At Birkin Grif's left, his seat insecure on a scruffy packhorse, Theomeris Glyn, his only armour a steel-stressed leather cap, grumbled at the cold and the earliness of the hour, and cursed the flint hearts of city girls.

Manufacture dooms in your head and you will go mad. Reality is incontravertible. Also, it will not be anticipated.

Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.

Budapest is a prime site for dreams: the East’s exuberant vision of the West, the West’s uneasy hallucination of the East. It is a dreamed-up city; a city almost completely faked; a city invented out of other cities, out of Paris by way of Vienna — the imitation, as Claudio Magris has it, of an imitation.

At Birkin Grif's left, his seat insecure on a scruffy packhorse, Theomeris Glyn, his only armour a steel-stressed leather cap, grumbled at the cold and the earliness of the hour, and cursed the flint hearts of city girls.

Writings like gambling. Unpredictable and sporadic successes make you more addicted, not less.

SF is an opportunity to have an intense relationship with your own imagination. It's a kind of drive-by poetry, trashy and addictive; it's fun. After that, for me, it's an opportunity to explore that kind of imaginative artifact from inside, and use a little camped-up contemporary science as a way of generating new metaphors around my typical obsessions.