You could slap his wrist for saying it, but then he said it with his face, and you could spank him for making faces, but then he said it with his eyes, and there were limits to correction-no way, in the end, to penetrate behind the blue irises and eradicate a boy's disgust.

And when the event, the big change in your life, is simply an insight-- isn't that a strange thing? That absolutely nothing changes except that you see things differently and you're less fearful and less anxious and generally stronger as a result: isn't it amazing that a completely invisible thing in your head can feel realer than anything you've experienced before?

If you read the biographies of people who have written good books, you often see the point where they suddenly come into themselves, and those weeks in the spring of 1997 were when I came into myself as a writer. They feel like some of the best weeks of writing I’ll ever have. The discovery that I could write better about something as trivial as an ordinary family dinner than I could about the exploding prison population of the United States, and the corporatization of American life, and all the other things I’d been trying to do, was a real revelation.

Seriously, the world is changing so quickly that if you had any more than 80 years of change I don't see how you could stand it psychologically.

Fiction is a solution, the best solution, to the problem of existential solitude.

The reason this system can’t be overthrown in this country,” Walter said, “is all about freedom. The reason the free market in Europe is tempered by socialism is that they’re not so hung up on personal liberties there. They also have lower population growth rates, despite comparable income levels. The Europans are all-around more rational, basically. And the conversation about rights in this country isn’t rational. It’s taking place on the level of emotion, and class resentments, which is why the right is so good at exploiting it.

Our visual cortexes are wired to quickly recognize faces and then quickly subtract massive amounts of detail from them, zeroing in on their essential message: Is this person happy? Angry? Fearful? Individual faces may vary greatly, but a smirk on one is a lot like a smirk on another. Smirks are conceptual, not pictorial. Our brains are like cartoonists - and cartoonists are like our brains, simplifying and exaggerating, subordinating facial detail to abstract comic concepts.