I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.

Every shop in every High Street in Europe is filled with basically the same stuff. There's a street in every city of the world that has a Gap and Benneton's, and the upscale versions of those.

The most common human act that writing a novel resembles is lying. The working novelist lies daily, very complexly, and at great length.

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.

As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.

If someone comes in and says, "What are you doing," if I'm honest, the answer is, "I don't know. But I'm doing THIS, don't know why."

I've been interested in autism since I've known about it, which is more or less since I've been writing.