. Anything erected there, a city, a pyramid, a motel, stands outside time. It's no coincidence that religious leaders emerge from the desert. Modern shopping malls have much the same function. A future Rimbaud, Van Gogh or Adolf Hitler will emerge from their timeless wastes.

I feel that, in a sense, the writer knows nothing any longer. He has no moral stance. He offers the reader the contents of his own head, a set of options and imaginative alternatives. His role is that of a scientist, whether on safari or in his laboratory, faced with an unknown terrain or subject. All he can do is to devise various hypotheses and test them against the facts.