The future is there," Cayce hears herself say, "looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.

I have friends who go [Tokyo] frequently on business, and it sounds interesting. I've heard that they have for the first time serious drug problems.

I'm quite good friends with the putative director, Vincenzo Natali, and I'm a big fan of his work, but beyond that, I don't like to talk about other people's work work-in-progress.

The future's here already. It's just unevenly distributed.

The ecological impact of book manufacture and traditional book marketing - I think that should really be considered. We have this industry in which we cut down trees to make the paper that we then use enormous amounts of electricity to turn into books that weigh a great deal and are then shipped enormous distances to point-of-sale retail.

To present a whole world that doesn’t exist and make it seem real, we have to more or less pretend we’re polymaths. That’s just the act of all good writing.

I've become convinced that nostalgia is a fundamentally unhealthy modality. When you see it, it's usually attached to something else that's really, seriously bad. I don't traffic in nostalgia. We're becoming a global culture.