We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.

I'm embarrassed if I think anyone knows exactly what I paid for something, or even where I got it. I want what I'm wearing to feel good on, wear well, and to be extremely functional.

This perpetual toggling between nothing being new, under the sun, and everything having very recently changed, absolutely, is perhaps the central driving tension of my work.

Addictions [...] started out like magical pets, pocket monsters. They did extraordinary tricks, showed you things you hadn't seen, were fun. But came, through some gradual dire alchemy, to make decisions for you. Eventually, they were making your most crucial life-decisions. And they were [...] less intelligent than goldfish.

To some extent I'm guilty of wishful thinking. The absence of the interstitial I find unbearable.

I realized that everyone in Western society, in some weird way, believes that they've had the experience of producing feature films.

I've always assumed from the beginning that I had relatively few contemporaries among my readership. Not that I was consciously writing for a younger audience but that what I was doing interested a younger audience, or at least threatened them less.