I learned capacity for self-reflection very early, finding it through interior monologues that books are so good at and that visual media is so bad at because it's so boring - nothing's happening. In a book, you can be inside the narrator's head for 50 pages, and nothing needs to happen. Then you learn to be inside your own head without something needing to happen. It's a very good antidote to a crazy, restless, "what's next?" culture - that you can just be in your own head and nothing is happening except that this is a rich place. I love that.

Of course that is not the whole story, but that is the way with stories; we make them what we will. It's a way of explaining the universe while leaving the universe unexplained, it's a way of keeping it all alive, not boxing it into time.

Sometimes you have to live in precarious and temporary places. Unsuitable places. Wrong places. Sometimes the safe place won't help you.

She was a committed romantic and an anarcha-feminist. This was hard for her because it meant she couldn't blow up beautiful buildings. She knew the Eiffel Tower was a hideous symbol of phallic oppression but when ordered by her commander to detonate the lift so that no-one should unthinkingly scale an erection, her mind filled with young romantics gazing over Paris and opening aerograms that said Je t'aime.

I realised something important: whatever is on the outside can be taken away at any time. Only what is inside you is safe.

We shall all die, and our lives will be irrelevant then.

I am good at walking away. Rejection teaches you how to reject.