One of the things I have taken for granted, in terms of how technology works in the world, is the people that develop it and get it out there don't really know what we are going to do with until we have really gotten ahold of it and it has become ubiquitous. And then we wind up doing things that its inventors never dreamed of and those things become the real change drivers. That is actually where the whole technocracy thing falls apart for me, because the people who invented it can't predict what we're going to do with it.

I don't think of myself as being particulary a subversive writer, but I like to think that my work could afford someone else, the extra degree of freedom that I found when I first found science fiction.

A part of that [timewrap] for me was growing up in a culture that violence had always been a part of. It wasn't an aberration, though I realize that in retrospect. I grew up in the part of the U.S. where all of Cormac McCarthy's novels are set and that's a pretty violent place.

I suppose I do the Japanese because I just don't know China. Chinese popular culture has never evoked that instant of, "Whoah! What's that?" that I have with Japanese popular culture.

Secrets...are the very root of cool.

Five hours' New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.

I only go to Japan when there's someone who can afford to bring me there, and consequently I may never go again!