But I keep going on with this sad and hungry and sordid, this limping and mutilated story, because after all I want you to hear it, as I will hear yours too if I ever get the chance, if I meet you or if you escape, in the future or in heaven or in prison or underground, some other place. What they have in common is that they're not here. By telling you anything at all I'm at least believing in you, I believe you're there, I believe you into being. Because I'm telling you this story I will your existence. I tell, therefore you are.

I think every age lives in a blend of technology so there's always older ones mixed in with newer ones, and when the new technology goes down, the immediate fallback position is either that technology just before that or one several technologies back.

I don't think the relationship between novels and realities are one to one. Of course novels play different roles. It's essentially just a long narrative form. What you use that long narrative form for can be very different.

It's evening, one of those gray water-color washes, like liquid dust.

One of the reasons [William] Shakespeare is so endlessly fascinating is that you can look at that figure from about 10 different angles: Caliban in Shakespeare's day was probably viewed as a sort of comic, barbarian type, but into the 19th century there were productions where Caliban was the hero. He's a potential rapist of a minor. Is that a good thing? No, it is not. On the other hand, Prospero's got him cooped up in a cave and tortures him if he doesn't do what Prospero wants. Is that a good thing? No. Shakespeare doesn't let you off easy.

I'm a novelist, and idle speculation is what novelists do. How odd to spend one's life trying to pretend that non-existent people are real: though no odder, I suppose, than what government bureaucrats do, which is trying to pretend that real people are non-existent.

I'm not senile," I snapped. "If I burn the house down it will be on purpose.